Matt Kieley

As for AF though, have you considered getting a lidar follow focus like the PDMovie Live Air 3?

Does it have to be MFT? I just got the Panasonic S5 now that it's cheap enough (I got one used for $800 on Adorama). It has great color (10 bit 4:2:2) and DR, dual iso, excellent ibis, and smaller/lighter than the GH5. 

What about the GH5s for dual iso low light?

12 hours ago, PannySVHS said:

I think I gonna try out some 3 x 1/3" CCD magic some time with a Panasonic HPX 171 or 151, both writing to cards, p2 cards and 8bit 422 100mbit DvcproHD the former, sd and 8bit 420 25mbit Avchd the latter. They would function as a Dvx100 Andromeda substitute:) @Matt Kieley Both are sporting less than perfect 1080p resolution and higher framerates at 50/60p in 720p or 1080i. For best image quality of the bunch it would be a HPX250 with perfect 1080p even at 50/60p, also sporting a 3 x 1/3" sensor design plus 10bit 100mbit 422. No CCD magic though. 3 x CCD and perfect HD with high bit rates comes in big shoulder cameras only. But then some 2/3" calibers. And a Varicam among them. Would like to find out which one is the smallest of these biggies. This thread has the potential for a perfect nerd cave. Great place to be. 🙂

I was recently considering getting an HPX170 for a project, although I couldn't really justify spending the money. But there are some good videos on youtube demonstrating what handling the footage with modern upscaling and color grading software can do for cameras like it.

It seems the majority people still actively using these cameras are Skate videographers.

I've been saying this for years. The DVX100 had the best ergonomics/size of any camera I've ever owned and was a joy to shoot. And it had a global shutter. 

Been a while since I've made something that wasn't a paid gig. I made a music video for my friends' band with the TTArtisan 25mm 1.33x Anamorphic lens and the Sony ZV-E10. My first real video shot with either (the camera was delivered literally 15 minutes before I left to shoot the video). Also the first real video I've edited with Resolve (I finally quit Adobe). A lot of firsts here haha.

On 11/30/2023 at 9:23 PM, eatstoomuchjam said:

Is there a new camera module? 

I think he's referring to the s16 sensor 4K camera being developed by Octopus Camera and CinePi. There isn't much info they've put out besides some test footage, specs, and a rendering of the camera body.

8 hours ago, TomTheDP said:

It feels gimmicky to me though. The movie was funded by Sony. Why didn't they use an FX6? Same sensor but you have SDI outputs and a more rig friendly body. Maybe because advertising the movie was shot with the more expensive FX6 won't sell as many camera bodies??

I am sure the FX3 was a nightmare for AC's to deal with.

This is not even new for Sony. A handful of years ago there was a horror movie, The Possession of Hannah Grace, that was shot on the A7S II. It was released by Screen Gems (Sony) and there was also a lot of marketing around the fact that they used that camera. You could also see in the BTS material the camera was HEAVILY rigged out, which I thought was funny. 

I would probably only use high resolutions (4K and up) for projects with a heavy amount of VFX which is where I would find the ability to scale and reframe useful. Or if I specifically want that super crispy look. In term of visual quality FHD and 2K are more than adequate for narrative films. Most movie theaters are only projecting 2K DCP. 35mm film prints were only about as sharp as 720p. I even kinda prefer a softer look, and I suspect a lot of others do considering how many people use high res raw shooting cinema cameras, and put vintage lenses and diffusion filters on them. Many of my favorite films are shot on 16mm, and I've always loved that soft, grainy look. 

I'm a big fan of/greatly respect David Fincher, who uses the highest resolution cameras he can for more flexibility. I personally don't like shooting this way. I prefer to have less flexibility in post. I get optional paralysis and would be too tempted to keep tinkering and tweaking endlessly when the options are limitless. It's easer to force my choices in production because the options and time are limited enough to allow me to make some snap decisions, or to force other decisions. I'd rather get the look I want in-camera.

I'm more interested in seeing how upscaling software will advance. The martial arts action film The Raid, which was shot on the Panasonic AF100 (remember that camera??) is being upscaled/remastered in 4K and the frame grab samples released by the director look good.

Just got the TTArtisan 25mm T2 Anamorphot 1.33x. This is just a quick little test with the Sony FS5 and a Tiffen +2 diopter, shooting wide open. So far I love this tiny little anamorphic cine lens. No more janky DIY scope rigs, no more clamps, no more (occasionally) slightly misaligned footage. More than worth the $350 I paid for it. I hope they release a 50mm to pair with it.

Look how compact and tiny it is:

Can this thread become dedicated to any older Sony camera? After 12 years of shooting with mirrorless cameras, DSLRs, and Blackmagic Pocket/Micro cams, I finally got a proper "camcorder" or "cinema camera" or whatever you want to call it. I got a camera I had my eye on for the past four years that finally popped up on mbp for $999 so I had to have it. The Sony FS5! I also preordered the Sirui Nightwalker cine lenses on Indiegogo so I can have some proper no-fuss lenses to go with my no-fuss camera. I haven't had a proper camera for video that didn't require a bunch if fiddly rigging since I moved on from the DVX100 (to the GH1) in 2011. The built-in variable ND is amazing.

I got it yesterday so today I decided to test the DR and test with Slog3 in 10bit 4:2:2 2K (and grading with FilmConvert Nitrate). Since last year I've been doing this by sitting in front of a big window at magic hour. This is also partially an experiment to find a good set-up that raises the interior light while sill being somewhat moody. The goal wasn't a bright commercial or interview look but a naturalistic dark-but-not-in-silhouette look without the window going nuclear. The natural light was supplemented by an Aputure LS-60D at full blast shooting through the diffusion disc of a 45" 5-in-1 reflector just out of frame camera-left. The compression of the grab kinda butchers it and crushes the shadows, but at least you get the idea.

Here's the shot before I entered frame, so you can get a better look at the window/space:

I think the light just barely allowed me to achieve what I wanted. The room is super cramped so it was challenging, but I'm pleased with this. I think I still have some practice/testing to fully get the hang of exposing for and grading Slog3. Side note: I didn't think I would share any footage so I wish I had dressed a little better before getting on camera.

1 hour ago, PannySVHS said:

I wished there was a small mechanical S16 2x or 3x zoom as a carry around lens for my OG Bmpcc and Bmmcc. There are none.

Smallest one I found would be the Dzo 10-24 T2.9, which covers M43 sensor size. It still comes at a 1.1kg though. Reaching S1H territory here, though it would be the other way around, heavy camera plus a light and tiny Tokina 25-50:) The super rare S16 Cooke 3x Zoom is .. well, super rare, expensive and heavy, at around 3kg. The DZO costs around 1700 Euro. There are no cheapo C-mount alternatives afaik. What are your findings and thoughts on this?

I have a Fujinon 18-108mm 1.8 c-mount zoom that covers s16 that's very light and compact. Here it is next to my Canon 17-102 and Panasonic 12-35, and mounted on my GH5:

I don't know if it's compact enough for you, but it's the smallest c-mount zoom that covers s16 that I've owned (and I've owned quite a few).

The JVC LS-300 has a classic camcorder body with an MFT mount and S35 sensor although I think it's only 8bit internal. I was looking at camcorders recently and also came across a JVC camera with a small chip and built-in zoom lens that can record 10bit prores internally, but I can't remember which model it was. The sample footage I saw had some pretty ghastly CA. The beloved Sony F3 has the old school camcorder style body. It's kind of a shame that the camcorder form factor went out of fashion for cinema cameras. I still think the DVX100 is the most pleasurable camera I've ever used. It had the perfect size, weight, and shape.

10 hours ago, QuickHitRecord said:

I have a question for @Matt Kieley (or any other owner) about the Angenieux 8-64mm mentioned earlier in this thread. Does the filter thread on this lens rotate when focusing? Also, I see the filter thread is 46.5mm, which is a very uncommon. Pro8mm sells an adapter to 58mm but it's $50. Have you had any luck with, say, a 46mm step up ring?

Yes the front thread rotates when you focus. I tried a 46mm step ring but it's too small. 

Since I haven't made any videos in a while, all I'm using is my Canon Rebel 35mm camera and my Yashica Rookie TLR for 120. And occasionally my 6D for digital stills.

7 hours ago, Robert Patts said:The only real benefit of BRAW is file size and playback speed.

That’s the main reason I want the VA; the manageable files sizes and editing of braw. It’s so smooth in premiere on my MacBook Air M1. Reminds me of working with R3D a bit. 

So I've been using a bmpcc 4k for nearly 4 months now, and while I love the image from it, the braw codec, and the UI, it definitely has some limitations as a camera with a 5 year old sensor and lacks things I've missed from the GH5 and G9 like IBIS and the ergonomics (I'm not a fan of the P4K body/ergonomics). With the new S5 cameras being released, the used prices of the original have already gone down to tempting prices, so I've been thinking about getting the original S5 and using it with the BM Video Assist 12G. I figured that could be sort of the best of both worlds between mirrorless and cameras the p4k: ibis, braw, prores, bm touch screen UI, less processed/sharpened looking image, an XLR audio interface, options to use SSDs or SD cards, high quality monitor, false color. I was actually thinking maybe the Video Assist would be a worthy investment because I can always use it with different cameras if I decide to switch to something else later. It's almost like a cine cam brain but without being limited to one sensor or lens mount, you can basically use any camera (though not all offer raw, you could still record prores). It turns the S5 into a FF 6K braw cine camera/audio interface it ibis for around $2K. The only tradeoff is rigging and powering a separate device. I was hoping to hear of the user experience from anyone who has used this setup, or if there are caveats I'n not aware of, etc. 

10 hours ago, And1 said:

Made tests and thinking of shooting on the BMMCC (maybe with Zeiss 16s lenses) on a low budget feature film instead of the Bmpcc6k/4k or Red Epic MX/Scarlet MX.

Do you consider it to be crazy in 2023?

It depends on your project/needs, and if you already own any of the cameras mentioned. As someone who has owned the original Pocket, Micro, and currently the P4K, I would take the P4K with the 2.6K Super 16 crop over the original Pocket and Micro. You get color, dynamic range and image quality every bit as good as the older cameras (people like to wax poetic about the old sensors but any of these cameras can be treated in post to match seamlessly), plus you're gaining a dual native iso/better lowlight performance, better rolling shutter performance, more compression options (up to 12:1), better UI (the touch screen and physical buttons for ISO, WB, etc is a godsend compared to the fiddly little buttons and menu of the Micro), more media options (I can shoot up to 8:1 on a Sandisk extreme Pro sd card, plus there's cfast and SSD), frame rates up to 120fps, no moire/no need for the rawlite filter, and the braw codec is very edit friendly. The only thing you'd lose is ProRes. You can only shoot Braw with the s16mm crop.

All that said, if you already have the Micro and it's your only camera, shoot with what you have. It still produces a great image and is a perfectly usable camera, even if it is a bit fiddly. I'm actually planning on using it as a first person POV camera on a helmet for a project I'm working on.

Trying a low light shoot with Ilford Delta 3200, 35mm, all available light:

Testing my Canon AE-1 + Canon FD 28mm f2. Fujifilm Superia X-Tra 400, 35mm:

Another recent shoot on Kodak Potra 400 in 120 format:

Focusing on the ground glass of my Yaschica Rookie can be difficult so I missed focus a few times. Oh well...

I reunited with the model from my Demonic Housewife shoot to do this retro pinup style shoot. Shot on Kodak Portra 400 in 120 format.

I got my 6D today and tested stills, video, and even ML raw a bit. The video is the typical mushy Canon 1080p, and the only continuous shooting for ML raw adds a 1.42 crop, nearly the same crop factor of the P4K with a .71 focal reducer with a much a worse workflow, so I won't be using that. But the stills are very nice and I'm excited to go out and shoot more. As much as I'n enjoying shooting film again, the cost can add up, so I don't want to go out and shoot casually much. So any camera that makes me want to shoot is always good. Here's a little self portrait I shot on the 6D:

Color version:

And my heavy-handed attempt at an expired film/cross-processed look:

17 hours ago, PannySVHS said:

Beautiful! Thank you for posting!

thanks!

Just a casual little 120 shoot with my Yashica Rookie and Ilford Delta 400. I've really fallen in love with the 6x6 square format.

Nailing focus at f3.5 with this camera is hard sometimes. I still kind alike the photo anyway.

FRaming with the ground glass is something I'm still getting used to. It bugs me that the guy's knee snd toe are framed out but otherwise I like the photo.