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Jonesy Jones

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Everything posted by Jonesy Jones

  1. And don't forget about ETC. The combination of IBIS and ETC make for a crazy powerful one man band camera. The new Leica 10-25, plus ETC make this lens/camera combo an FF 20-70 f1.7. As wide as you'd ever need. Great portrait. Leica cream and colors. I was all about the new P4K. Maybe I still am. But I'm thinking I may just stick with the GH5. If I can take the edge off with a black satin filter or something, I may just keep the GH5.
  2. Really? Man I think it's gorgeous. It's like an Otus became a camera. To each his own. Perfect companion for the newer MacBook Pro's. This camera is far from being a great filmmaking tool at this point but I hope this is just the first of more to come. Random thought, what if they put an L mount on a newer version. Imagine Leica glass on a Zeiss camera....... hmmm.
  3. Jonesy Jones

    Zeiss ZX1

    I love the look and feel of this camera and I've never even see it. Can't wait for a more video centric version. https://zx1.zeiss.com/?gclid=Cj0KCQjw_7HdBRDPARIsAN_ltcIX-Cw3PEd0qEya1UYJ9ZUZhzUAdQSionvqFHhSJBghX5shrgJbzSEaAjX9EALw_wcB#shoot-3
  4. That lens has a major flaw, horrid manual focus with an ultra short focus throw. Ois is also jerky for video.
  5. As much as possible about the new Leica 10-25 1.7. Price. Availability. Weight. Length. Focus throw. Image circle. If the stepless aperture ring works on non panny's. Minimum focus distance. Is it focus by wire? Just anything and everything about that lens.
  6. Well, start looking at your options in this range and you'll find few. Native m43 lenses have few options in this range, primes or zooms. And what you trade for one spec you lose in another. The closest lens to this is the Tokina 11-20mm 2.8. I believe it does come in m43 mount, and can even be had in an upcoming Cine version. And can move up to S35 sensors which is great. But, with this new lens, you trade range and speed. Plus its Leica glass which is worth a look. Can't wait for more info.
  7. One of the more significant announcements from today is the upcoming Panny Leica 10-25mm 1.7 lens. This will be a brilliant lens for this camera. Too bad there is no OIS. But still, looking forward to pricing and availability. https://www.dpreview.com/news/9248867492/panasonic-is-developing-a-10-25mm-f1-7-lens-for-micro-four-thirds
  8. Sorry @mercer for the brief off topic question, but I am likely going to produce some real estate videos in the near future and am looking to do some research on well crafted real estate videos. @Jadesroom could you point me in the direction of some good ones?
  9. Great to have you back Ed. Thanks for the test. What I noticed is that the UMP tends toward magenta. The Canon is more neutral/green. It could be my bias but the UMP seems to render the gradients better with more dimension. But both images are superb. In a blind test I'd never have a clue.
  10. The more I think about it, the more I think this is way more specialized than any of us really understand. Like mapping the human genome specialized. Maybe not quite, but I think BM went down a rabbit trail that probably seems ludicrous to the other guys. I kind of doubt they'll follow. The only downside is that I think going forward in the future this could delay future camera releases. From here on out we'll all assume that each new BM camera comes stock with .braw, I mean it's their own codec right? But the amount of hours it takes to specialize to each sensor/camera is probably massive. So either it takes longer to get to market, or its released without .braw. I hope I'm wrong.
  11. BM has said they would. Any reason to think they won't? From watching the video, what I gather is that this raw codec is HIGHLY specialized to the sensor and camera. Like way more specialized than any other raw format ever has been. It has taken them 2+ years to get where they are now. I don't think this will be a drag and drop thing for the P4K. It only makes sense for them to go for the original UM 4.6K first since the sensor tech is so similar to the UMP. I hope they then go with the P4K. Very jealous. I want my UMP back. lol I'm thinking BM has done something, who knows, maybe even on accident, with this new .braw. I have no idea about any of this tech, but I am wondering if the de-mosaic work being done in camera is doing something special to the footage. It's stunning.
  12. I've owned nearly every BM camera, but at present none, though the P4K is pre-ordered. The UMP image was amazing. Absolutely stunning. I did not own it for too long as Andrew wrote an article about how our enlarged rigs were decreasing production value instead of increasing. I agreed. Bought a GH5, which is also great, and sold the UMP. I'm kind of regretting that now because the image coming out of that camera with the new .braw is more than stunning. Dare I say it's film. I realize that in a side by side the Alexa or Venice would probably win, but would they also beat film? There is something extremely special about the footage coming out the UMP with .braw. I am not expecting the P4K to be it's equal, but so far it's already coming very close, we'll see what happens when .braw is added.
  13. Here's another example of b-raw. Guys, this is just magical to me. On one hand the data rate savings is massive, but this codec has done something to the look of this camera. It's different. Better. I used to say that this camera (UMP) was my favorite image under $40K, I think it is now my favorite image.
  14. This is incorrect. Whoever put this together was not using apples and oranges. BM's specs are in MegaBytes, Panny's are in Megabits. So, you could say that the P4K is 270 MB/s (actually 272) and GH5s is 50 MB/s, or P4K is 2,176 Mb/s and GH5s is 400 Mb/s. Also of note, BM uses an FPS of 30. Not sure why they do this. Is this standard? Not sure what Panny uses. Anyway, since many of us are shooting 24 fps the data rates are 20% lower. So with any of BM's data rate specs multiply by .8 for it's 24p equiv data rate. So 272 MB/s would actually be 218 MB/s (then multiply by 8 for it's Megabit equiv --- 1,744 Mb/s). (Use .83 for 25p). For comparison, BM's DCI 4K Prores LT runs at 43.7 MB/s compared to GH5s 50. So pretty similar.
  15. Maybe BM are looking for reviewers that aren't completely Napolean from the waste down.
  16. So I posted this in a new thread not realizing this was probably the better place for it. The new updated Tamron 15-30mm lens has some cool features for filmmakers. Though a very large lens. About a half pound heavier and inch long than Sigma 18-35 for reference. "Integrated rear filter holder permits working with cut gel-type filters." To me this sounds like one could drop in ND's in the back of the lens. Nifty. The front has the integrated hood so filters in general will need a Lee type filter system of some sort or a diy one like this. So this is a handy feature. Canon mount only though. "VC image stabilization helps to minimize the appearance of camera shake by up to 4.5 stops for more effective handheld shooting in difficult lighting conditions." I have been noticing that Tamron's in-lens IS is pretty much class leading. I'm not expecting GH5 IBIS level stabilization, but this could make handheld on the P4K way mo betta. The coatings on this thing seem to be pretty sweet. Coupled with the Metabones .64 speedbooster on the P4K this becomes a FF equiv T2 18-35mm, with the .71 its a 20-40mm, and with no boost its a T3 28-60mm.... with a close focus of 11" which is like 5" from the front of the lens. I've been looking at images from the first version and it seems like all that glass make for some very creamy imagery. Covers FF. Build quality seems to be great. I'm hoping the focus ring is smoove and the throw isn't too short (which might kill it for me). It's pricey. BTW, who here has experience with these IS lenses? How well do they actually work for video? I'm getting mixed impressions from online reviews. For instance, the Sigma 17-50 has videos showing it working well, but others showing it being jerky. Tamron's IS seems to be the best. But is it actually usable? Right now I'm on trying to work in one of these lenses for the sake of IS, but if it's not really going to get used much or at all then I can check that off the list.
  17. @DBounce for the last several months you've been preparing us all for some major omissions from this camera's promoted specs. At this point do you think BM has delivered, or is it still too early to tell?
  18. Granted, this lens is huge. If you are looking for small and stealth, probably not this lens. Half a pound heavier and an inch longer than the Sigma 18-35 for reference. However, check out some of these features for filmmaking. "Integrated rear filter holder permits working with cut gel-type filters." To me this sounds like one could drop in ND's in the back of the lens. Nifty. The front has the integrated hood so filters in general will need a Lee type filter system of some sort or a diy one like this. So this is a handy feature. Canon mount only though. "VC image stabilization helps to minimize the appearance of camera shake by up to 4.5 stops for more effective handheld shooting in difficult lighting conditions." I have been noticing that Tamron's in-lens IS is pretty much class leading. I'm not expecting GH5 IBIS level stabilization, but this could make handheld on the P4K way mo betta. The coatings on this thing seem to be pretty sweet. Coupled with the Metabones .64 speedbooster on the P4K this becomes a FF equiv T2 18-35mm, with the .71 its a 20-40mm, and with no boost its a T3 28-60mm.... with a close focus of 11" which is like 5" from the front of the lens. I've been looking at images from the first version and it seems like all that glass make for some very creamy imagery. Covers FF. Build quality seems to be great. I'm hoping the focus ring is smoove and the throw isn't too short (which might kill it for me). It's pricey.
  19. You didn't mention budget. Apparently you have money to burn. This is good because Cineo lights are expensive but super powerful. Crazy powerful. Probably not HMI level, but stinking bright. The are similar to LED tech but it's called phosphor. I've played with them at NAB and also watched Alex Buono recreate a day scene shooting one of these through a faux window in a dark hotel event room. From the camera's point of view it looked like day. They are small enough to put in a suitcase, but very pricey. On the cheap, you can buy outdoor/exterior parking led lights. These lights get brighter, better quality, and cheaper. Last time I looked they seemed to be very powerful, but low cri. You could diffuse or gel. Or maybe they've gotten better.
  20. Yup. I'm selling my GH5 for the P4K. But I love my GH5 and have thought that I'd love to have one of each for the sake of IBIS. Perhaps I'll pick one up again. Btw, I knew you were going to offer this, and I've many times thought you should create transformations from many different cameras to each other. I'm guessing there's a good deal of time and work that goes into that, but you could eventually build up an ecosystem that would make matching nearly any camera to any camera nearly effortless, and valuable.
  21. Joey Knox, the filmmaker for the mountain bike piece mentioned that the battery life was actually pretty good. This is encouraging. I have been disliking all the smaller power options, but if the P4K gets half of what Joey describes I'll just stick with the LPE6's. “My only concern was it used Canon LP6 batteries. I know from shooting on a 5D they can be a real issue in terms of battery life. But to my surprise, the Blackmagic Pocket Cinema Camera 4K worked amazingly with these batteries. On the first day, I managed to shoot half a day’s footage with just one battery. It was a third-party battery too!”
  22. Yah man. These videos keep getting better. This camera is no joke.
  23. Don't know if everyone has seen this, but BM is allowing us to download the files for ALL of the sample videos posted. Before I found this I had only seen the download feature enabled for one of John's videos. But they can all be downloaded here. - https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera/gallery
  24. Haven't been keeping up with this thread but the impression I get is that Panasonic knows they need to go with a larger sensor but doing so could wreck their m43 ecosystem and user base. What if they skipped full frame and went medium format? The gap between the two would be significant enough for neither to cannibalize the other. Man if they could democratize medium format that would be cool.
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