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j_one

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  1. It's interesting you guys bring up the EVA1. SDI input at that price range with a mostly foolproof image...I've seen side-by-side comparisons with the C70 (pre RAW update) and they match VERY close. Image isn't as detailed as S1H or BMPCC6k, but I can live with that. I can work around the crappy LCD and menus too. I'd get the FS700R in this range but the size/recorder setup and the Sony color just doesn't match up. How would you guys compare EVA1 to BMPCC6K for image and usability? That was my next investment for professional work before investing in Komodo/C70/FX9. C200 is worth a mention in that comparison, I suppose.
  2. I've been waiting on Nikon to stop being the sleeping giant I've believed it to be in the video department since the D750 release, and from the IQ I'm seeing from N-RAW we might just have a contender for best video image out of a mirrorless hybrid body. I hope this isn't hype, so I'm waiting for more videos to surface. Color fidelity is outstanding. Image is detailed (cinema body league rendering) without looking mirrorless "sharp". DR isn't lacking. Highlights look serviceable..
  3. The first thing OP mentioned was quality above all else. The other crucial information needed would the type of production setting/workflow the camera will be used in. OP also mentioned being prepared to manual focus, so this has me believe the shoots are more methodical and can allow for lighting around camera EI between takes, extensive grading, etc. For that, yes, get the Blackmagic 6k or Zcam offerings. Absolutely. These models are made for controlled sets and crew support. But if that assumption is wrong, and you need anything that is even remotely related to the nature of snapshot shooting, you'd be better off with a sub ~$4k mirrorless system that offers usability perks (AF, IBIS, dual gain/ISO performance, battery life, form factor, and so on).
  4. j_one

    Sigma FP

    I was a big fan of Sigma quattro sd images. Obviously their ART lenses have been a huge success. So they were the company I was rooting for to change the game with the fp. But like Panny pointed out, I'm just not feeling the images I see. I love the color depth I'm seeing, but that's it. There's something weird going on with the gamma curve, DR seems limited. From all the footage I've seen either the highlights clip hard (like GH5 footage) or the blacks crush abruptly. If they're working on a Foveon camera I'm still here for it's arrival. I want them to win.
  5. A solid indie budget A-cam and a viable b-cam to other workhorse cameras. The improvements to the image alone get it in the territory of being taken seriously, especially the DR and color improvements. That's what folks have to pay attention to. I believe the veydra/meike lenses were absolutely made for this camera and its design/function ethos. No other mount has cinema glass that small. For the fluid small body run-n-gun style of shooting that benefits from phase detect af, pick up the OM-1 or earlier Olympus releases instead.
  6. Me neither. I think both of the products are relatively new as of the date of this post. The 350 fits my budget/needs though. Someone in the comment section of that video claimed the 500 was little more than a stop brighter than the 350 but who knows. I think I might just go for it. I just don't want to be wrong if the godox/nanlite is a better bet. Talk me out of it man..
  7. Apparently they changed the design of the 350 by combining those units, so it isn’t AS cumbersome in theory. I do hear you though. I mostly intended to run it from walls. I appreciate the reduced power draw and running temps LEDs bring
  8. Hey there 👋 So I’m personally deciding between a few units, the Nanlite included. Adorama has their new Clar 350 with supposedly quieter fans (in contrast to the 300w model) listed at $450. I also have a deal for a lightly used Godox VL300 for $540 after tax/shipping. I was about to order the Godox before I saw the Nanlite and Clar. Now I’m leaning towards the Clar. The power unit setup seems similar to the aputure 600d pro, but I may be mistaken. I really only care for the bare bulb output, color accuracy, and fan noise. Opinions?
  9. I'm also excited for the D750 price drops. It's hard to believe it came out in 2014, it's still a very capable stills camera. I actually missed the timecode out bit. That actually is very interesting..
  10. I'm surprised to read you state that about the 1DC. Was the image just not doing it for you? Did you enjoy 5D3 RAW more? I believe Canon works for those that just want an image "that just works" without thinking of the 8bit limitations. I guess you could argue the same for Nikon video since D810/D750. I see it like this: Panny/Oly/Fuji/Sony mirrorless video can def render images that are staggering for the money. It's fun times for the enthusiast avoiding the cost of entry for cinema realm equipment and workflow. But unless you are consistently nailing your exposure and color, making sure your scene elements fit the limited DR and codec constraints of these cameras, you'll probably get stunning results 30-50% of the time and need stupid hours of post work fixing the rest of the 8bit mess, while Canon (and perhaps Nikon) dslrs/mirrorless are quite foolproof in operation to produce a result that viewers care about. Operate a 5D4 or EOSR , I'd bet you'd get more usable shots on average in run-gun situations than the other superior spec 4k mirrorless offerings. I just think Canon/Nikon images are more forgiving about screw-ups in white balance and exposure errors in 8bit h264 realm than the others, though the gap is now closing (Sony/Panny color/WB has improved, Fuji/Oly take video more seriously, etc).
  11. If you aren't shooting for autofocus settings, or need 10bit or 4k24/60, both newer cameras can't warrant the upgrade until after you've made investments in other areas you mentioned. I'd imagine light and glass will go a long way with the D750. It's too bulletproof of a camera even for full HD. Expose and record externally though FHD recorders are cheap.. Nail that exposure for now and dress your set, then buy a beefy cinema camera later even better than the options named here! Or even Panasonics full frame offerings coming up! I vote light, audio, and set first. Again, it's only if you don't need autofocus or super detailed 4k renderings of your work. If you don't need technology "pop". Maybe it could depend on your genre. My philosophy is this: few prosumer full frame 4k cameras are as bulletproof as the D750 or 5D RAW for image. But if you truly want that digital pop, 5D/D750 will start to feel like a bottleneck at the same time. XT3 for post push and HFR, Z6 to stay with Nikon, but 4K IBIS upgrade. Your call man! D750 is plenty camera for 2k delivery if you can control your sets, think about it
  12. I think it will turn more heads once it gets raytracing and bug fixes. It has great potential, the developer has tons of cool content showcasing previs work on his IG
  13. Those stops y'all are debating over are going to fall apart fast in any real attempt to recover highlights/shadows, let alone gamut remapping and color pushing. The science is there to make it possible (Canon does well enough to with 8 bit in C series, d750 was nice enough) but as long as they're dropped in these heavily compressed mirrorless codecs...you might as well keep that noise floor crushed to blacks imo. Trade color for stretched thin DR? On you
  14. Are you sure they were taking stills? Not video?
  15. I actually have both of those issues, exactly as described. I'm assuming you're using nx lenses as well? Have you tried with any manual or adapted lenses? Why does color tint drift when white balance is set to Kelvin values? Why exposure drift on manual? The camera wants to do it's own thing lol This is a dead system, I don't blame you for immediately moving to a more reliable, supported system for professional work you can't afford to screw up. But it would be nice to fix, nx1 and it's S lenses are still pretty unique and relevant today. You know there's a nx subforum right?
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