j_one

I bought the NX1 twice over and enjoyed each experience immensely. It was an amazing hybrid, a true hybrid, that quietly but strongly set the standard for what a hybrid body can be. I'm still amazed by how well stills and video from it hold up today, that sensor was special not even counting ergonomics. Both stills and video had a special "3D 'pop'" rendering to it, hard to describe. But let's not pretend that the video limitations haven't been surpassed by recent releases. Even in Gamma DR, the dynamic range was limited and color just couldn't hold up in any bit of post stretch. Strange pink skintones and milky blacks when you push the limits even with the bitrate hack installed. A shame considering the sensor readout was compared to RED imaging. I think it's still a great contender for a SOOC apsc hybrid that takes amazing stills, but nothing more when you consider the xh2(s) models have a more malleable file in post, in prores, with better PDAF+eye autofocus..

Hey! Ended up getting UMP G1 😁, and ran into a fork in the road with which of those plate systems to invest in. I understand VCT to be more ENG tailored and is quicker to get off and on the tripod, but Arri dovetail plates are what you see on proper film sets. I wanted to go dovetail route but couldn't figure out of you specifically needed expensive Oconnor or Sachtler tripod+heads that are designed for dovetail base plates? Or is the plate something you can mount to less expensive but sturdy tripods? My work will be split between corporate/commercial and local indie narrative projects.

I know you're right. If I'm building up from the lower end then client perception probably isn't as important unless I'm renting anyway. And it's best to get something that can be serviced. That's a proper business decision. I'll look into the Pocket G2 and just budget for the upgrade later on. I had no idea the FS7 dropped to the $2k range, wow. Time is moving along.

Sorry to bump this old old, but I have the opportunity to pick up the original 4.6k for around $1300, perhaps even less if I negotiate. Need you guys help! I was dead set on picking up a used pocket 6K or even used pcoket G2 for around the same price, but for my work I'd benefit from SDI connections and client perception of the "professional" form factor. Working on a budget. I don't mind forgoing the added benefits the Pro G1/G2 bring. I've tried the ursa mini G2 as well as the pocket 6k pro on set and came to the conclusion that I'd still rather use my own IRNDs of choice as they would perform better with IR pollution more consistently than the included NDs in those models. My question is, with everything stated in this thread so far, is it just not worth dealing with the quality control issues, even if I plan to upgrade past it within the next few months? Even for this price? I'm tired of renting for the time being; need something in-house for a massive push of original content to get my company up and going (mostly corporate/commercial with some narrative film work in the mix). Admittedly I feel as though I should save for something in the sub $2.5-$3k territory. A dream would be to get the EVA-1 used, but I'm content with building with the 6k or 4.6k models until I can afford the likes of a C70/Fx6 in-house. I come from loving budget cameras that produce meaty CDNG files (original bmpcc, 5D magic lantern etc) so if I was a hobbyist I'd buy just call it a day with the Sigma FP. Operation features like autofocus and the like aren't as desired, but I'm looking for a balance between bang-for-buck image and client-level operation...hope that makes sense? I'm considered other options, like the fs700/fs5 with recorder too. Not a fan of the C200 image. Thanks guys!

You know, I was wondering what happened to their 350w model. It improved on the ballast design among other things, but it's just plain out of stock on Adorama. Speaking of Adorama, the Godox VL300 has been $350 on their site for about a month now. I'm VERY interested in your findings. Can you tell more about the ZSYB 300w? What are the cons of using the transformer on a 110v outlet? Are you getting full output with it? I was going to order more VL300s but you just piqued my interest friend! And what's the other light you mentioned that's in the mail? After I picked up some Ambitful and Sutefoto lights that performed better than even the US-available Godox offerings I figure I'd take more risks on these Chinese lights. I'm hungry for output but don't want to pay an arm and a leg just yet!

1440p is my data-conscious sweet spot for most web delivery and general streaming

You feel that way about Long GOP or all codecs?

So what's everyone's take on the FP/FP-L after all the firmware updates, BRAW and Prores Raw unlocks, etc? I viewed these cameras as a neat party trick: apparently Venice-level color and detail rendering and raw data at the cost of sensor readout/DR and ergonomics. My guess was, this camera shines in a studio setting where you can meticulously dial in exposure from controlled lighting to make up for sensor DR. It can also work great for drone, gimbal, and crash cam purposes. Think Blackmagic Micro Studio 4k. It cuts in well with Venice and RED footage better than one might think, in a controlled setting. But, shoot in a high dynamic range scene and your footage may look no different than stuff coming from an LX100. Something is going to clip sooner than you'd like, requiring more grip work. I was hoping for this or the FP-L to be the next true OG Pocket replacement, but instead I ended up categorizing it with how I view 5D Mark III magic lantern: The perfect camera for me, untouchable color and motion rendering at this price point, at the cost of sensor sensitivity that is more headache than it's worth for anything related to professional work. Do the Vlog or Arri Log C color-managed workflows that came from the firmware updates improve latitude or highlight- rolloff? Also, and finally, which crop modes of both cameras are full sensor readouts? I think I'm settling on either a used EVA-1 or a Pocket 6k for my next investment (both cameras with generous amounts of sensor DR for any scene), but I thought I'd stop here to see if I'm dismissing sigma too quickly. I really do love their image rendering and product ethos.

If you're a DP/Camera op bringing in enough monthly to more than justify the cost of a modern high-end production camera then cool. But it seems the general consensus is that the diminishing returns of camera bodies has most smaller production companies and freelancers own their lower-value base kit (your Komodos, R5c, lumix cams, sony alpha cams etc) and rent the higher end models of the same system for the demanding projects that warrant them. I invested in Topaz too, and am a believer in the concept of older cameras being good enough. But, how often are you going to add AI upscaling as a viable process to your workflow/pipeline? It helps in a pinch when you want your C-cam Blackmagic Micro to match your big boy units for a couple shots, but upscaling doesn't sound fun to do all the time. Unless you are only upresing the final render, it doesn't sound efficient adding possible hours of overnight upscaling your clips in your home render farm.

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.

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..

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).

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.

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.

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..

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

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?

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..

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).

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

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

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

Are you sure they were taking stills? Not video?

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?

I got the 4/3 panaleica 14-50mm f2.8-3.5 OIS with adapter on my bmpcc, for $300. Not quite LX100 spec but the lens peaked my interest, I was curious when I heard about the "leica rendering" and great IQ for a zoom. No speed booster glass in the way, super sharp, and OIS for my pocket via 4/3 adapter electronics, at least no more micro jitters Cons: it's big and heavy for m43 system, autofocus is useless, and the OIS is pretty dated in performance especially for video use. Otherwise...yeah. leica rendering indeed. Just good glass. Cheers