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aldolega

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Everything posted by aldolega

  1. How so? How would, for example, a 12MP A7s have more data to process than a 20MP GH5?
  2. aldolega

    The Sweet Spot

    Why would you want body-only anyways? It's only $100 more for the kit,and you can easily sell off the kit lens for ~$250. Instant $150 discount on the body.
  3. The field of view seems much smaller because of the larger difference in vertical height between the two aspect ratios (4:3 stills and 16:9 or 17:9 video). But they're all using the full sensor width. Most photo cameras are 3:2 for stills, which is more rectangular than 4:3, and thus there's less of a vertical difference between stills and video. The GH4 cropped/windowed into the sensor for UHD and C4K, but not for its 1080p modes, so there was a difference in width as well as height.
  4. Why couldn't you use a vND with the 18-35? It has a normal filter thread.
  5. I'm assuming the RX1R doesn't have a mic in, and that's why you use the Tascam? In that case, ShureVP83F. About the same size as a Rode VodeoMic Pro or your Sennheiser (so, fairly small), but it has a built-in recorder. https://www.bhphotovideo.com/c/product/966010-REG/shure_vp83f_condenser_shotgun_mic.html Doesn't solve the deadcat issue though.
  6. People can't be creative while they're working? Or efficient when they're not? Wedding and event shooters aspire to pro cams because they're sick of fiddling with NDs and tiny batteries and rolling shutter and too-big or too-small codecs. The time lost dicking around with these things doesn't make anyone more creative, it only endangers their paycheck/career, AND loses them creative opportunities. There are plenty of subjects and shooting styles that lend themselves perfectly to photo cams and their slower, fiddlier workflow... and there are plenty that don't, even past weddings and events. And this is a separate issue from creativity and freedom vs. efficiency and appearances. Someone can be completely creative whilst shooting fast-paced or high-pressure situations- at least they can if they have the time to. I do definitely agree that the IQ gap is so much smaller nowadays that this is a much blurrier argument than it was a few years ago. A7sII, GH5, etc vs. FS5/7, C200, etc is certainly a smaller gap than 7D vs. C300, or whatever other matchup from 4-10 years ago. Smaller price gap too. The lack of IBIS in pro bodies is also definitely adding to the blur.
  7. Native works only if the GH5's autofocus works well enough for your needs, or if you shoot exclusively locked-off shots with a fixed focus distance (sit-down interviews etc). Otherwise, you will be manually focusing, and the native lenses kind of suck for manual focusing. Personally I would keep the 70-200 and sell off the 24-70, because even with the XL booster the 24-70 will still only be a 32mm equivalent at the wide end, which is narrower than I would need. Then I would go with the Sigma 18-35mm f1.8, and hopefully add a fast 50mm at some point, to give you something between 35mm and 70mm, which is a sizable gap in coverage. Or you could do the Canon 17-55mm f2.8. This is slower than the Sigma of course, but you likely won't notice the gap between 55mm and 70mm much, if at all. You will have to remove the plastic shroud around the rear element for it not to collide with the Speedbooster optics. As for XL vs. Ultra, IMO that comes down to how willing you are to deal with vignetting and workarounds for it. The 18-35mm will vignette at the wide end with the XL, especially with IBIS working. You can either crop in post, or be sure to not zoom wider than 21mm or so. With the Ultra you should be fine to zoom to any length and use IBIS. Not sure if the 17-55mm would do the same; if it has a larger image circle than the Sigma it shouldn't. If you stay with the 24-70, go for the XL, as it won't vignette since it's a full-frame lens.
  8. The 7D is a depreciating asset. I would seriously consider selling it off and getting an 80D to replace it, before the 7D loses any more value. The 80D image quality is better in photo and video, and its ergonomics are definitely better than the 7D's. It also uses cheaper media. Outside of the camera/lens debate, I would concentrate on 1. audio and 2. support. What you get in each category will depend on what you're shooting and how you want to shoot it, but the basics I outlined above will apply to most any situation.
  9. I would sell off the 7D (outdated IQ and ergonomics), 100-400 (longer than you'll need unless you're doing nature shows), and 135mm (duplicated length and aperture in the 70-200). Grab an 80D, a Rode VideoMic Pro, an acceptable-minimum fluid head (Manfrotto 500 or 504 or Bento S8). If you won't have an audio person then get a basic external recorder, mic, and boom pole. Maybe a small 3.5mm recorder and matching lavalier. Depends on what you're shooting. If that leaves you with extra money, go for a C100 or C100II instead. Then look at sliders and stabilizers. You could also look into switching to a Sony or Panasonic mirrorless cam, paired with a Metabones speedbooster, which will give you much better video IQ than the 80D, or even the C100 in good light.
  10. Exactly. For interviews, asking which mic to mount to the camera is like asking which car will go the fastest inside your garage. Cars need a road to drive on, mics need to be close to the subject. Canon's preamps suck, so that rules out non-powered/amplified mics, which is most of the cheaper ones out there. If you absolutely have to run the mic directly into the camera (with an extension cable to get the mic near the subject), I would go for a Rode VideoMic Pro, which has a pretty good preamp built in. The new VMP is about $250 I believe, the older models should go for less. The better-sounding but similar cost option is a small recorder with a cheaper mic (ideally a lavalier). Something like a Zoom H1 or one of the similar Tascams. Audio-Technica makes a decent 3.5mm lav that's about $35 and uses a watch battery, it has served me well. I'm sure others here can recommend other similar options.
  11. aldolega

    G85 Discontinued?

    Probably just means that Panasonic isn't producing anymore body-onlies, just kits from now on. I don't see much reason to buy the body-only anyways, when the kit is only $100 more and you can very easily sell the lens off for $200+ (or just hang onto it as it's pretty great for what it is).
  12. Firmware 1.1 just announced, releases April 24th. Includes: -10-bit 4:2:2 in 1080p -4:3 anamorphic mode (3398x2496), also in 10-bit 4:2:2 -exposure adjustment problem in VFR mode (I'm guessing this is the darker screen when using shutter angle) -V-Log high-ISO ghosting problems (doesn't this happen in normal profiles too? Hope this addresses that too)
  13. You mean the automatic punch-in when you move the focus ring on native lenses? How would the camera know that you've moved the focus ring on a non-electronic lens, that doesn't communicate with the camera? Personally I find the automatic punch-in distracting and annoying, and just assign focus zoom to one of the function buttons.
  14. I don't have the GH5 yet, but here's a wish list and things I wish my GH4 had done: 2.7 or 2.5K up to ~80-90fps, at 10-bit 4:2:2 Focus punch-in while recording Assign audio levels to one of the dials Let us choose which settings C1, C2 etc change, and which are sticky/global. So that we could for example change between regular and overcrank framerates without having to reset white balance, picture profile, etc. Let us choose which different options the Display button toggles through- for example I never use the Info screen (black grid with settings), and I'd love to not have to cycle past it when I'm trying to switch between the clean preview and the preview with settings. A smart UI overhaul that makes better use of the touchscreen- more smartphone-ey I guess. Like the newer Blackmagic firmwares- swipe to bring in different displays, etc.
  15. Hmm, well, the Sigma will work well for the front and back, but it'll be no good for the sides. I would suggest doing some research into side-calibrated lenses.
  16. Panasonic can't "just use dual pixel instead", dual pixel is patented by Canon, and I highly doubt Canon will be licensing out their main competitive advantage anytime soon. There's also a theory that Sony won't sell Panasonic sensors with phase-detect, to protect their own cameras. Which leaves Panasonic stuck with contrast-detect until they can start making their own sensors again.
  17. Yea, it's most likely the flex cable in the screen's articulated joint is starting to wear out. If the cam is out of warranty you can pay to have it repaired, or try to find the part and do it yourself. I remember seeing some pics or a tutorial of someone doing just this, you could probably find it with some googling.
  18. Are your Sigma and XL Canon or Nikon mount? If Nikon, what values are you entering in the camera for focal length? Remember that you need to enter the effective focal length of the lens and booster together. Even with the correct value, though, you can't expect IBIS to absorb walking motions. Not even big expensive gimbals or Steadicam can do that. Which is why steadi/gimbal operators have to learn the "duck walk". The GH5's USB port doesn't support external charging/power. You would have to use a dummy battery. A big old NP-F battery is going to weigh nearly as much as the battery grip anyways, might as well do the grip and then you can hot-swap batteries.
  19. aldolega

    Tripod + fluid head

    I will echo the advice to get the best tripod & head you can afford. You don't need to spend thousands, but you're probably looking at $300-400 to get something that's workable (unless you find a good used deal). In my experience, those cheap Manfrottos with the one-sided tilt mechanisms are nearly useless- once you loosen the tilt lock knob, the tilt mechanism goes all wobbly. I would definitely get at least a used Manfrotto 701, which is workable. I used a 701 for a couple years, then went to a Benro S6, and then got REALLY lucky on a Sachtler Ace L with carbon legs on eBay. The 701 was workable for a light setup, once I got used to the fixed drag. The S6 was a good step up, it was nice to have adjustable tilt drag and adjustable counterbalance. The lack of a pan drag adjustment sucks though, and overall it's built pretty cheaply- plastic knobs, plate release button was sticky, etc. Both the 701 and S6 are dampened, but I wouldn't quite call them smooth. The Sachtler is a whole 'nother league. Smooth as silk, drag on both axes can go light or nice 'n heavy, counterbalance is more finely adjustable. Having a bowl mount is really nice. Everything about it is really nice, and it makes using my old tripods feel awful, haha. And it's not just a placebo effect- I can see a definite difference in my shots with it.
  20. This ghosting issue might have just killed the GH5 for me. Maybe the All-I will be better?
  21. You have to switch the camera to manual photo mode, then the 1/3-stop increment option will be available in the menu.
  22. The GH5 has only been out a week, relax. Of course Metabones will update the firmware, but it probably takes more than five business days. The Lens Turbo is a dumb adapter, there shouldn't be any issues at all.
  23. I'd love to see the A7SIII fill in all the gaps in the A7SII (overheating, rolling shutter, screen, AF, battery, etc), and I'm holding off on the GH5 to see if it does, but I'm not optimistic. If we get a "perfect" camera from Sony this year it will be the A9, which will be in the 1DxII, D5 price bracket ($5-6K), which outta my league.
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