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  1. Like
    Juank reacted to gt3rs in 1D X III vs EOS R5 and R6   
    I have a R5 since October 2020. I had a 1Dx III from march 2020 until two weeks ago, sold it to buy an additional R5.
    Never used an R6 so I cannot comment on that.
    I basically have 2 custom settings that I use for video: 8k RAW Light 24-30 fps and 4k 120 fps Clog (rarely use Clog3). Rarely I use 4k HQ IPB with no log if I need to give the video for some quick and dirty usage without any further processing.
    R5 is imo a much better camera than the 1Dx III:
    8k RAW is better that 5.5k RAW not for the resolution (although it give some more room for post zoom and pan) but mostly for the much better rolling shutter 15 ms vs 29 ms
    4k 120fps is way way better than the junk 1080 120 of the 1Dx III.
    Crop quality is a tad better
    Lightweight, better on Gimbals
    Smaller to pack, basically I can take 2 R5 in the space and weight of a 1Dx III, if you add the insane big charger of the 1Dx III you can take a gazillion number of R5 batteries…..
    Flippy screen much better on Gimbals and in low angles
    45 mpix much better than 20 mpix for photo
    Has zebra
    IBIS, IBIS + IS lens allow me to film quite a bit without a tripod, very handy for filming while backpacking for ski, mtb, etc…..
    EF-RF Adapter with VND
    1Dx III is better in:
    No overheating
    Initial AF acquisition with long lenses but only for photos in non liveview mode.
    Has 5.5 RAW at 60fps but no AF
    Longer battery life
    Same dual card type
    More rugged and better weather sealing
    The biggest gain for me with the last firmware is the RAW Light that basically give me almost 2x storage. I’m a fan of RAW as it give me more flexibility in post than Clog and Clog3…. is probably me not doing it right but for me is a night and day difference RAW vs. Clog how much more post processing I can do and fix mistakes. Bonus that on my PC the RAW Light file are much easier to edit than 10bit Clog ones.
    At the end the only question is if you need long takes and in case that things go south can you live with 4k SQ if the camera would overheat?
    In my case it has never overheated in 8K RAW Light in my usage (but it will eventually happen). I got at the limit a couple of times at 30-35° C under the sun shooting at 4k 120 fps, this is the mode that seems to overheats the most.
  2. Like
    Juank reacted to Django in FX3 Mini Review - almost a little marvel   
    I had a go at the FX3 and yes finally a Sony mirrorless body I felt comfortable with! The build quality is also a step up and the added air vent is reassuring. I could see myself switching back to Sony from Canon with this body. Paired with a FX/FS cine cam it would be a very strong combo for my line of work.
  3. Like
    Juank reacted to Bold in Kowa B&H Close Focus Mod & other 'Tweaks'   
    Lens-cyclopedia has been updated with a reference to this thread 
  4. Like
    Juank reacted to Hans Punk in Kowa B&H Close Focus Mod & other 'Tweaks'   
    Kowa B&H Close Focus Mod & other 'Tweaks'
    Recently I picked up a very cheap Kowa B&H that needed a lot of internal cleaning and a fresh re-lube. Since it was my 'Spare' Kowa, I have a chance to illustrate/share my findings on some simple modifications that I discovered a couple of years ago on another lens. Since I already have a 'Standard' Kowa to compare with, it should prove easier to illustrate the difference in performance before & after modifying such a lens.
    These principles will work on many lenses of this type that share a similar construction.
    Following these steps are at your own risk.
    The modifications allow:
    * Minimum focus to be reduced from 5 feet down to 3 feet.
    * Reduction/elimination of 'Veiling Flare/ Barrel Glow' that is common with Kowa lens types.
    * Overall sharpness improvement.
    Close Focus:
    To achieve closer focus from the 5 foot factory standard is pretty easy.The focus mechanism transport is done by a helicoid pushing/pulling the front element that is seated within a tube, guided by brass tabs/stoppers within slots in the housing.These brass tabs/stoppers ensure that the linear travel is straight and true (ensuring correct alignment with rear optic). By cutting these tabs to be shorter, the travel of the front optic assembly is allowed to seat closer to the body - allowing closer distance between front and rear optic.
    This allows an increase in optic proximity to be achieved. This modification effectively allows the focus ring to turn to it's maximum close focus position, and not restricted by factory limits.
    Veiling Flare/ Barrel Glow - Reduction:
    A common artefact of Kowa lenses in bright light situations seems to be a strong Veiling glare. It is similar to a strong vignette of light that happens when the front optic is hit with off-axis light. Although this can be a desirable artefact, often it is too overpowering to the image when purposely flashing the lens to pop a flare for effect.
    A simple solution I found is to blacken the edge of the front optic - this is the edge that gets hit by light and pools the image with a 'Barrel glow'.
    Taking a fine tipped marker pen does the job well (without needing to disassemble lens) - even better would be black paint and a fine brush and a steady hand if you wanted to eliminate glow completely. I personally tried the marker pen method, as you can carefully remove or thin the ink with a tiny amount of lighter fluid on a brush - creating a reduction/dulling effect, rather than remove the glow effect completely. At least it is good to know how to minimize the glow effect, especially when shooting in bright sunlight without a mattebox and you don't want everything to be washed out all the time.

    Overall Sharpness Improvement:
    This came from a few year back when playing on another Kowa lens and is the nicest find I've discovered so far (about most projection anamorphic lenses). I found that when removing the brass tabs that are used for alignment, you can separate the front and rear optic assembly for cleaning etc.
    But If you do not re-install the tabs into the pre-set positions (using the screw holes aligned in the factory) - you can often tweak the alignment and fine focus to be even sharper.

    As a pure guess, I can only presume that back in the day when most of these lenses were made the tolerances for alignment were only considered for image projection, rather than image acquisition (iscorama/bolex types an exception) I found that by freehand rotating the front optic assembly (when attached to camera) - It is possible to achieve more finite sharpness from the alignment. Using high magnification on my camera and additional magnification on my EVF + focus peaking at a reference at infinity - it was possible to rotate the front element assembly to what is probably fractions of a millimetre from the factory alignment, then glue the brass tabs into a very slightly new position. Glue works well, as it does not require additional holes to be drilled to re-seat the brass tabs, or forever alter the lens. The glue does not bear any load of consequence, mealy seats the tabs to prevent rotation.
    The lens can be easily returned to its original alignment by dissolving the glue with solvent and returning the tabs to factory position. I’ve found that the very slightest tweak to factory alignment in 3 out of the 4 of these Kowa lens types I've owned, improves the sharpness noticeably.
  5. Haha
  6. Like
    Juank reacted to Oliver Daniel in FX3 Mini Review - almost a little marvel   
    In my opinion the A7S3 is the best camera you can buy on a price / quality / features ratio. It's so versatile and really fun to shoot with. You can focus more on the story and worry less about the gear. 
    Honestly, I think it's one of the best releases we've seen in terms of cameras, ever. 
    It speaks volumes about how many people moaned about the camera being "too safe" - what? They absolutely smashed it and gave us way more than expected. Do people want the camera to fry their eggs too? 😂
    They need to merge the cameras completely, get the EVF flipping up, increase the screen size and deliver an even more robust and sexy 4k image. That will be the one. 
  7. Thanks
    Juank reacted to buggz in Cheap lenses on the Fuji GFX 100 / 50R   
    Just for information, not showing off, hopefully someone will find it useful?
    My brief run through of my old lenses on my GXF 50R, like discovering old lost treasure.
    I have tried my manual Mamiya 645 lenses on my GFX 50R via Mirex Tilt/Shift EF/M645 adapter, then another adapter for EF/GFX.
    Yes, a round about way, but it seems to works okay.  I may get a simpler adapter in the future?
    - 120/4 macro works great.
    - 35/3.5 N works great.  The 35/3.5 N focuses pretty dang close.
    - 80/1.9 N works great.
    - 55/2.8 N works great.
    - 145/4 Soft Focus works great.
    Quick test of Contax Yashica Ziess lens with a Canon EOS-EF adapter.via the TechArt Pro EF-GFX adapter, 
    - 35/1.4 CYZ - very slight soft vignette,
    this lens is also amazing close focus on the 50R.
    I see this one is going to be another rediscovered treasure gem.
    Sure to be used often.
    - 35-70/3.4 Macro CYZ - Starts vignetting anything lower than 50mm.
    Progresses to total tunnel vision super hard at 35mm.
    However in macro mode, NO vignette, amazing, also amazing close focus in macro mode.
    - 100/2 CYZ - non macro model - imperceptible vignette, if any?
    M mount lenses:
    - Voigtlander Heliar 75mm f/1.8
    works good, just some slight vignetting and dark corners that should be easily corrected.
    - Voigtlander Nokton Classic 40mm f/1.4 SC
    hard vignette in the corners, not much soft vignette, still usable.
    - Canon RF 50mm/0.95 converted to M mount, forgot the vignette.
    Via Fotodiox Minolta (SR/MC/MD) mount adapter.
    A quick test shows all my lenses are vignetting almost exactly the same.
    That's kinda strange, but cool, I'll take it!
    Not too bad, but definitely visible.
    - MC W Rokkor-X 28/2
    - Zoom 35-70/3.5
    - MD Rokkor-X 45/2
    - MC Rokkor-PF 58/1.4
    - MC Rokkor-PG 58/1.2
    - MC Rokkor-PF 85/1.7
    - MC Tele Rokkor-PF 100/2
    - Minolta MC W Rokkor-HH 35/1.8 in Minolta SR mount, it vignettes the same as rest, slight, but noticeable.I
    I have two more adapted to Canon EOS-EF mount.
    The Minolta EOS-EF mounted lenses seem to vignette slightly less than the native Minolta SR mount via Forodiox GFX adapter.
    Oh, and the Minolta 28/2 is super close focusing, I had forgotten about this.
    All of these works great.
    Canon FD/FL mounts, Fotodiox FD/GFX adapter...
    - FL 55/1.2 - heavier vignette than the Minoltas, which were slight but noticeable,
    still should be easily corrected.
    - FD 85/2.8 SF - slight vignette, similar to the Minoltas, maybe a touch more?
    - FD 500/4.5L - similar to the vignette of the FL 55 above. 
     - Konica Hexanon 57/1.2
    Using the GFX - LM adapter, then an LM - AR adapter.
    It seems to vignette more than the Minoltas, similar to the Canon FD 55/1.2
    Canon EOS/EF AF lenses via Techart adapter.
    - 50mm/1.0 AF works, I have forgotten what the vignette was ..
    - 200mm/1.8 AF works, very slight vignette, I have forgotten?
    - Contax N 85/1.4 converted to EOS/EF mount, via Techart adapter, AF did *NOT* work, but manual focus works, can't remember vignette.
     - Faithfully submitted, Douglas C. Niedermeyer...

  8. Like
    Juank reacted to Oliver Daniel in FX3 Mini Review - almost a little marvel   
    I had a C70 which has a lovely image and an excellent body concept but something was bothering me with it. I couldn’t put my finger on it, but in my gut, something wasn’t right. 
    I also had an A7SIII at the same time, and still do. The gut feeling that overshadowed my positive view of the C70 might have been the A7SIII. That camera is simply a marvel that I love shooting with. Maybe I enjoyed the sheer flexibility of the A7SIII more, hence the demise of the C70. 
    I always shoot with 2 bodies. Instead of getting an A7SIII again, I picked up the FX3 as I wanted the XLR’s and the video centric button layout. 
    When the FX3 was delivered, I was very surprised at how it felt in the hand. I was surprised at how small the XLR handle unit was. The grip feels really good. I was thinking “wow, Sony have nailed this”. 
    At first, the button layout was confusing as I’m used to the A7SIII. It still trumps me now as it has a function where you can lock your shutter, ISO or IRIS and I keep forgetting it does that. So I always have a few sections feeling frustrated when the values aren’t changing, because I’ve forgot they are locked. 😂
    The camera is identical to the A7SIII, minus the body design. Everything is the same. 
    I use it with the Ninja V which is a powerful combo for this size. It feels amazing handheld without the XLR handle and the Tilta cage but with the XLR handle it does feel a little clunky and unbalanced in the hand. Now when I’m handheld, I don’t use the XLR handle unless I’m recording some audio with a handheld look, which isn’t that often. On a tripod, it’s fine. 
    Capturing shots with the FX3 is very liberating. You can do pretty much anything with it without lugging a brick around. Some people like to rig it up but for me, it’s just very unnecessary with a body this size. 
    The image itself is fantastic. What I will say is that it won’t perform miracles for you. People have this misconception the FX3 or A7S3 will light an image for you. No, it won’t. Stop being lazy, feed the camera what it needs and it will shine. 
    Again, Slog3 won’t perform miracles. It takes practice, patience and resilience. It isn’t the best between 3200 and 12,800 ISO. To shoot at these high values is a bonus but the best image is SLOG3 640 ISO, so to get great results, shoot for that as much as possible. 
    The FX3, just like the A7S3, does have superb colour capability. If you don’t WB, or expose correctly or nail your focus, it would look like garbage. It is not forgiving, you can’t be lazy. I can match this very easily to the C70 - I couldn’t do that with previous Sony cameras. 
    Using both Alpha cameras together is extremely powerful and liberating. When treated and operated correctly, and not lazily used to perform miracles, the image you can achieve is just fantastic. 
    Peoplr saying these cameras are conservative and underwhelming need to re-check their opinions. Sony gave us almost everything in pristine 4k and it delivers. They are unique on the market in terms of feature set, and it shows. 
    Most importantly, the FX3 as a step forward in camera concept for cinema application is the right one. It’s exciting to work with and getting great shots isn’t a pain in the arse or a cripple on your back. 
    What I would like to see in the next version is the FX3 and A7S3 to merge into one camera offering with: 
    - On-sensor ND or similar tech. 
    - A thicker image in feel and robustness. Not bothered about 6k or 8k, just even better 4k please. 
    - A larger back LCD. 
    - A flip up EVF like BMP6k Pro. 
    - An improved XLR unit that is more modular when used with accessories. 
    - Possibly both an IBIS and non- IBIS version. 
    If they deliver the above, that would be near perfect. 
  9. Like
    Juank reacted to Vintage Jimothy in Arri Amira vs Pana S1   
    Yeah, I was able to make it relatively easier on myself to switch from M43 to L-mount in part because the only native M43 lens I have is the kit lens that came with my G85. The lens kit I built for myself was comprised entirely of vintage SLR lenses from the M42 and Minolta MD mounts and were easily adaptable to the L-mount. I'm currently unable to autofocus with the S1 because of that, for obvious reasons, but then I rarely ever used autofocus with the G85 anyway.
    It really is crazy just how much new life Panasonic breathed into the S1 with Firmware 2.0. I've no doubt that we'll see plenty of more advanced models with even better specs come out in the relatively near future, but practically speaking I could absolutely get away with using the S1 as my main camera without upgrading for a good 3-5 years or so. Perhaps even longer once I pick up a Blackmagic Video Assist 12G recorder to utilize the camera's RAW output capabilities.
  10. Like
    Juank reacted to Vintage Jimothy in Arri Amira vs Pana S1   
    It really is crazy how great of a value the S1 is, especially used with the V-Log upgrade already installed. 

    I went from using a G85 to the S1 and while I've done good work with the former camera, there really is a noticeable difference in capability that the S1 provides. 
  11. Like
    Juank reacted to HockeyFan12 in Arri Amira vs Pana S1   
    I own an S1 and an Alexa Plus and work with Alexa XT and Amira (and occasionally Alexa LF and Venice) footage for my day job work. Technically the gap is narrow. S1 footage reminds me of cleaner Venice footage... but with more skew.
    The Alexa is really grainy but has a nice texture. Some people denoise it some people add noise to it but for whatever reason I like the noise texture as is most of the time too.
    Venice has a nice texture, too. Great camera.
  12. Like
    Juank reacted to PannySVHS in Panasonic S1 V-LOG -- New image quality king of the hill   
    It´s easy to second that. Best bang for buck regarding image quality. Would love to try out a Sigma FP due to its form factor but S1 is a technical marvel.
    Yesterday I visited a friend of mine. He used to work in a hotel in Berlin, which has been sold to investors so they can turn it into an office building. He has been working there for ten years. The hotel received financial aid from the state because of Covid and was able to maintain a small profit. Despite that it was sold and with it all labor of love and the stories and memories. So we roamed the rooms and floors and exiting sights. I filmed with a bargain zoom lens, which I bought for around ten EU I think, a Unitor 35 to 70, very soft when wide open in bright sunlight conditions and at longer distances. Still love that lens for its built and character. Shot in VLOG 10bit 25p with high shutter speeds.
    So here it goes, my lil poem, "Hotel Farewell", filmed with my S1 yesterday. Hope you enjoy. cheers
  13. Like
    Juank reacted to Parker in Panasonic S1 V-LOG -- New image quality king of the hill   
    I'm more and more pleased with this camera all the time. I recently purchased the 1.5x aivascope anamorphic adapter (amber flare) and, paired with my trusty Helios 44-2, a little black pro mist, and of course that thick V-Log image, this little Easter Weekend run-and-gun lens test I shot last week felt effortlessly cinematic:
    (this was even before the big firmware 2.0 update, so now I'm even more excited to try out some of the new anamorphic ibis modes and especially that 6k, 3:2 open-gate/full sensor mode.) 
    Also: 12-bit, 5.9k anamorphic Pro Res Raw, anyone?! 🤯
    The S1 is going for like $1500 used these days. Absolutely incredible what it's capable of. The best bang-for-buck in the camera world right now 👌🏻 
  14. Like
    Juank reacted to androidlad in Samsung Semiconductor is working on a new APS-C sensor   
    Based on the same 28MP design of the S5KVB2 announced in 2014 and used in NX1 camera, but with completely refreshed logic layer.
    BSI & Stacked
    All pixel dual cross-type AF
    14+6bit readout
    100dB single exposure DR
    Dual native ISO 40 & 160

  15. Like
    Juank reacted to newfoundmass in Gauging the reaction to the Panasonic GH6   
    The reason Panasonic needs reliable auto focus is more for marketing purposes than anything. The market has spoken, and it expects Canon or Sony level auto focus and if you don't deliver it most people won't even give it a chance. 
    For me personally I don't need it, but I recognize it's important if the system is going to stick around. 
  16. Like
    Juank reacted to Marcio Kabke Pinheiro in Gauging the reaction to the Panasonic GH6   
    In my point of view, I don't know why the AF discussion have to be so binary. Never use AF x always use AF.

    Manual focus with a good focus puller will always be preferred in professional cinema. It is a well trained skill from the professional focus pullers, it is cheaper to pay a focus puller (considering all the other costs involved) that have to reshoot constantly because of an unexpected AF behaviour, and it offers somre focus creative choices that you could not have (or that would be difficult to reproduce) with an AF system.

    AF is very useful in solo shots, low budget productions, solo vlogging, or when you don't have or can't pay a focus puller. Or when your production don't have very critical focus nailing needs.

    Both are more or less adequate depending on your budget / needs. Hence Alexas don't have AF; and hence solo / action /vlogger shooters wants good AF.

    Different situations, different needs. But with hybrid cameras, that generally are used in lower budget scenarios, AF tends to cover more use cases. And if you have good AF, you can still use MF - the reverse, not.

    That why Panasonic needs a good and reliablish AF system. Arri not.
  17. Like
    Juank reacted to Andrew Reid in Arri Amira vs Pana S1   
    Wow the S1 holds up well there.
    Just shows it is a match for Alexa / Amira when you nail exposure correctly.
    Great colour science.
    I see the main flaw being that the skin tones go green in his ETTR test and then there's the banding after that, so not quite as flawless as the Amira there but then it isn't shooting ProRes or RAW in his test. Just internal V-LOG I think
  18. Haha
    Juank reacted to Video Hummus in Sony A7S III is noisy   
    Gerald released his “What Cameras are Other Youtubers Using” video and 85% of them were using A7SIII in a studio with controlled lighting. Second was A1, and then S5, R5, and RED Monstro.
    Maybe 10% of them would use the A7SIII out in the wild where the crazy 12,800 ISO is useful.
    Power of hype machine and branding dollars to spend.
  19. Like
    Juank reacted to BenEricson in Canon Cinema EOS C70 - Ah that explains it then!   
    Rented this for the weekend. I am really enjoying this lens. I'll post some frames soon!

  20. Like
    Juank reacted to androidlad in Gauging the reaction to the Panasonic GH6   
    GH6 uses a dual-aspect sensor, similar to GH5S.
    5.2K 4:3
    5.7K 16:9
    <7ms rolling shutter
    with all pixel PDAF
  21. Like
    Juank reacted to Andrew Reid in Sony A7S III is noisy   
    The great thing is you can just stick it on Aperture priority and Auto ISO, and concentrate on getting the shot perfectly with pristine image quality, no noise to speak of.
    Try doing that on the A7S III or EOS R6!
  22. Thanks
    Juank reacted to Andrew Reid in Why did Canon remove so many EOS R features on the more expensive EOS R6?   
    The IBIS isn't as locked off as the R5 or Fuji systems, doesn't act like a tripod, but it looks a bit more natural for handheld shooting. It has more free movement going on.
    The AF is superb.
    The image seems to lack a bit of mojo for me, the files look thin, S-LOG 3 is as difficult to get the best out of as ever.
    It really is a case of pick your poison with these cameras. Do you risk reliability problems with the R5, or go for Sony's more digital look to the files (even in 10bit)?
    Personally if you're really good at grading and tweaking the Sony color profiles in-camera, I'd go with the Sony.
    It is a real pity Panasonic do not yet have superb AF in video mode as otherwise I could recommend the S1H which has the best image of the lot.
  23. Haha
    Juank reacted to Andrew Reid in Sony A7S III is noisy   
    These YouTuber's switch cameras faster than I change my underpants.
    It took him 2 weeks to go C300 Mark III -> A7S III
    And now A1!
  24. Thanks
    Juank reacted to Andrew Reid in Sony A7S III is noisy   
    12,800 is too high for a native ISO.
    You will be shooting at base 640 boosted to 3200 or 6400 most of the time in dim light or indoors.
    Therefore the A7S III has a problem especially in S-LOG 3.
    The files look a bit shit.
    They are noisier than the EOS R6 and Panasonic S5!
  25. Like
    Juank reacted to Caleb Genheimer in Gauging the reaction to the Panasonic GH6   
    I think whoever integrates BRaw in body outside of Blackmagic will see big time adoption. 
    BMD I think might be prohibiting it to protect the Pocket line, but honestly they will see Resolve Studio/Pocket sales on the tail end as folks buy B-cams and full versions of Resolve. Heck, they could limit “third party” BRaw files to Studio version only. 
    I can’t stress how much better Resolve is versus FCPX, ergo how much better BRaw also is versus ProResRaw. I really want BRaw as the “new ProRes” industry standard, and I think BMD could do it easily if they let other parties put it in-camera. They claim to hate Atmos with a passion, yet they compete in the same space with monitor recorders... they need to one-up everyone else by putting BRaw into third party bodies.
    Panasonic seems perfectly positioned for such a move, and it’s exactly the kind of thing that would sell truckloads of MFT cameras.
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