IronFilm

18 hours ago, webrunner5 said:

My one daughter was in college at the time majoring in Creative Writing so I had a script writer.

Making porn with your daughter? 

Awkward!

Well, as my ex would say:
 

Quote

"families that play together stay together"

On 2/16/2018 at 1:27 PM, لطفي بوعكاز said:

Another new NX1 100% video footages, the night shots just 1 small LED light with ISO 400 the rest all natural lighting. 

Is the same artist I see! Good when they love what you're doing and keep on coming back.

On 2/17/2018 at 12:19 AM, Juxx989 said:

Its like your x-girlfriend sending you an invitation to her wedding.     

Soooooooo............ are you going to the wedding? 

On 2/18/2018 at 1:59 AM, Andrew Reid said:

Taping up a Samsung logo in a Samsung advert by Samsung PR team. Interesting.

We better not dare sell our own products! :-o

19 hours ago, Matthew Hartman said:

There's a feature slated to be shot on the NX1 that's going to hit several festivals, with the hope and actual intent to bring some positive attention to the camera. 

Here's the guy's rig. I wish him well. 

Where did you find these pics? Reverse image searched turned up nothing

4 hours ago, joema said:

Economic: hybrid cameras are intended for both still and video use, and typically tilted toward stills. A high-quality, large-diameter internal variable ND would be expensive, yet mostly the video users would benefit. In theory the mfg could make two different versions, one with ND and one without, but that would reduce economy of scale in manufacturing.

In a future GHx it might not make sense to have a built in ND, but in a GHxS model which is almost exclusively targeted at video shooters? Would be excellent!

Physics says..... there is no difference. 
(assuming all other factors are held constantly in proportion)

1 hour ago, Tim Sewell said:

I can't be bothered to get into any lengthy discussion about this, but 28 Days Later wasn't shot on those cameras because they couldn't afford to do it on 35mm. As he says, in the passages you quoted:

"...  but we made an artistic decision and I stood by it."

The artistic choice made was multi camera for a deserted area. 

Thus budget/time forced them to not use S35

I think you're very much misinterpreting that sentence, and missing the context around it. 

1 hour ago, jonpais said:

Seriously though, I’ve got nothing against the MKs, they’re excellent optically from what I’ve seen, but a bit pricey. 

Cheap though compared to the competition! 

53 minutes ago, Mattias Burling said:

And its all down to taste. IMO the Fuji really pushes the industry forward and now I hope that Panasony can catch up. They need to get their act together with lenses and controls.

 

Well I will agree that those cine zooms from Fuji are doing better than Panasonic is for lenses. 

But as Panasonic put out the EVA1 with an EF mount, I sadly won't hold my breath that Panasonic will fix this any time soon. 

1 hour ago, Kisaha said:

The truth is that this camera is not going forward the whole industry, like A7s, NX1 and GH5 did in their time.

X-H1 isn't pushing forward the whole industry, but it is however pushing forward Fuji! For that I am pleased to see. 

Ditto if Canon released a camera which wasn't say the "best ever", but  if (it won't happen) it at least caught up with the GH5 then I'd be happy to see them finally do that too, as it would go a long way to bringing the company forwards. 

3 hours ago, jonpais said:

the Veydras may also be mounted on Sony E-mount, Fuji X-mount, C-mount and micro 4/3 bodies (including Blackmagic and the LS300)

Almost the same could be said about Fuji's new cine zooms. 

2 hours ago, Inazuma said:

Also, having used the Panasonic G80 for a while now, I can attest to why the tilt screen may be more favourable than the fully articulating one. Of course flip out screens are better for vloggers. But not ever camera has to appeal to every audience. 

For street shooters (a big target market / branding for Fujifilm) then tilting is better. But for many filmmakers the flip out screen is better I reckon. (personal opinion here though)

Note that some people feel variable NDs tend to harm the image more than high quality NDs would. 

I think I recall watching an interview at an expo after the FS5 came out, with an engineer explaining how it wasn't an easy feat and the struggles they had. 

2 hours ago, DaveAltizer said:

Ok, so now that the X-H1 is here, along with the Fujinon cine lenses, I can count on Fuji to continue to innovate and be a player in the video space.

I wonder if next Fuji will bring out a set of cine prime lenses for MFT / E / FZ / X mount. 

2 hours ago, jonpais said:

That shoulder LCD I think is about as useful as the touch bar on a Macbook

Have you shot with a camera that has this? I sometimes shoot with my GF's D90 and I appreciate the extra info I get at a glance over my D5200 instead.

2 hours ago, jonpais said:

Being able to record with an external mic and the internal at the same time is a clever idea, but where are the videos showing the UI? Does Fuji still incorporate the all but useless tiny level meters found on the X-T2, or is it possible to see the audio level meter on its own dedicated page on the LCD?

 Ohhh... internal + external mic is a handy feature!

I've used this before on cameras such as the Sony FS7, which can do four track recording. I'll assign the internal mic to a track, as a handy failsafe back up insurance just in case something goes horrible wrong with the wireless feed. 

Would see it being useful for a FujiFilm X-H1 too for a number of uses to send in a wireless mic while having the internal mics as well as a scratch track (a back up resort for syncing. Or for very small shoots where you're interviewing one person straight to camera, but the editor might still want to be able to hear more clearly the interviewer's questions from them sitting next to the camera itself rather than being far away from where the lav is, you could just have a stereo splitter but this is simpler for many people). 

4 hours ago, jonpais said:

Bold claim, right?

So bold! But that is why we have these:

4 hours ago, thehebrewhammer said:

The Voigtlander 17.5mm and 25mm 

2 minutes ago, jonpais said:

25p and 30p are frame rates for television so I don’t see Panasonic including them in a cinema format.

Is silly though, as shooting say 30fps can give a nice subtle slow motion effect to some shots once slowed down to the base frame rate. 

If the camera was capable of higher frame rates, it would be nice to have it. 

8 minutes ago, jonpais said:

@Frank5 I don’t have experience with these Panasonic ‘pancakes’, but from my experience with the Sigma,  pretty sure the 18-35 will slaughter any of them

Where did we discuss pancake lenses?!?! Don't see that mentioned anywhere in this thread. 

4 hours ago, Logan said:

Apparently one equals many.

I see this is your first post here..... I have to ask, is your surname "Paul"?

2 hours ago, mkabi said:

Arri cams, Red cams, higher end Sony cams, Canon EOS line, etc.... all fit that description.... is it still 1 now?

Not fair to compare non-stills cameras which are priced waaaaaay over $2K with a sub $2K stills camera. 

In that category, only one camera (not just one brand, ONE CAMERA! That is just how few) stands alone: Panasonic GH5

Is of course what everyone does (or 1/60th if in the other half of the world). 

As who the hell lives in a country with 48hz electricity? :-P

7 hours ago, Kisaha said:

I remember back then those cameras were workhorse cameras, like the C100mkII are today. Can you not make a film with C100mkII today? of course you can, the 35Mbps codec is a joke in front of raw from Arri and Red, but you still can do it.

 

I worked (doing sound for some of the days) on a feature film a few years back shot entirely on a C100, looks pretty good:
 

4 hours ago, Frank5 said:

Just out of curiosity, do you mean the inexpensive Panasonic 25mm f/1.7 for around $200? I was wondering how that was holding up in a professional setting.

Sure there are always more expensive options, but I reckon it is smarter to put that spare cash elsewhere such as into getting a Panasonic 42.5mm f1.7 as well? Depends on your needs/wants

4 hours ago, Frank5 said:

It' really just about to-camera interviews here where I prefer to use the 18-35mm. It seems there isn't a clear cut replacement for MFT.

It is a unique lens. Not even in Nikon or Canon mounts (the two most popular mounts in the world!) is  there an equivalent lens to itself!

1 hour ago, kidzrevil said:

@zerocool22 I think the point of filming it with an iPhone is it has a specific aesthetic that we are ALL familiar with. The idea of the movie is to play with our idea of sanity and if we or the protagonist of the movie is actually crazy.

Yes, this film fits in a unique little niche where this look works in its favor. The filmmakers are smart to make that pairing. 

But for most other films it would be greatly annoying indeed!

 

The Sigma 18-35mm f1.8 is a unique lens, if that is what you want, get it!

But if you want lower weight / native lenses, then it means compromises. 

Here is one path I might take, a simple two lens kit:

1) a mid range zoom which is f4 (or f2.8), I use this when I need to R&G and don't need that super lowlight

2) Panasonic 25mm f1.7, for those times when I need that extra speed! (but lose the flexibility of a zoom)

Between those two lenses you could do a lot (for instance the zoom for daytime, the prime for night shoots!).

1 hour ago, DBounce said:

To this end I give you the Tilta Nucleus M.

I've seen a lot of chatter about this over on reduser, it seems like it is bringing high end reliability / features down to the lowest price / accessibility yet. 

 .

13 minutes ago, BTM_Pix said:

They need to get people in the game really and like the GH5 has a lot of ex G7/GX80 owners who traded up then Fuji need to build that pathway as well as its still not a goto brand for video shooters and whilst its very competitively priced its a big commitment if you're already invested in another system.

Not just G/GX series, but you'll even have people who started out on GM/GF then moved up! So it is in Panasonic's long term interest to not forget about them too.