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Frankie

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Posts posted by Frankie

  1. • Up to $500  nikon 5200 - Sony a6000

    • $500 - $1000 BMPCC - BMMCC

    • $1000 - $1500 GH4 - FZ2000 (to be proven) - Samsung NX1

    • $1500 - $2000 Fuji XT2

    • $2000 - $3000 Digital Bolex (not built anymore)

    • $3000 - $5000 Panasonic HX1, Sony A7S II

    • $5000 - $10,000  Red Raven, 1DX MK II, 

    • $10,000 and above... Panasonic Varicam LT - Arri Alexa - Red Scarlet W - Epic - ...

  2. I had the opportunity to play with it today... nothing to show but I can say that it just rocks as a stil camera and the new af tracking is a estonishing surprise. The 4k footage looks wonderful and from my todays' experience the af in video mode seems to work pretty well. It could be the allrounder cam to go for me if the gh5 gets its price past 2000€

  3. Kewl, glad to hear you've worked with "professional cameras." So have I :) The production company I co-founded owns a RED Dragon, Arri Amira, C300, C100 (I and II) and a GH4. We've shot commercials on the BMCC and the BMCC 4K. And they're all great cameras. Some better than others, depending on their use. But one of my absolute favorite cameras to work with right now is the NX1. That's why this forum / blog exists... to promote the underdog. If you hate the NX1 image... I feel like you haven't actually shot with it, or haven't worked with proper NX1 footage.  Especially if you think the 5D produces a better image.

    And I know the difference between "digital sharpness" and resolution. Yes, the camera isn't an Alexa, so it has roughly 11 stops dynamic range (I'd rank it's DR above the 5D). And I think Sony inflates their numbers. 15 isn't realistic... it's noisy in those shadows. It's closer to 12.5 in my testings. And the extra stop of dynamic range is nice, but not at the expense of skin tones. S-LOG has the worst skin tones of any "professional camera" out there (in my "professional" opinion). No thanks. I'll take a REC 709 image from the NX1 any day over S-LOG from the A7R II or the A7S (haven't worked with the A7S II S-LOG yet. Assuming it's similar to its predecessor).  

    +1 to that mate ;)

  4. Thank you all. I think that colors and quality of LX100 and FZ1000 are comparable (LX100 should be a little better due to sensor size).

    So probably I will get samsung nx1 equipment and try to forget the convenience of FZ1000 (or I will by FZ1000 as a separate vacation tool).

    Thanks Frankie for your lens suggestions. Are you using sigma 18-35 and other lenses with Nikon mount and adapter right?

     

     

    Yes... I use the novoflex . solid build and smooth ring

  5. Hi Manilo,

    Why don't you just buy a nx1 with a long zoom and a macro lens?

    It depends on what you plan to use it for, but the 18-200 is a versatile lens, especially for video, even if the aperture is not fixed, then you can use the macro samsung lens or get a sigma or nikon 105mm macro with an adapter...

    I personnally use sigma 18-35, 35 and 105 macro for 90% of my work for both stills and video when I don't need autofocus. I also have the small 45mm (+-70mm eq.) wich is a fantastic gem for its price. !

  6. I recently sold lots of lenses to keep sigma 18-35, 35 and 50 plus a canon 105 mm macro. I also have a 10.5mm Nikon fisheye ans a tokina 11-16. 

    I do 75% of m'y vidéo work with the first three. Three others are a plus. 

    Also have a couple of canon, Nikon and samyang primes... That i now rarely use

     

  7. For video, there's nothing I could suggest more than the sigma art trinity.

    18-35 1.8  -  35 1.4  - 50 1.4

     

    + an 105mm macro (the L from canon, or nikon or sigma)

     

    I just bought the 18-35 and 50 mm cine mod version from pchood:

     

    http://www.pchood.com/index.php?route=product/product&path=45_72&product_id=307

     

    http://www.pchood.com/index.php?route=product/product&path=45_72&product_id=320

     

    I just can't wait to have these and try them on nx1

     

    About samsung lenses I was told that the 45mm 1.8 performs very well and is like a gem for the price.

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