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tusoli5

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  1. Like
    tusoli5 reacted to johnnyd in Blackmagic Micro Cinema Camera   
    The camera has 1 S.Bus connection which lets you plug it in to a radio receiver and you can have control over focus, iris, start/stop etc with a much longer range than wi-fi. This way you can control the camera with the same radio controller you use to control the gimbal and that is much better for drone ops than dealing with a phone or a tablet.
  2. Like
    tusoli5 reacted to bwhitz in Blackmagic Micro Cinema Camera   
    Man... I'm not sure why, but this stuff looks better than the 4.6k footage I've seen so far. Something seems "off" the Blackmagic-Mojo with that sensor... it looks like high-quality GH4/GH3 footage... not as organic as this stuff. Maybe it's too clean? 
  3. Like
    tusoli5 reacted to Andrew Reid in Blackmagic Micro Cinema Camera   
    optical viewfinder is a brilliant idea
    Check out the Sigma ones. They did a few for different focal lengths on their DP and Quattro cameras.
    14mm (21mm equiv.) and 30mm (50mm equiv.) are two I am aware of.
    And the utterly superb Zeiss finder from the RX1 (35mm equiv.) http://www.amazon.co.uk/Sony-V1K-Optical-Viewfinder-Camera/dp/B009O06XAS/ref=sr_1_2?ie=UTF8&qid=1455806726&sr=8-2&keywords=sony+rx1+viewfinder
  4. Like
    tusoli5 reacted to TheRenaissanceMan in Blackmagic Micro Cinema Camera   
    I could get this thing rigged for $500 or less. Besides, most of that is unnecessary if your cameras spends most of its time on sticks, sliders, and shoulder rigs (which mine does).
  5. Like
    tusoli5 reacted to Jimmy in Blackmagic Micro Cinema Camera   
    Looks great! It's a perfect drone camera.
  6. Like
    tusoli5 reacted to Maccam in Time to step up - Panasonic GH5 must go 6K Super 35mm to compete in 2016   
    The low light high ISO performance could be improved with better S/N firmware even with M/43. Why do you think the Nikon D810 iso improved so much over the D800 or even the 12mp D700. Now the D810 does not have the exact pixel density as the GH4, but this still applies.
    But with all that sound I agree I would rather have a super 35mm or full frame image.
    I would really like to see a color space improvement. Nikon has a beautiful color space. Improving color should not only be on Panasonic's to do list, but Sony's as well.
    If not then just gives us RAW and go home.
  7. Like
    tusoli5 reacted to Brett Munoz in Time to step up - Panasonic GH5 must go 6K Super 35mm to compete in 2016   
    Would rather the focus be in dynamic range, super 35 sensor, color and 10bit or raw output than 6k.  
  8. Like
    tusoli5 reacted to Andy Welch in Time to step up - Panasonic GH5 must go 6K Super 35mm to compete in 2016   
    If you think that Panasonic will abandon the M43 format for the GH5 then you are crazy. Not gonna happen. I will live stream my seppuku on EOSHD if that happens. What will happen is that Panasonic will eventually introduce their newly developed "organic" sensor tech into the GH camera line. This will give them performance better than the current generation of full-frame cameras but in the small M43 form factor. I'd guess 2017 or later.
    As for 6K, why? There is approximately zero demand for 6K and it's technically unfeasable for any number of reasons. A more reasonable step would be for for Panasonic to have the GH5 record 10-bit 4:2:2 4K internally, but even that would be beyond the capability of the SD card format for reasonably low compression. 
     
  9. Like
    tusoli5 reacted to BrorSvensson in Time to step up - Panasonic GH5 must go 6K Super 35mm to compete in 2016   
    just a nit pick but i might be wrong, wouldn't a 24mp sensor be to low resolution for 6k? Isnt 6k 6144 x 3249? meaning it would be a, atleast 25mp sensor.
  10. Like
    tusoli5 reacted to Jimmy in Time to step up - Panasonic GH5 must go 6K Super 35mm to compete in 2016   
    Their existing lens range wont cover an s35 sensor though.
  11. Like
    tusoli5 reacted to Charles Maring in Time to step up - Panasonic GH5 must go 6K Super 35mm to compete in 2016   
    We all have our wants... Personally I don't want to see Super 35 in the GH5 as I prefer the M43 format. As long as they can squeeze ISO up to 12600 and improve DR it's golden. I much prefer the smaller lenses and portability of the current Lumix lineup. If I wanted anything larger, Sony already has it, but you don't see me jumping ship even with all that ISO range they have. Based on the recent news of Panasonic sensors something tells me they can achieve these small bumps in features. 6K or 8K would certainly be nice as an option, but really if I had a choice between that and clean 4K 60fps or 120fps that is the route I would prefer.
  12. Like
    tusoli5 reacted to Jimmy in Time to step up - Panasonic GH5 must go 6K Super 35mm to compete in 2016   
    This is what I want, but with 6k and internal 2K raw, for $1799:
    S35
    14+ stops of dynamic range with V-Log.
    Dual native 800/5000 ISO
    Weight: under 1 lb.
    Formats: 4K, UHD, 2K and HD.
    Apple ProRes 4444 (up to 30p), ProRes 422 HQ (up to 60p), HD, Panasonic’s AVC-ULTRA family of video codecs.
    Support for the Academy Color Encoding System (ACES)
    ND filters: CLEAR, 0.6, 1.2, 1.8
    OLED EVF
    24-bit LPCM audio in-camera
    Focus Assist
    IR (for scenes even darker than ISO 5000 can handle).
    Anamorphic lens de-squeeze
    Special REC functions (PreRec, interval, one-shot)
    IP control via Panasonic’s AK-HRP200 camera remote controller
    Built-in GPS
    3G-HD-SDI
    LAN
    Genlock in
    timecode in/out
    USB2.0 Host and USB2.0 Device (mini B)
  13. Like
    tusoli5 reacted to Jimmy in Time to step up - Panasonic GH5 must go 6K Super 35mm to compete in 2016   
    I actually wouldn't buy that camera if it was 8bit 4:2:0
    People need to start shouting from the roof tops that it is no longer good enough. Whether Andrew chooses to believe it or not, the combination of 10 bit and 4:2:2 (or higher) is where you can really start to get the best out of log footage. I don't want to climb a mountain for 6 hours to then find my shots ruined by banding. 10 bit solves this issue and really helps the log curve store the information correctly.
  14. Like
    tusoli5 reacted to Jimmy in Time to step up - Panasonic GH5 must go 6K Super 35mm to compete in 2016   
    Last week you were saying you didn't care about 4k... Now it's all about 6k?!
    I'd much prefer internal 10bit 4:2:2 (or compressed raw)... Better DR and low light.
  15. Like
    tusoli5 reacted to Volker Schmidt in Sony a6300 4k   
    Agree, the first interesting, affordable Camera from Sony for my taste.

     
  16. Like
    tusoli5 got a reaction from Nikkor in Sony a6300 4k   
    This is the best body to come since a loooooong long time. 
    Price and versatily is at its maximum for another 8bits body.
    AF seems absolutely stunning for video when shooting fast action, it is also speed booster suitable.
    Not realy seeing moire on the videos, 1080p 120f/ps, all at this price, it looks like a good thing and falls back into the stepup the gh2 body made at its time.

    More expensive must have at least 10bits and with better codecs. H.265, mjpeg, raw, whatever but  it won't justify more  if it ain't got more.
    Thanks andrew for this article.
  17. Like
    tusoli5 got a reaction from Volker Schmidt in Sony a6300 4k   
    This is the best body to come since a loooooong long time. 
    Price and versatily is at its maximum for another 8bits body.
    AF seems absolutely stunning for video when shooting fast action, it is also speed booster suitable.
    Not realy seeing moire on the videos, 1080p 120f/ps, all at this price, it looks like a good thing and falls back into the stepup the gh2 body made at its time.

    More expensive must have at least 10bits and with better codecs. H.265, mjpeg, raw, whatever but  it won't justify more  if it ain't got more.
    Thanks andrew for this article.
  18. Like
    tusoli5 reacted to Phil A in Nikon D5 versus Canon 1D C for cinematic 4K video - which wins?   
    I think the problem is the really different needs of different user groups. Cameras like a RED or a Sony F3/F5/... are clearly amazing video cameras but the question is how you plan to use it. I can see how these would be perfect if you're shooting commericals or narrative movies with a crew. A Canon C100 / C300 or a Sony FS5/FS7 are amazing for documentary run&gun work. But as has been mentioned before, as soon as you also need high quality pictures, that adds problems.
    If we say the right tool for the job and you need movie and pics, are you willing to bring a RED One MX plus lenses plus tripod plus a Canon 1Dx/5DIII plus lenses? Then there comes the saying to "make your light", so will you bring the continous lighting for video and the strobes for the stills? I guess we exceeded the 20kg of kit already as well as the 10k € of invest. If you're not commercially making money with what you create that goes above most enthusiasts will and/or capability of spending money.
    To be less generic I'll take myself as an example:
    I travel a lot both for vacation and business (not related to photography/filming). I used to shoot pictures (landscape, architecture, night time long exposures, etc.) on these trips. But when I was to Thailand for example I brought a 1Ds III, 17-40 f/4, 24-70 f/2.8, 35 1.4 and 85 1.2 plus tripod, ND filters and a flash. That's like 6kg of kit which at least partially travels with you depending on what you plan to shoot that day, but it's also equivalent to a whole carry on bag when traveling by air. I think most enthusiasts can't take along another 5-10kg of camera gear for the motion picture side, after all most people can't afford a personal sherpa to come to the beach.
    If you can cover both to a rather good level, I think it's way preferable to do it with one single system of equipment. That also keeps down on accessories like batteries. Currently I have 5 different types of batteries between my main stills cam, my pocket stills cam, the cam I currently test for video, my field monitor, my LED lights and then regular AAs for my flashes. Of course every batterie needs a different charger.
    Do I expect D810 level stills and RED/ARRI level video in one single system? Clearly not. And most enthusiasts - and I'd argue even a lot of professionals - don't need that. But for a lot of people the GH4 stills side won't cut it while the 1080p 8bit 4:2:0 low-bitrate video of most cameras won't cut it. I think the A7r II and NX1 were currently the two most convincing cameras. But Samsung gave up with NX just when it became interesting and never built a convincing native lens lineup (in my personal opinion; I'm missing more f/1.4 glass) while Sony has prices skyrocket (A7R II and A7S II both sell for equi. 3500$ in Switzerland) and you'll easily spend 5k on the body plus two lenses while being over the top with the super high res sensor for a lot of people (between ALL the people I know who are into photography, no one actually WANTS more than 20-24 Megapixel) and therefore costing way more than actually neccessary. If the rumored A6100 would be like the A7R II but only with the APS-C part of the sensor and for 2000 €, I'd be over that like bears over honey. If you look at photography forums, you'll find a lot of people to preach that manufacturers should stop investing into video features and use that money for improving stills quality. Therefore I'm not even surprised Nikon brought the lackluster 4k video, there were probably at least just as many feedbacks about no need for good video as there were prayers for quality video.
    So for someone who travels alone and light with unexpected circumstances to what he photographs/films, the choice is not so easy. A possibility would be for example a 5D III with ML plus the new BM Micro Cinema Camera (if it every comes out) so you can share batteries for example between both cameras and a SmallHD monitor plus use the Canon lenses with the Metabones SB on the BMMCC. But then Canon is a worse choice than Nikon for night photography because of the difference in DR and the heavy banding in shadows if you push the Canon image. And seeing how I like to stay light, I'd rather have a 4k image that lets me punch in as well as faking slider moves than using a B-cam and an actual slider.
    So there is no perfect solution and I guess my rant gets too long to bear but I think for a lot of people it's really about finding the right compromise.
     
    Tl;dr: If you are stationary or have a crew, use the right tool. But if you're alone and traveling, pick your poison.
  19. Like
    tusoli5 reacted to Don Kotlos in Nikon D5 versus Canon 1D C for cinematic 4K video - which wins?   
    @joema Don't underestimate the importance of a pro body. Ergonomics and build quality are very different. While now I prefer a small body and tilting LCD I can see how for many (like photojournalists) pro bodies are a better choice. Shooting a D3 has left me with some very pleasant memories...
  20. Like
    tusoli5 reacted to tyger11 in Nikon D5 versus Canon 1D C for cinematic 4K video - which wins?   
    Keep in mind they also jump-started their ILC division by acquiring Konica-Minolta, thus gaining access to tech & people with decades of experience.
  21. Like
    tusoli5 reacted to tyger11 in Nikon D5 versus Canon 1D C for cinematic 4K video - which wins?   
    I think Samsung merely miscalculated how long it takes to break into a new market, especially one with products that are pricey. I wish they had sucked it up for another couple of years, came out with an NX2, an NX600, and a crap-ton more lenses, and they would've had a pretty good shot, especially if they had set up a pro support network. Half-hearted efforts won't cut it against competition like Canon, Nikon and Sony. Even Fuji & Olympus have made decades of experience in the field. It's the height of hubris to think they could just jump into the photo game and success in a short amount of time in anything other than the point-n-shoot part of the market. The deep end of the pool requires you to be able to swim and defend yourself against what else is in the water.
  22. Like
    tusoli5 reacted to Hanumanbob in Nikon D5 versus Canon 1D C for cinematic 4K video - which wins?   
    Why would anyone who has serious about film want to use either? The trend to try and make cameras the best choice for stills and video is not a good one. Get the tool that is right for the job. 
  23. Like
    tusoli5 reacted to Jimmy in Nikon D5 versus Canon 1D C for cinematic 4K video - which wins?   
    Seems a little presumptive to think that no one is giving Nikon any feedback or that the people who do are just corporate whores.
    None of us have a single clue what feedback was given and subsequently ignored or decided to be too difficult or not cost effective.
  24. Like
    tusoli5 reacted to Andrew Reid in Nikon D5 versus Canon 1D C for cinematic 4K video - which wins?   
    More closer to the D500 really.
    For 4K video the D5 is closer in spec to the NX1 but without the H.265 codec, DCI 4K and long recording times, or mirrorless mount, or EVF, or... I can go on!
  25. Like
    tusoli5 reacted to Geoff CB in Nikon D5 versus Canon 1D C for cinematic 4K video - which wins?   
    Like most cameras, I don't think we can make a call on this until FLAT files from the camera go out in the wild. On paper the D750 is pretty poor spec wise, but in practice it has a great image that is easily graded. Compare that to the 10-bit 4:2:2 issues on the FS5 codec, and you really can't compare these cams unless you see tests from professionals.
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