mercer

Happy New Year lens friends... I have successfully whittled down my collection to a reasonable number and after my shoot the other day, I took a few more shots with the Samyang 50mm 1.4. This lens has been on the chopping block so many times, I now root for it as the underdog of my collection, but as BTM has said a bunch of times before... Samyang lenses punch a lot more than their weight.

So raw has less DR due to lack of noise reduction? Downscaling reduces noise. No benefit in DR.

Thanks, he decided to be cautious and go with V90 cards.

I've had a couple crop sensor cameras with IBIS and in conjunction with a taut strap, it feels like solid handheld. If you have really still hands, widish angle lenses can fell like they're static tripod shots. My issue is that now that I've shot FF, I don't know if I can go back to a crop sensor. I'm in the middle of a few projects right now, so I really can't switch systems, but with the quality you're getting, the S1H is on my radar when I'm ready for an upgrade. How does the S1H compare to the FF Z-Cam?

Honestly, I don't follow the development pages too much. Occasionally, I'll check the downloads page to see if there is a new nightly build or a new experimental build, but since I'm in the middle of shooting my film, I don't want to risk anything and I don't have the time to experiment. With that said, I really appreciate what Danne and a1ex are doing. ML Raw turned my mediocre skills into beautiful images... to me anyway. And yes, I used the full 14bit raw with sound from the Nightly Builds page. I never had a single glitch and I am convinced there is more detail. The extra storage capacities of the 14bit Lossless was great but I cannot afford freezes or loss in detail. I am curious if I could use the regular full 14bit raw in the July 2018 experimental build and not have any issues, in case I ever want to shoot in crop rec mode for establishing shots. I may test that in the future but right now, I'd rather have the stability of the nightly build. In fact, the original build I used was from April of 2017 and I swear the focus peaking worked better than the newer build, so I may just go back to that build.

If you decide to switch to Panasonic, you can save some money and get the G9. It has better IBIS than the GH5 but a lot of the same features as the GH5 (10-bit, VLogL, waveform monitor, etc...) since the FW update.

Thanks it seemed like it would be okay, but I figured it was better to ask people who have a GH5. He wants to shoot in the highest quality mode in VlogL. He thought he needed V90 cards, which as you know are pretty expensive.

So, after using the 14bit Lossless mode, on my 5D3, for the past 6 months I have decided to go back to the regular nightly build. At first I didn't think there was a loss in quality but after looking at older footage, I definitely see a slight loss in detail. It wouldn't be a huge deal except, for steady 2 year usage I never had one issue with the camera or FW. But since switching to the Lossless mode, I have had multiple freezes. And of course it happened on my best take the other day. Just wondering other people's experiences and throwing mine out there in case it is useful to anybody.

Don't get me wrong, I'd rather shoot raw because I am a lazy shooter and I love the wiggle room that raw video affords, but as far as IQ goes... the S1H is my dream camera right now. Of course, being a lazy shooter... the IBIS makes it even more appealing. With that said, I see no reason why the S1H wouldn't be a 5 year workhorse camera. The GH5 is almost 3 years old and that camera has, at least, a couple more good years left before it NEEDS an upgrade... When the S1H's price drops a little next year, I may buy one and in all honesty... for some of the short films I've been writing... I'll probably shoot them in 1080p... lol. Btw, how is the 1080p on the S1H? And also doesn't it have a 3K anamorphic mode... is that 4:3? That could be the perfect mode for a clean 2K downscale/delivery for my shorts.

My friend got a GH5 for Christmas and he isn't sure what card he needs for the C4K 400mbps all-i... will V60 U3 cards work? He's looking at this card... https://www.bhphotovideo.com/c/product/1512108-REG/sony_sfm128t_t1_sf_m_series_tough_uhs_ii.html FYI - he shoots narratives, so he'll need continuous recording for dialogue scenes.

Yeah, that really is a great image @Zak Forsman !!! Images like that make me question if I really NEED raw video.

Unfortunately, I sold my NX500 right before they hacked it. Luckily, I sold it for more money used than I paid for it new. It was a great little camera even if it took considerably longer to transcode the h.265 files to ProRes than it does to process my 5D3 MLV files through Raw Magic to CDNG and then through Resolve for a correction/grade to ProRes.

Obviously, for me it's the 5D Mark III and Magic Lantern Raw. I have been using it for almost 3 years now and it is still the best camera I have ever used. Since I bought it, I have measured every new camera against it and I have yet to see an image that I prefer. Now everyone is entitled to their opinions but I am going to go against the grain here and say that the NX1 and the GH4 were ahead of their time but shouldn't have been released until 2016/2017. And before I get a ton of dislikes, hear me out... I still feel that 4K was pushed onto the consumer a couple years earlier than necessary. The camera manufacturers hadn't even perfected a 1080p image before moving onto 4K. With a multitude of Oscar nominated films and Sundance films still being shot on 2K, to this day, with an Alexa or an Amira, I just feel that those cameras were pushed out too soon to help sell some TVs. Just my opinion. With that said, I've owned an NX500 and to this day I don't know if I ever used a camera that felt better in my hand. Now if I'm speaking objectively, I'd have to say that the OG BMPCC is the camera of the decade and more specifically the fire sale during the summer of 2014 was probably the best moment of the decade. That camera was nicknamed the Baby Alexa and ushered in a wave of cost effective cinema camera features from most manufacturers. In 2019, I really like what Panasonic has done with the S1H. And for the price, the Sigma FP is almost a no brainer purchase for me next year. I'm looking forward to seeing what BM releases during this NAB and I hope the rumors for the Canon 1DXiii are accurate. I still foresee myself primarily using my 5D3 for the next couple years but I may rent a couple higher end cinema cameras next year. One thing I've realized this year is that I don't need to own every great lens or new camera that comes out on the market, but for a small fee, I can use almost every camera on the market if a project calls for it.

Merry Christmas!!! I'm thinking about renting an S1H in the New Year and after looking at the specs, I was wondering... Can DCI 4K 10-Bit VFR be used in in 24hz mode? And can True 24p be used in 4K anamorphic mode?

I should have been clearer... I didn't mean that the 8 bit image was better than 12 bit... I simply meant that with the camera's limitations, I don't know if I'd sacrifice the size advantage of the camera for 4K 12 bit with an SSD. For me, I'd shoot mostly 1080p and use the 8 bit 4K for establishing shots. And for some projects, the 8 bit raw is probably good enough. Yup, I regularly use the Raw Histogram/ETTR hint with ML, but the spot meter is all you need for consistent results. Recently, I've been trying the Spot Meter in conjunction with the Histobar to get a quick visual of my highs and lows. I'm really surprised no camera company hasn't stolen half the features from ML. Canon should just hire A1ex and implement MLV into every camera above $2000.

I guess the Z6 is a good hybrid? I don't shot stills so I'm not the best person to ask. As a raw camera, I wouldn't want the external recorder. What type of stuff do you shoot? Have you considered having two cameras... one for video and one for stills? The z-cam e2c is a cheap cinema camera that shoots raw, ProRes and h.265 and you can use your phone to monitor and control the camera. As you mentioned the G9 has become a pretty good hybrid with excellent IBIS and 10 bit video. The only camera out that I would forego raw video is the S1H... but it's a bit pricey IMO.

Idk, I don't own the camera so it's hard to say, but I do know with proper exposure tools, and exposing to the right, I can pull highlights down insanely well with raw video... but I've never used 12 bit linear, so I suppose there are some limitations. Based on Noam Kroll's review and Andrew's comments, it seems that internal 8bit raw would be the way to go for me... especially considering the limitations linear raw apparently has at under 14bit. Slap on the Sigma MC adapter and an IS Canon prime and you have a small and inconspicuous camera that could be very useful for certain projects.

I don't blame you. I've been shooting raw video for 2 1/2 years now and every few months I consider convenience over raw but then I look at the files and I get pulled back in. Also after getting used to the post controls, WB... etc... it's hard to go back to compressed video. But it can be tedious sometimes. This idea that raw is for everybody, just isn't true. If you aren't shooting narratives or music videos, I don't know if Raw is worth it. IMO. Even being a narrative filmmaker, if I was buying a camera today, I'm fairly certain I'd be saving up for an S1H.

I don't understand how 12 bit color, or less, would affect the ability to pull down the highlights... linear or not.

It's a shame Sigma didn't include better exposure tools for its raw video and haven't developed a recommended post workflow, or even a plug-in, for different NLEs. What camera are you thinking of getting?

Why are you selling it?

Sorry... $870 for a Sirui lens... ouch. To each their own, but I don't like the idea of funding manufacturing for an established company like Sirui.

Damn... $1000 is a whole lot of money for a Sirui lens.

Interesting. I wonder what their process is/was for choosing which glass to use to build their lenses. I must admit, I am just getting interested in proper cinema lenses, not that I can afford any of them, but reading about them has been fun.

I wonder what the prices are to rent just their lenses? If a lot of DPs were using the Genesis, then the popularity of the Panavision primes would make a lot of sense because of the bundle. With that said, Panavision lenses are amazing and I believe they source and tweak their lenses for individual needs.