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Jordan Drake

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Everything posted by Jordan Drake

  1. I only had the camera for a few hours, and did not have other cameras handy to compare it to (aside from the X-T3, which has excellent readout speed). I'll get full numbers eventually, but it seemed quite similar to a Sony a6400. This IBIS system helps control some of those micro-wobbles, but it's not a camera I'd use for fast paced handheld work. I certainly wouldn't find it "unusable" for quite a few types of shoots. Nor, however, would I make this my primary video camera.
  2. No Luma range option (yet, firmware was still very early). I'll dig into this deeper if the problem still rears its head on the production models. F-Log was functional (you can see an uninspired example of it in our Japan field test episode), but I was advised that Eterna was much closer to being final, so I stuck with that. It helps that I love Eterna for quick turnaround.
  3. I was looking at that thread with a lot of interest, as I do cut our show on a Mac with FCPX. However, to test I stuck the card back in the GFX 100, and the footage played back with the crushed blacks in camera, and on an external monitor. I'm not too concerned, it's very common for pre-production cameras to have issues like these. I'll update when I get a production unit shortly.
  4. First proper video I've shot on the GFX 100: Didn't have much to knock this together, but the camera did a pretty respectable job, especially as the last two shots are at 2000 ISO. The whole video was shot in Eterna. Unfortunately, the DR+ profile did not seem to be functioning properly, so blacks were quite crushed in the captured footage, unlike what I was seeing in my histogram and external monitor. I'm optimistic that this will be fixed when we get production cameras.
  5. Gordon Laing has done a really fantastic video-specific look at the S1/S1R. Worth a watch:
  6. The S1/S1R 6K Photo is actually 3:2 instead of 4:3 like the GH5/G9. Choose your anamorphic glass accordingly.
  7. Just looked into this. 60P 4K Photo mode still does a Super 35 crop. 6K and 4K at 30P is full readout. No free lunch, sadly.
  8. You can shoot Super 35 in all framerates (4K/60P and 1080/180P can only be recorded in Super 35). In 1080P, your frame rate does jump from 60P to 150P. I'd love to see 120P added. Pixel-Pixel is only available in 1080P modes, which makes sense as the Super 35 modes are 4K at the pixel-pixel level.
  9. I shot most of the episode, (aside from the part art the canyon) on a video monopod, so I can't really say. It wasn't an issue for the couple hours we were there. I wouldn't want to hand hold it for an entire event shoot or something. The body with the 24-105mm feels similar to the GH5 with a Metabones and Sigma 18-35mm I usually use, so I don't think it would be an issue for most types of filming.
  10. I'm cutting an entire DPRTV episode shot on the S1 with 10 Bit 4:2:0 HLG. Not doing anything overly demanding, but I'm finding it has a really nice, organic look. You can all let me know what you think when it goes up this weekend.
  11. Pretty noticeable, but not bad for super-sampled 4K. In-line with the a7 III.
  12. Yeah, I'm really unhappy with how I delivered that conclusion. The point I was trying to make is that if you only want to carry the camera, the GH5 and X-T3 are much more full featured. If you add an external recorder, however the Z6 and to a lesser extent the Z7 become extremely compelling. The audio issues can certainly be worked around as well, but I remember shooting with Canon DSLRs and occasionally being forced to use an underpowered mic. I do think the main purchasers for video will almost exclusively be people with a large selection of Nikkor AF glass.
  13. I have to finish up one project today before upgrading, but it's a pretty serious update. I'm really looking forward to seeing how Apple's video noise reduction performs. Hopefully the tighter implementation of third party plugins will also give them a nice performance boost.
  14. Max repeatedly stated that this was the first of several tests. I'd rather see his findings as he shoots them, then wait a month for a 40 minute video with all the results in every category.
  15. For single point LED lighting, Aputure's COB lights have been outstanding. Excellent colour, and very reliable. I love the Fotodiox Flapjack lights as well, if you primarily need soft lighting. Not quite as consistent colour wise (my 200RS has a bit of a cyan cast), but the light's shape is beautiful right off the fixture, and the round panels give an amazing catchlight.
  16. As mentioned in the episode, when we switched to shooting 1080P I also switched to the RF 24-105mm F4 L IS. The EF-S 17-55mm was only used for the 4K sequences.
  17. Thanks Don! It's an exciting time for Chris and I!
  18. I think Max Yuryev is doing some great work, and certainly deserves more subscribers/views: https://www.youtube.com/user/Maksimyuryev The Royal Ocean Film Society post some great think pieces, and film criticism: https://www.youtube.com/channel/UCWq-qJSudqKrzquTVep9Jwg I'm also partial to these guys, specifically the dude on the right:
  19. Wow, that's a lot to go through, but I'll do my best to cover your complaints. I like how there aren't a bunch of 'good job' posts on this forum, posters actually take time to give constructive criticism. Firstly, while I am a big fan of the FS5, I'm hardly fixated on every shoot I go on. It gives me reliable results (except for the 'flickergate' saga), and it's the tool I've chosen for capturing most TCSTV episodes. I realize that many viewers preferred when we shot the show on more affordable cameras, and I empathize with that. The FS5 just lets me work faster, which is key when I'm shoo
  20. We would shoot in Banff every other week if we didn't need to pay for commercial permits to shoot there. We've been able to spring for them or find loopholes a couple times, but mostly, we have to stay out of national parks. Jordan @ TCSTV
  21. Hey Andrew, I appreciate the response, and I'm glad you like the content Chris and I put out. We look forward your feedback on anything we produce, and I've gained a lot of useful information and insight from this blog and the message boards. However, I feel that essentially calling out the entire review community for being in Sony's pockets is excessive. If you were in North America and wanted to test a production A6300 before launch, the only way to do it was to fly to Miami for the press event. I wish that it was an option to have the camera shipped to us in Calgary for testing at t
  22. Hey Andrew, After all the dumping you've been doing on every reviewer, I was surprised to see my video at the top of your blog post. But hey, we all need content right?
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