aldolega

2 minutes ago, Shirozina said:

Just like any new camera I'll be waiting for the hysteria to die down and for detailed tests and reviews to be published before I even consider it.

Same here, and I'm pretty much a Panasonic fanboy. I'll wait to see if Sony does anything at NAB, or whatever the next photo tradeshow after that is. And I'd like to see how the 400mbps firmware looks, as 150mbps is a little light for the high-motion stuff I shoot.

Ahhh, who am I kidding? If I wasn't broke I'd probably have it already

How the AOV compares to a full-frame camera is completely irrelevant.

You tell the camera the focal length of the lens + booster, that's it. As I stated above. 100mm lens X .72x booster = 72mm.

The IBIS software needs to know the correct angle of view to work properly. But since AOV isn't labeled on lenses, it asks for the focal length. Obviously the IBIS software knows the camera's sensor size, so once it has the focal length it can then calculate the AOV, and then it knows how large or small to make its corrections.

So you would enter the effective focal length of the lens + booster, as a combination, into the camera. So if you have a .71x booster, and a 50mm lens, you would enter 35mm. For a 100mm lens with a .64x booster, you would enter 64mm (or whatever the closest option the camera gives you).

If the lens is "dumb"- meaning it has no electronics transmitting EXIF information (i.e. the lens' focal length, aperture, etc)- the camera will have no idea what length it is, regardless of whether your booster/adapter is electronic or not.

Now, if you mount a smart lens on a smart speedbooster, I would hope that the speedbooster's firmware would apply the booster's reduction power (.71x or .64x or whatever) to the focal length before sending it to the camera. I have no idea if this is done, but if not it certainly should be. I would think Metabones, of all the booster/adapter companies, would be the most likely to have implemented this.

Your experience with differing stabilization when mounting dumb lenses via booster vs. plain adapter probably just has to do with the camera having the wrong focal length entered for one or the other (assuming you used the same value for both).

7 hours ago, JazzBox said:

No: I can easily play (and preview from Mac's preview) the ProRes 10 bit files I shot from BM Pocket, BM Mico, GH4 trough Video Assist, so it has to be something different... 

He meant that the GH5 does not record ProRes. It records in an h.264 codec instead. To get ProRes from a GH5 you would need to hook it up to an external recorder that does ProRes.

11 hours ago, Vesku said:

Is it possible that EVF gets the same burns if the sun burns through EVF optics?

I have a self made cap in my GH4 EVF.

Not sure, the optical formula for an EVF would be different than a loupe. A cap is probably a smart precaution.

20 minutes ago, tomsemiterrific said:

Do you know this for sure---or have you seen things like this before?

Either way this is the best explanation I've heard so far---in fact, it's the only explanation I've seen. Thanks.

No problem. I have indeed seen this, I have a SmallHD DP4 that I got for really cheap because this happened to the previous owner. It has a 2-3mm white spot in the middle of the screen but works fine otherwise.

So shaky!

Not enough DOF!

Skin tones look awful!

GH5 is the worst!

You used viewfinders/loupes on both cameras? Out on a sunny day?

They're burns, from the loupe optics concentrating the sun onto the screen.

Like a kid burning ants with a magnifying glass.

There's a reason all the nicer loupes/viewfinders have caps on them- to keep this from happening.

5 hours ago, jpfilmz said:

1 Z96 LED light(on camera light) - $70

Not to nitpick or derail the thread, but there's much better options than the Z96s now. I had three and sold them off a couple months ago. I went cheap and scored a couple "Pico 228" lights off eBay for $20 each. Much brighter than the Z96s, adjustable color temp, and they stack up much nicer/flatter in my gear bag.

I would recommend watching Caleb Pike's recent LED shootouts on Youtube, lots of great options covered there.

Nowadays the 5D3 and D810 are completely outclassed and outdated for video work. They're still great photo cameras, but if your focus is video you can get a LOT more for your money.

To make specific recommendations we need to know more about what & how you are shooting, and what equipment you already have. For instance many corporate gigs would require lighting- if you have no lighting equipment you need to knock your camera/lens budget down to be able to get some lighting. But maybe you have a lighting rig already, or your clients typically don't want/care about lighting.

Same goes for audio... shooting length (media and battery)... shooting speed (zooms vs. primes, auto modes)... ruggedness/weatherproofing... transport/storage... what looks you want to be able to achieve. Do you need photo capability? What about autofocus? Do you already have lenses or other equipment you need to maintain compatibility with?

You could see if there's a vertical bracket available for the G7. This will extend the bottom of the camera a bit (kind of like a battery grip) and give you more height.

Pana 12mm f1.4, Oly 25mm f1.2, and Pana 42.5 f1.2 is a prettttty hard trio to beat if you want sharp, shallow "wow" images- and the cost is  a a bit "wow" too.

But you haven't told us anything about what and how you like to shoot, so it's hard to advise on what would work for what & how you like to shoot. Not everyone's style or shooting scenarios work with only three primes.

I'm working on it now, the G85 is just a little too tall to fit into the G7 cage, by a couple mm. The Smallrig G85 should be out soonish, they have it up for preorder on their site, only $40:

http://www.smallrig.com/SMALLRIG-Cage-for-Panasonic-Lumix-DMC-G85-G80-1950.html

If Ex Tele is just a 1:1 crop of the sensor, it wouldn't be affected by the lack of crop in normal modes, just the increase in sensor res (20mp).

I've seen people use adhesive rhinestones/jewels on the record button on Sonys, that might work. You might want to bring your cam to a craft store and see it'll work.

Isn't 120p from the RX10II/III or RX100IV/V full quality?

The 14mm f2.5 weighs like 50g. It's basically the size of a Canon or Nikon rear lens cap. So if you're trying to get under a weight limit on a gimbal or stabilizer, that's your lens. It's also cheap, sharp, and fairly fast.

The PanaLeica 15mm is undoubtedly a nicer lens with a nicer look, but it's bigger/heavier and way more expensive.

It's still pre-release firmware, I think we should save the condemnations for the final release version.

If the mic won't work on the camera, you could attach it to the 1/4"-20 socket on the bottom of the Crane's handle, with a simple bracket, or a magic arm, and a longer cable. Sure, it won't be pointed 100% perfectly in line with the camera at all times, but it will be pretty close, and the Micro has a wide-ish pickup pattern anyways.

If you're just monitoring, not recording, you could just turn on the HDMI downscaling. Then you'll have a 1080p60 signal, which most monitors should accept.

I can't see Sony giving the A7xIII's 10-bit internal. They didn't even give the II's 10-bit HDMI, after the GH4 had been out for quite a while with it. I think 10-bit HDMI is the most they'll do, and even that is a stretch. They have pro cams to protect, and still being the only FF mirrorless is still more than enough of a headline feature to sell on.

Personally I would rather see the III's stay 8-bit but fix all the dumb nitpicks, than go 10-bit but still overheat, have awful battery life, dim non-touchscreens, worst possible rolling shutter, etc.

Will do. Got the camera today, won't have the G7 cage for a week or so still. It will probably be way more work than most are willing to do though, vs. just waiting til March or April for the actual G85 cage to release.

Smallrig sent me some pics of a G85 in the G7 cage, it looks like it will work with just a new hole for the bottom screw, and some filing to clear the card door. This will leave a bit of a gap between the right side of the camera (grip side) and the right vertical part of the cage, though, so I plan to move that in to hug the camera grip more. Possibly forward too, if it's needed to clear the card door.

I have been in contact with Smallrig about their G85 cage. They're still working on the design and told me it will be available in March or April.

In the meantime I ordered their G7 cage, which I will modify to accommodate the G85's tripod mount being further forward, and the card door being on the grip side.

8 hours ago, tupp said:

Uh, I understand that he was asking about his adapter/focal-reducer, but if I read correctly, he is not sure what mount to get with his lenses.

 

As you subsequently concurred, I suggested that he get Nikon F mounts on his lenses.  However, I also noted that many Canon EF adapters/focal-reducers are more expensive than their counterparts.  So, he might be better off by getting such adapters with a different mount (that would allow Nikon F lenses to be adapted).

I see you edited your post to specify that you were referring to the lens mount. Before that it read as if you were referring to the booster mount.

He was asking what version of the Lens Turbo to get, and as I said, the EF Lens Turbo has no electronics and thus is the same price as the other available versions. 

2 hours ago, Philip Lipetz said:

 

I wouldn't get too excited by this, he says he shot 50p & slowed to quarter speed. Which is confirmed by the too-slow stuttery framerate. Even handheld without any stabilization starts to look ok at 25%.

5 minutes ago, Neumann Films said:

That's the one.  More or less confirms the Ultra from what I've been told, yeah?

Yes, the Ultra is the same power/reduction factor, so the FOV and DOF would be exactly the same. The Ultra is just a hair sharper, mostly at the edges. Which I doubt anyone is noticing at 1080p through Youtube.

Was the moire on her backpack in the last shot in the SOOC footage? Or is that Youtube's fault?

Uh, no. He's asking which Lens Turbo to get, not which lenses.

He should get Nikon lenses, and an EF Lens Turbo, if he wants maximum adaptability.

Nikon lenses have one of the longest-flange mounts.

Canon EF is the shortest-flange mount the Lens Turbo comes in, that has adapters available for longer mounts. FD is actually shorter but adapters to FD mount are pretty hard to find.

None of the Lens Turbo II's have electronics, and are all the same price.