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About Stab

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    Lumix S1 + S5

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  1. Hmm maybe the bitrate is higher on the xt3? And do you shoot h264 or h265 on the s5? And which cpu have you got?
  2. Right, so you think that for 4:2:2 a M1 is necesarry. But for h265 4:2:0 a powerful CPU (such as a 5900x?) might be enough on Premiere? Couldn't quite figure out what you meant to say.
  3. Hi guys. I'm looking at upgrading my PC. I'm considering the Ryzen 5900x and 5950x at the moment. It would be paired with 64 GB of ram @ 3200mhz. My current GPU is a 1070ti and because of the low supply of current gen GPUs that will probably go back in there as well. Does anyone of you have experience with these CPU's with Adobe Premiere on Windows and the h.265 files from the S5 / S1H? I'm a wedding videographer and will only shoot in 4k 50 fps 10-bit 4:2:0 h265 codec from this season onwards. If there will be any season Transcoding is not an option for me and I would really lik
  4. Stab

    Panasonic GH6 rumours

    I really don't think there is a big market anymore for a GH6 at this point. And that Panasonic agrees. I mean, the GH5 and GH5-s were about €2000 and €2500 at release and for that money you can now buy an S5 or an S1. Or buy something from Sony or Fuji. Image quality is virtually (for 99% of 'normal' people) indistinguishable between all camera's at that price point. Besides that, 'micro 4/3' sounds small and incomplete. 'Full frame' sounds like an end goal. Finally, you can use the whole, full frame. And it costs the same? And has better performance in low light? And you are an instant p
  5. For encoding/ decoding the CPU does almost all the work. So in this case buy the best CPU possible. Unfortunately, all those cpu's don't have h265 acceleration built in the chip and therefore it's always going to be ineffecient at it. Apple recently released an M1 chip which actually does support that. And even though it's a much slower / less powerful cpu than the options you mentioned, it might be faster at encoding and decoding (playpack) than most cpu's in this regard. Check it out!
  6. Merry Christmas everyone. Hopefully 2021 will be a better year than 2020 and we all can make films again.
  7. There are gear rings included with the 35mm. Not for the 50mm though. I'm planning to shoot weddings with them next season (if there ever will be a wedding again, who knows). And I just finished writing a 20 page short film that I might make in the next months if I can find enough people who are enthusiastic about the script. And if the fekkin virus and the government let me... Really would like to work with the Sirui's on a real set and project. Which seems like not many people are doing yet. I know that you can put an oval insert at the back of the lens, but that's apparently not s
  8. I get what you mean. It's no vintage 2x anamorphic look with beautiful flares. But, let's look at it another way. I recently received the lenses and they really surprised me. The build quality is outstanding. All metal. Smooth rings. Nice weight to it. Amazing. Ok, you won't get the extreme oval bokeh that a 1.8x or 2x lens offers, but since you would use these lenses on 16:9 in stead of 4:3, the horizontal FOV is similar to using the lenses with the bigger stretch. You get a 33% increase in horizontal FOV. That's really what anamorphic is all about. Put a 50mm 1.8x on a 4:3 crop of
  9. I wont be my fault. Over the years i bought a gh3 with lenses, gh5, gh5-s, 2x S1 and an S5. Oh and a panny 24-70. I have always liked panny. Since the moment i saw footage from the gh2, wich was miles ahead the massively more populair canon 5d / 7d. With the s1 they made such a leap. The iq is great. The buttons feel great to push. The evf is great. And with the future update it will be good for years to come. Too bad their AF and their brand building arent as good as the rest. The name Lumix sucks. And it doesnt mean anything to anyone. Photographers havent even heard of
  10. Didn't mention that I was calculating with a s35 (1.5x crop) sensor.
  11. Can someone tell me if this is correct, and if not, correct it? 1. When using a 1.33x lens on 16:9, you would end up with 33% more FOV on the horizontal axis whilst keeping the original fov on the vertical axis. So, a 50mm would act like a 37mm horizontally, and stays 50mm vertically. This would make a 1: 2.39 ratio. Correct? And how would this influence the DOF and 'compression'? Does this still behave like a 50mm lens? Or is it somewhere 'in between' 37 and 50? 2. When using a 50mm 1.8x anamorphic on a 4:3 sensor, one would also end up with a 1: 2.39 ratio, right? But what doe
  12. For photography you will be fine with either camera. For videography the A7SIII is the only way to go. Talking about AF only here of course.
  13. Impressive. And how is it for video? Probably cannot do all these tricks on the fly in video mode yet and still look great. But... Give it a couple of years and it will be able to. Computational cameras are the future. And everyone will have an alexa micro in their hands in a couple of years. With probably a lot of tools that aid regular folks to make better shots.
  14. Does it work with any camera? My panny S1 and s5?? Does it do or support eye / body af? Or can it only track an object in the middle of the frame in afc?
  15. I definitely 'know' what you mean. When I see a good image, it's obvious. But most modern mirrorless can look awful and pretty good, but never have that 'pop' that 'real' video camera's have like BlackMagics, C300's, Alexa's, Varicams, etc. But is this the processing of the image? Or the sensor? Or both? I think it's the processing because almost all modern mirrorless camera's take damn good photo's in raw. And when you edit them in lightroom the color 'thickness' is definitely there. But in video mode that is different. So the fact that the same sensor can look great and 'meh' at th
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