Jump to content

IronFilm

Members
  • Content Count

    7,127
  • Joined

  • Last visited

  • Days Won

    90

Everything posted by IronFilm

  1. The main benefit of the stack in the future, will be once the next generation sensor is released in say another couple of years, then if it is compatible with this stack then all the years of software development and improvements for this camera system can be immediately ported over to the new camera with almost no trouble whatsoever.
  2. Congratulations! All those years ago when I purchased my brand new BMPCC for US$500, I would have bet that by mid 2020 we could possibly buy a secondhand BMPCC for a couple of hundred bucks or less! But no, it took a long time before you could easily get a secondhand BMPCC for cheaper than what I paid for my new BMPCC! Took the release of the Pocket 4K to really give the prices a good shove down, but even that wasn't enough. Look at eBay currently: https://www.ebay.com/sch/625/i.html?_fsrp=1&LH_PrefLoc=2&_sop=15&_sacat=625&_nkw=pocket+blackmagic&_from=R40&rt=nc&LH_TitleDesc=0&LH_ItemCondition=1500|2000|2500|3000|7000|10 Only three pockets are listed for sub $500! And not by much, with the way bidding is going I expect they'll sell for more. Has my OG BMPCC held on to its value better than any other camera I've ever got??
  3. Definitely there are lots of people would like it that way! (I too think I'd lean to preferring that) But the complaints from people do not like this approach would be huge. Many want to just to be able to pop in a card and a lens on the camera then be able to go with it! Thus my point, either which way Blackmagic went, they'd be damned for it. From a commercial perspective, they probably made the right choice? I bet the OG Pock sold many many many times more cameras than the Micro Cinema Camera sold.
  4. They way I see it is Blackmagic had two main options for when making a "very small cinema camera": 1) the design they went with, with a big screen on the back 2) a Z Cam E2 / RED / ARRI Mini / boxy design Which is right, which is wrong? You'll get defenders of both sides, depends on your preferences.
  5. My personal favorites (limited to those I've worked with / shot with): Best: I'd like to put the Panasonic EVA1 as #1, as it is a small compact cinema body at a reasonable moderate price, with all the I/O & features you'd expect. It is lightweight without feeling flimsy. (one reviewer joked "Maybe Panasonic fills the bodies with helium?") However the EF mount is just too much of a negative in my eyes, wish they'd offered a MFT version. So I'm giving the #1 spot to FS5/FS7mk2 instead (would put the FX9 here too if I could? But I've got no experience with it whatsoever. Kinda would like to give a shout out to the AMIRA too, but it is just so damn bulky/heavy) Best hybrid stills cameras: Panasonic GH5/G9 (wish I could include S1H/S1 here too, but I've never used them) and Nikon D500 (bit of a stretch though to call it a "hybrid"? Being perhaps the most stills focused of all the cameras in this thread)
  6. That is a very good example, we were so sure the Nikon DL series was coming! It seemed it would be awesome The specs were released, and images of them, etc etc Then.... nothing, and it got cancelled. Arrrghhhh 😞 So don't ever count on a camera, until you're able to buy it immediately and have it in your hand!
  7. You might find yourself wanting to offer real estate photography as well alongside the video (especially if you're in a small town). If so, then consider grabbing a tilt-shift lens as well (check out the Fstoppers course too on Real Estate Photography by Mike Kelly, it is really good!).
  8. Another new adapter in 2020 of the old ARRI ALEXA Classic: https://www.youtube.com/watch?v=Y2wzDQLlDp4
  9. The C300mk1 wasn't a direct competitor to the 1D C In the market the C300mk1 was released into back then: The C300mk1 both undercut the price of a Sony PMW-F3 full package (F3 + S-log + recorder), and crucially had a better internal recording spec than the F3 (which was a deal breaker for many). The C300mk1 was also cheaper than all the RED offerings, only the Scarlet MX was close in price but that came with a lot of negatives (not least that many clients didn't want to deal with raw). And obviously it was massively cheaper than an ARRI or higher end Sony cameras. Easy to see why the C300mk1 was such a massive smash hit with so many people owning one. I agree, fingers crossed Sony does this. But unlikely with Sony's track record. Doubt we'll even see an a7Smk3 at all soon. Yup, R&D is very expensive. Companies need to coast along with their existing momentum to catch their breath again, and recoup their costs.
  10. https://pdnonline.com/gear/cameras/the-best-cameras-for-color-reproduction-ranked/ Please please do tell us what is "bull sh*t" with the testing by Image Engineering for color accuracy? Explain with specifics and details, I'm all ears to listen and learn. Have a read of this first: https://www.tipa.com/_assets/pdf/TIPA_Camera_Test_Image_Engineering.pdf Have you done better scientific tests of cameras' colors than this yourself?
  11. Detailed review of the C500mk2:
  12. Cheapest C200 on eBay that has sold was US$4K There is a local URSA Mini 4.6K I've been considering which is for sale for US$1.75 That puts it at closer to C100mk2 prices! (US$1.5K) I know which I'd prefer
  13. My point was that I doubt the Digital Bolex D16 would have seen even half of its (limited) success if it had been a 1/2.3" sensor instead of a Super 16mm sized sensor.
  14. Another reason to expect less by 2025, is that in general the rate of progressing is feels like it is tailing off. Look at how much computers have advanced from 2016 to 2020, vs 2001 to 2005. Or how much DSLRs improved from 2001 to 2005? Compared to the last five years. Yes, sometimes we don't appreciate just how good we've got it now! Many people if they wrote their reasonable "dream camera" 5yrs ago would have most of these specs by today, and easily most of us who wrote it down 10yrs ago would have those specs achieved by 2020! Even via Bluetooth like Timecode Systems Ltd does would be a good second best option.
  15. This won't come even close to being a successor to the Digital Bolex D16, as its sensor is too teeny tiny, perhaps though a "Digital Bolex D8"??? This has a "crop factor" of around 5.6x S16 has a crop factor of nearly 3x, thus S8 is I guess around ish nearly 6x?? Similar to the 1/2.3" crop factor of 5.6x that this Raspberry Pi camera has. Hopefully generation v2.0 of this has a 2/3" or 1" sensor? At least then you've got a good chance at pulling off shallow DoF shots when you want to.
  16. Whoops! What a typo. Honestly I'd be happy to see ANY camera in 20205! As I'd be stoked to simply still be alive.
  17. I don't think Panasonic will give us all of that this year or in early 2021. Don't think the GH6 will have 8K, not even in 8bit. (but happy to be proved wrong!) Not unless Panasonic does the opposite approach to the GH5S variant, and gives us the "GH6R" with 8K as a sister camera to accompany the mainstream GH6. (and skip an entire generation entirely, and not offer a GH6S until the GH7 series comes around. This could be a smart approach, alternating between a GHxR and a GHxS for each generation, but never both at the same time) I'd really like the next DMW-XLR to go an extra step beyond with extra I/O than just having XLR inputs. And having 2x BNC for TC I/O & an independent SDI output would be perfect for many folks wanting to rig up a GHx camera in a more professional setting! Gives us a built in eND too and we'll all be as happy as a pig in sh*t.
  18. Those air quotes around the "RAW" you said is what allowed Blackmagic to offer BRAW without offending RED's army of patent lawyers. As it technically isn't what we usually think of as raw, as Blackmagic is doing a partial demosaicing process first before compressing, rather than going straight to compressing the original raw footage.
  19. Cool, so now tell me how anybody can determine which camera is easier to grade than another? (and you can't dodge the question again by just giving easy uncontroversial statements such as "ARRI is easier to grade a Pocket", as 1) that doesn't answer the question 2) does nothing to improve our knowledge to understand how to apply this judgement to a general case, such as E2 vs P4K or any of a million other matchups??) So how anybody can determine which camera is easier to grade than another? Without using an personal judgement whatsoever, as that has biases and is subjective. You can't make broad vague blanket statements such as "raw is always better than 8bit to grade". Because what if we're comparing two cameras which are both raw? Plus of courses there will always be outlier exceptions who'd disagree even with a statement such as "raw is always better than 8bit to grade"! (I'm certain there is someone out there in the world who thinks C200 4K 8bit footage is easier to grade than RED ONE M 4K raw footage!)
  20. Exactly. (or Z Cam E2-S6 vs BMPCC6K, I'd say they have a much closer market overlap than EOS R vs Pocket 6K. Plus the E2-S6 vs Pocket 6K used to be quite close in price too, before the 6K's slash in price) @Super8 so you're agreeing with me now that color science is subjective? As if there is a way to approach this analytically, I'm all ears.
  21. Translation: Your argument is based on an appeal to authority fallacy. Because inherently your approach is subjective, and has no absolute truth to it. Thus the point remains: "color science is subjective", you have not disproved that. (which is a pity, I personally wish this statement could be disproved!) We could have one "expert" saying a RED Epic MX has "better color science" than a Sony PMW-F55, only for another "expert" to come say the opposite. Or that a Panasonic Varicam LT looks better than a Canon C300mk2, only for another "expert" to say the reverse.
  22. IronFilm

    RED Komodo

    Lots and lots of people have thought external raw is ok, doesn't violate RED's patents. For example: https://www.newsshooter.com/2019/08/16/apple-challenges-red-over-raw-patent-legitimacy/ But then of course Atomos did put out that press release about a partnership with RED, but the details were skimpy, what exactly is this about?? Their ProResRAW development and announcement was long before that announcement, but perhaps RED just came late to the game and bullied them into signing. I guess changing people's opinion that it is "external only". Sony has compressed raw, their Sony X-OCN. But the compression rate is quite mild, and doesn't cross the magical 6:1 ratio covered by RED's patent.
  23. IronFilm

    RED Komodo

    If it is external raw then it isn't covered at all by RED's patents
×
×
  • Create New...