Patrick Baum
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Posts posted by Patrick Baum
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Awesome work Sony. I can hardly wait to see the A7SII.
Strangely this is awesome news for GH4 owners as:
1) Panasonic is always pushing the limits in this market also.
2) They've been dragging their feet on releasing VLOG. This announcement is probably just the kind of thing that will spur their product development and engineering people to finally push VLOG into a public firmware release. If they've been wondering whether they should wait until the GH5, it's time to stop waiting.
As far as I can tell this puts Sony and Panasonic into the lead with Samsung behind them and Canon and Nikon getting their asses kicked. The A7R/A7SII and the GH5 (and Ursa Mini) will officially be the end of Canon in the race. Sad to see once great Nikon becoming completely irrelevant.
Things I'd like to see in the GH5 would be:
1. Micro 4/3 mount
2. Dual format S35 and Micro 4/3 sensor
3. Global shutter at 24p
4. Improved low light and some sort of raw video
It will be interesting to see what's next. The price gap between prosumer mirrorless and pro motion picture cameras is getting very narrow. Currently I used a GH4 for personal projects and I'm pretty happy. If I need a serious boost in performance for pro projects I'll just cough up another $2000 or rent an Ursa Mini and a Zeiss or Rokinon Cine lens set.
Laissez les bons temps rouler!
eris
Alright, I'm going to be a little biased having within the last week switched over from Canon to some Nikon gear, but I don't think Nikon is out of the hybrid stills/video game yet. They're keeping a grasp with the D750 (which I think most agree is a very nice image, even if only 1080p). And if they keep to Sony sensors, and put a modified A7RII sensor into a D8xx body, Nikon could easily hang with the pack come next cycle.
I'll agree, Canon is falling behind, at least in the small video/photo hybrid systems category. They need to really blow some minds with the 5D MkIV, but there doesn't seem to be a lot of expectation that they will. It's probably going to be tried and true, will not impress on the stats, but will still be a hell of a workhorse for those who rely on canon for pro Photography.
I loved my Panasonic GH4 and FZ1000, and from a usability standpoint they do a lot right. A LOT. But with that weak DR (please, please release VLOG), and weak lowlight performance, they've got their work cut out for them on the GH5. I can't get my hopes too high about a m4/3 sensor, but if anyone can pull some magic it's Panasonic.Sony has an impressive beast mode camera with this announcement. It'll be great to see some reviews and hands on performance, especially pertaining to lowlight. That picetag though is, well, steep. You can pick up a used a7S and an external recorder for around $2700USD right now if, like me, good lowlight and DR is the interest. And I don't think it's got me replacing my Samsung NX1 just yet, but the thought definitely crossed my mind.
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So basically this may be the D820 sensor or a modified version as they did for the 36.6 version
which means the upcoming high res shooter from nikon will FINALLY join the 4K times if nikon doesn't crippled it on purpose.On the still sides the A7R didn't offer true uncompressed RAW files like the nikon D8XX does. This meant that although it was technically capable of similar quality, many reviewers picked apart sony's imaging pipeline and showed a noticeable advantage to shooting uncompressed raws with the D8XXX models. If sony did not add true uncompressed raw to the A7RII, I suspect the sensor will only shine on a D820 with Nikon's more quality oriented data pipeline, or in a future alpha body from sony.
On the high resolution game however, I'm still expecting the next leap to 70+. Both this camera and the 5DS only offer modest gains at best. Clearly sony has demonstrated they own the market in sensor technology so if anybody can, it is them.
Having recently invested in a few full frame Nikon's for the Photography side of my business, I'd be ridiculously excited about this prospect. Although they are still big honking DSLRs, they still produces the best still images of any platform I've used. The D750 showed Nikon can get somewhat serious about video, I'd love to see a sony sensored 4K platform in their next product cycle.
High resolution in the 70+ range is coming to the masses, it's just a matter of when the market is ready and or wants it. Despite the gearhead communities love of high resolution options (and I'll admit I'm one, and love my 24Mp+ systems), I've never had a client need or ask for an image bigger than around 16MP. Yet.
Dat crop tho.
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Hi, sorry to bring an old conversation back to life...
But, I'm currently thinking of renting the Samsung NX1 for a video shoot and was wondering which EF/or F mount adapter would I have to buy if I wanted to film with Zeiss lenses and have full aperture control.
I'm renting the Zeiss lenses.. So, I could rent either their ZE or ZF.
Thanks
No matter which way you go, you will need to manually control aperture as there are no smart adapters currently available.
Personally I'd go with ZF lenses and a standard F mount adapter, as manual aperture control rings are built into the ZF lenses.Kiwi NX to NIK adapter:
And those with experience please feel free to correct me on this, but from my understanding ZE lenses are aperture controlled electronically. These lenses will require an as of yet non-existent smart adapter for the NX1 to control correctly. If you go the ZE route you will need to go with the Fotodiox de-clicked iris adapter, which is not as precise, and from personal experience will cause vignetting on wider lenses when stopped down.NX to EOS Iris control adapter:
http://www.amazon.com/Fotodiox-EOSa-NX-Apt-DeClk-Adapter--Clicked-Samsung/dp/B00T0QVITM/ref=sr_1_1?s=photo&ie=UTF8&qid=1430252226&sr=1-1&keywords=nx1+fotodiox -
Can I dream that this will record a downscaled 4k image to 1080p ProRes from my Samsung NX1?
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Just a precision: in Europe all cameras have a limit of 30min :/
And I went through hardware issues with both my gh3 and gh4, but not with my NX1 yet - I think it's a matter of luck also, and early adopter being treated as "beta testers"... (for both companies)
I keep forgetting the EU Pana GH4 is different, as The US, HK and AUS versions can do PAL and no record limit. And no worries on being an NX1 fanboy, it is a great system, I just am having that run of bad luck.
My old nx300 had the infamous defect of the selection wheel. It has been serviced in about 10 days under full warranty. Good service.
The Samsung repair place in the US isn't going to win any awards when it comes to how they've serviced my NX1 issues. Both times my Camera ended up needing to be replaced, which is handled at a separate facility, and adds more time to the process. the first NX1 issue took three weeks from start to finish. That replacement NX1 lasted about four days before it had a hardware failure, and was sent back for another long replacement process. But that's what I get for being a "beta tester" for a new line.
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Having used both now, for a while, I have to say it came down to two thing for my preferred shooter. And that is reliability, and that damned 30 minute limit.
A lot of paid gigs I take on are live events, where I often need a longer recording time for speeches, theatre, music sets, etc. and the Nx1 just doesn't cut it for that. Add to that I have already gone through 2 NX1 bodies for two separate hardware issues, and I can't really speak highly of it's reliability in the field. My Gh4, on the other hand, will run until I'm out of card space, and I have never had to worry about it crapping out.The iq on the NX1 is spectacular. For photography, personal projects, and short film work I love my NX1. For actual paying client videography? I go Gh4.
If some one is able to "hack" that limit on the NX1, similar to what was done with Magic Lantern on the canons, I'll be stupid happy. -
I would agree with the others that the 16-50 S is a great lens, and worth the price. I have used it the most out of all my lenses for video and photography, even after buying adapters and playing with my legacy Canon/Nikon glass. It's a native lens, has all the bells and whistles, is weather sealed, and just overall a great companion to the camera.
I started trusting my cameras AF a bit more with the 16-50 S, and I have been using touchscreen focusing with the speed set to medium or slow, and it works pretty well. It's not perfect, but about 95% of the time it's spot on and gives the feel I want on a focus pull.
I would say the downside, other than weight, is that the fly-by-wire is only decent. I personally don't like the feel it has for a manual focus pull. I would, as others have recommended, consider grabbing an adapter and picking up the Sigma Art series of lenses. Especially if you want smooth manual focus control. the Sigma 18-35mm F1.8 on the NX1 crop is a good zoom range for video work, and produces some truly beautiful images.
Or you know, go balls out and buy some true cine lenses and a PL adapter. Which is probably what I am going to do once I find a job that will justify it. -
If he is a 100% novice, I would stick to a 1080p solution. A used 550D or 600D is a great inexpensive starting point, and you can get a wide range of glass and accessories. Factor in some ML hacking goodness and it can extend the usefulness of those little workhorse cameras. By the time 4K becomes prevalent enough to really justify, he will probably be yearning for a newer camera, and prices on the current generation of 4k will have dropped significantly.
The TV/Monitor sales among consumers aren't there yet for 4k. And unless he intends to go big quick, anything above 1080p is a bit overkill for online distribution at the moment.
Another factor to consider: can his current computer/editing setup handle a 4k workflow? or will he need to upgrade that as well? 4K editing can be a hog. -
Panasonic FZ1000 or LX100.
Your phone!
But yea, FZ1000 or LX100.
Pretty much these if you want to keep the prices below $1000.
Above that line, you start getting into the higher end market. While I really like the Panasonic GH4 and Samsung NX1, you need to spend above $2000 to get started in either system.
Though it's a bigger camera than the LX100, the FZ1000 would be my pick as a good entry-level 4k. Better zoom range, has an external mic jack, and a flip out screen like it's GH4 big brother. It's just overall a little more versatile for the video and photo shooter.
Or, as Leeys pointed out, there are quite a few smartphones that shoot 4k. That is a much cheaper option, but not as much fun. -
But will they have AF and IS ... :/
If you are heart set on AF, and you need the lens soon, I'd probably take a look at the Samsung 12-24mm F4-5.6 NX Lens. Drawbacks being it does not have IS, it's not as wide as the Tokina or Sigma, and probably not as sharp.
There is also rumor that Samsung will be releasing an S series 11-24 f2.8 with OIS later this year, but as far as I know that's just a rumor: http://photorumors.com/2014/09/23/samsung-nx-lens-and-camera-rumored-roadmap-for-2015/
Sony has gone internal-4K crazy: A7RII, RX1004, RX10II
In: Cameras
Posted
That's an interesting look into the planned moves by Panasonic, and I know many are waiting with bated breath for VLOG-L. I regretted getting rid of my GH4 when I started seeing buzz about this. With so many great options getting released in the coming months however, I think I might hold back before picking up another Pana.
I think your early comment to Jimmy is spot on, though. We are 90% there, and soon enough IQ differences in different brands and models are going to be very, very slight. That is, until 8k becomes the next big thing. (Damn you Neumannfilms and youtube, can't I have another year of 4k? https://youtu.be/sLprVF6d7Ug)