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Everything posted by Stab

  1. Right. If Sigma can produce a 18-35 f1.8 for 700 euro's and make profit, there is no way that it can't be done again with slightly longer reach lenses for much, much cheaper than those cinema lenses andrgl mentioned. I mean that Fujinon 14-45 t2 is 141x more expensive than the Sigma. Sure, it might be parfocal and have no focus breathing but fuck that. Sigma could probably make a lens of 2% of that price and make it non-parfocal and breathing as fuck. And I would instabuy and many others would too.
  2. I would think so too. But then, the Sigma 50-100 f1.8 is pretty big as well.
  3. Yea that last thing you said could be great. And I guess size and weight are relative. I mean, a Sigma 18-35 isn't heavy or big by any means if you compare it to really big and heavy lenses. The Sigma 24-35 is about the same size and weight, maybe 10% heavier. The Canon 28-70 f2 is indeed pretty big but still easily managable. It's about 1.5 kg. A constant f2 zoom of about 22-45 shouldn't be bigger than that, I think. I'm not sure what makes that lens so big. Is it the the wide range or the long reach which is responsible for that? Anyway, I just find it interesting that '3rd party' manufacturers come up with stuff which the big ones don't. And they don't even try to compete. Like Sirui now with the anamorphic 50mm f1.8. Supposedly it is very sharp. So, apparently, it was possible all this time to produce a sharp and affordable anamorphic lens. Why didn't anyone bother? I'm sure it will sell like hot cakes.
  4. Ok agreed, I got carried away. Maybe 'affordable, high image quality and constant f1.8' are less subjective and explain why the lens is so succesful. I mean, it must be. I'm on several camera forums / groups and have seen so many video's shot with it and it always gets recommended for people with an aps-c or mft camera.
  5. I doubt that the market is too small. And like I said, the lens is great, but could be improved upon with a slightly wider and longer reach. But, I agree that recently a lot of manufacturers seem to switch to or offer more full frame camera's. But why are we still sticking to f2.8 zooms? Canon has made a brilliant 28-70 f2, but that's about it. Yes, it is big and heavy. Sigma had a 24-35 f2 which was awesome but a little limited in range. I would be all over a sharp zoom with a constant f1.8 aperture in the let's say 22-45mm (full frame) range. Which should be doable without becoming too large and heavy.
  6. After all these years, it is still the best lens to get for filmmakers who don't shoot full frame. Why do all the other camera manufacturers let this happen? And why isn't there still not anything better? I mean, it is a great lens but it is not really wide and too short on the tele-end. The only thing which it has going for it is sharpness and the f1.8 aperture. Why did Canon not make a similar lens? Why doesn't Nikon make a 16-40 f1.8 or f2? Why doesn't Tamron or Sigma themselves make a 18-50 f1.8? Yes, most of them might be a bit heavier and more expensive, but for many of us I think a f1.8 zoom with a slightly longer range would be an instabuy. I just find it interesting that a 7-year old lens is still not surpassed. What is your take on this?
  7. Stab

    Sirui anamorphic

    The s1 has an APS-C crop in 4k 50fps which I use all the time with a Sigma 18-35mm, so it could work very well in theory. Just too bad that adapters won't be possible and Sirui won't release it with any other mounts. The lens seems to perform very well and I heard they are probably going to release a set of them (wide / 50mm / tele). And that would be awesome to have. Well, I do have a GH5-S. But a 50mm with a 1.9x crop factor is way to 'tele' for my liking and couldn't be use as a general purpose lens.
  8. Stab

    Sirui anamorphic

    Im very interested in getting the 50mm but only if i can use it at aps-c crop. I have a gh5-s and an S1 and would much prefer to use it on the s1. But the lens Will only be released in x-mount / e-mount / mft mount, right? So will there be any way to get this lens to work with the S1? There arent any adapters available right? Will that be possible at all? Or to change the mount to a Nikon G mount or so that it can be used with a nikon to l mount adapter?
  9. Looks like they combined a cheap 50mm with a SLR Magic Anamorphot Compact 40 adapter and put it together in one unibody. Well, if it's sharp at large apertures then I'm game. I mean, SINGLE FOCUS FFS.
  10. Yes, that makes sense. With a crop factor of 2x you multiply the focal length and the f-stop by 2x to get a similar FOV and DOF. Got it. But, on the DOF calculator that I used, I didn't want to match any framings. I just put the same lens on 2 different bodies. And the MFT sensor had a shallower DOF than the Full Frame sensor. If that is correct, then why is that? Same distance to subject, same lens, same everything.
  11. Ok maybe we got it wrong after all? haha
  12. No you don't. I'm not trying to compare the framing or make the same shot. I put the same lens on 2 different camera's on the DOF calculator at the same distance. And it should show that the DOF is the same. At least, that's what I thought. It doesn't matter that the framing isn't the same. A 70mm is a 70mm. It doesnt matter if you mount it on a full frame camera or on a banana. A crop sensor is basically the same as cropping in post and then blowing the image up to the same size as it would have been on the full frame camera. It doesn't change any other stuff, besides that you have a narrower FOV. That alone doesn't change the DOF. The DOF will only change once you start zooming in / out or moving. Which the DOF calculator doesnt take into account and is not what I'm asking here.
  13. Right, I thought so. But, that means the DOF calculator is wrong?? There is another one online, this one, at it shows the same values. Are they both wrong? https://www.dofmaster.com/dofjs.html
  14. Hey guys, just a quick question. So, I thought, when using the same lens, the same focal length, the same distance to subject and the same f-stop, the DOF will be exactly the same regardless of which camera or sensor size you mount the lens on. It's just the FOV that changes with different sensors, not the charataristics of the lens. Correct? Well, this DOF calculator shows otherwise. As you can see, I choose the same lens (70mm f2.8) on both sensors (Full frame and MFT), same distance to subject, same f-stop. According the DOF calculator the DOF is shallower on the MFT (0.43m) than on FF (0.86m). I expected the same DOF (but of course different FOV). Is this correct?
  15. It looks great but very soft. Probably didnt use sharp anamorphic lenses. Does anyone know if there is a difference between the S1 and S1H when shooting 24 fps, 4k, V-log? Panasonic said that the S1 has the 'full' v-log with 14+ stops as well, right? So that should look pretty much identical I suppose, especially at lower ISO's. Am I missing something?
  16. The S1 does support dual recording. It's just that it has one SD port and one XQD port.
  17. Well, I earned 4000 euro's yesterday. As great as the camera is, and praise Panasonic for that, for my type of work it doesn't seem to offer any major upgrade over the S1. I mainly shoot weddings, in 4k 50 fps, with the S1 which does a 1.5x crop in that mode. The S1H still has the crop and thus is pretty much the same thing for me. Except for the Dual Native ISO, but let's face it, the S1 is already very very good at ISO 6400 and I never ever needed to higher in my life till now. The photo capabillities are the same I hear. So pretty much the only reason why I would like to upgrade is the OLPF, because I do see moiré here and there, especially on men's clothing during weddings. But that's a tough sell to me at the current pricepoint. If you do shoot proper films / cinema / anamorphic, then yes, the S1H is a major upgrade over the S1. But for 'event filmmaking' in 4k, it's not that different. Even the V-log in 24 fps 10-bit 422 is exactly the same right? Until raw is coming along.
  18. Considering that 99% of people, and thus the 'audience' of most people's photo's and video's, is watching all his media on a 5.5 inch smartphone or at most on a 13-15 inch cheap laptop screen, it is totally understandable that these 'good enough' imitations of professional looking images are becoming populair. Not many people are like us, pixelpeeping for moire, onion shaped bokeh or CA on our 32 inch 'footage destroying' monitors. But yes, this is a big threat to our line of work. But it is also a shame that we have better camera's than ever, but the ways that people are watching media are almost worse than ever. I mean, everything looks good on 5 inch. Except it leaves no lasting impression.
  19. Can anyone here with an S1 do some aliassing / moiré tests? Take some of your blouses / shirts / jackets with very fine texture patterns and shoot it to see if you can get it to moiré? I had 2 S1 bodies, kept 1 for photography, and it was very bad on both of them. Now, I shoot weddings so I see a lot of people in jackets and suits with fine patterns but I saw it on many people's clothes. Including 2 grooms in 2 weddings... But, most people aren't talking about this. It seems like I am the only one complaining about this stuff. So, what is going on? Could be good if other people did some tests or pixel peeped more to see if there is strong aliassing or moiré in their shots Thanks
  20. Guys give it a break and write a film ffs! I watched The Godfather (again) recently. This film probably has as much detail as a poor 720p camera. The highlights are often blown out and it looks like the dynamic range of that film is no more than 6-8 stops. It is yellow as fuck. And still, it's a beautiful movie. And almost everyone agrees. I realised that, including for myself, this obsession with gear, pixel peeping and resolution is a race to the creative bottom.
  21. Yes sir. Before every shoot. Also, the camera seems to suffer from a lot of moiré. I've seen multiple people in suits yesterday and in many shots I see some form of moiré. And it isn't pretty. It's like a flickering red and blue pattern. I've seen it in both 4k 50 fps 8-bit in APS-C mode, as well in 4k 25 fps 10-bit mode. I'm shooting Cine-D with sharpness turned all the way down. Here is an example from 4k 25 fps 10-bit cine-D.
  22. Alright, I used the S1 today for the first time on a wedding shoot and it wasn't good. It failed on me three times! This is strange and unacceptable. So, 2 times today the camera looked like it finished writing the recorded clip to the card but it actually didn't. When I tried to press the record button to record a new clip, nothing happened. When I tried to turn it off it said 'writing to card'. But it didn't actually do anything and it just kept saying that for a minute. The only way to get back to shooting was to pull the battery and this led to a loss of the clip. 20 clips later, this happened again. And again, a while later something similar happened only this time it did show the red indicator on (showing that it is writing the current clip to the card) but it actually couldn't finalise it. Again, battery pull was the only option. Now, I have been shooting with the GH3, GH5 and GH5-s for years and this has never happened to me. Only something similar a couple of times with the GH5 when I changed to HFR modes. I use the same Sandisk SD cards as I used with the GH5 and GH5-s (Sandisk Extreme Pro 95 MB write speeds) and this should be sufficient as the S1 records at the same bitrate and resolution (150 mbps). Additional info: - I was shooting 4k 50 fps (in APS-C mode) - I had an external monitor connected through HDMI - I had an external mic connected through the mic socket - The clips I was recording were pretty short, about 20-30 secs in duration - No XQD card was present in the camera - Weather conditions were normal. - Firmware 1.2 (with V-LOG activated) - Lens used: Sigma 18-35 with Nikon mount on dumb novoflex adapter I basically used the exact same gear and setup as I do pretty much every week with the GH5 and GH5-s. Do with this info what you please. But I am pretty disappointed. I can't trust the camera anymore and I was deliberately stopping recording and starting again during important moments to be sure I couldn't lose a complete event. Yes, of course I had 2 backup camera's rolling as well. So has anyone else experienced this or something similar? I suspect that the HDMI-output to the monitor could be a cause, because I heard similar stuff about the GH5 when it was just released. Anyway, this is absolutely a bug and should be fixed by Panasonic as soon as possible. Hope we can get it fixed soon.
  23. Has anyone had a chance to compare V-Log to HLG on the S1? Is the dynamic range of V-log much better than HLG? And how about colors after conforming them to rec 709? Anyone has done or seen some comparisons? On the GH5-s HLG was actually better than V-LOGL in terms of color accuracy and dynamic range, so I wonder if it's the same on this camera.
  24. Hi guys, just bit the bullet on a S1. Full frame here I come. I know that the HFR modes suffer from a lack of manual exposure. Apparently, the camera defaults to auto exposure in that mode. Which is a bummer. The question though is, does it also mess with the shutter speed? Or does it keep it's shutter at 180 degrees and only messes with the ISO and or Aperture. Well, I'll use manual lenses on a manual adapter so it can't do that. Will it start upping the shutter speed in that case? That would lead to motion artifacts. Hopefully someone can shed some light on this. Oh and is there still an APS-C crop when you use the HFR mode of 48 to 24 fps? Cheers!
  25. Alright, it has a 1.09x crop in video mode. But that's still better than the S1's 1.5x crop in 4k 60p, which is the main video mode I'm using for weddings. Now I know that the S1-R uses line skipping whereas the S1 doesn't, but how do the two camera's actually stack up when shooting 4k 50 or 60 fps? From what I've seen the S1-R is a little softer (not necesarilly a bad thing) and might have a tad more aliassing, but the S1 seems to have more ugly looking moiré. Mind you, I'm talking about the 4k 60fps modes only. And indeed, the S1-R doesn't have the V-LOG update but it does shoot HLG which offers pretty similar dynamic range. But! But it is 1.09x crop! The price difference doesn't matter for me. I'm just doubting which one to get. I also want to start doing more photography and both these camera's seem to be awesome for that as well. Similar DR, same color science, etc. It seems like that the S1-R is pretty much ignored on the interwebs as a viable candidate for video but is that justified? Has anyone used both or seen them side by side? I find it looking very good and clean in this video: Love to hear your opinions!
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