mercer

Hopefully it's just the battery. These little gems getting quiet expensive these days. Great shots, makes me want to try the Pentax, great testimony to a lens! @mercer Was mistaking them as Canon 5D3 Raw shots. But you made that Sigma FP sing. There aren't any small mechanical 2x or 3x zooms for 16 or S16 unfortunately. @QuickHitRecord Maybe there might be some in 2/3" cctv land, but it would seem kind of silly to put that on a og pocket or m2k losing too much pixel realestate. On the Eos M that crop would mean 2/5 of the sensor and x axis pixels and be in the 2k ballpark. A 2/3" crop might sound appealing for the Eos with a tiny 2/3" zoom.:)

Haha, I haven't used mine in so long that I can't say if it suffers from the same afflictions.
I'd love to mess around with ML on the eos-m, but it seems my camera is broke and won't turn on any more. It could be that all of my batteries went bad... I used to buy really cheap ones.

In other news, I finally had a chance to get out and shoot some stuff yesterday with the FP. For this outing I brought along an oldie, but a goodie... the Super Multi-Coated Takumar 50mm 1.4.
Here are a couple shots that didn't turn out terrible...


I'm still using my old MB Air from 2014, so I can't always say the image posted looks exactly like my graded image. I hope to upgrade my computer soon enough.
That said, I'm in the middle of a test for a short film I am hoping to make this summer.
But to stay on topic, I forgot how amazing the Tak 50mm is and I really like it with the FP.

Haha, I haven't used mine in so long that I can't say if it suffers from the same afflictions.
I'd love to mess around with ML on the eos-m, but it seems my camera is broke and won't turn on any more. It could be that all of my batteries went bad... I used to buy really cheap ones.

In other news, I finally had a chance to get out and shoot some stuff yesterday with the FP. For this outing I brought along an oldie, but a goodie... the Super Multi-Coated Takumar 50mm 1.4.
Here are a couple shots that didn't turn out terrible...


I'm still using my old MB Air from 2014, so I can't always say the image posted looks exactly like my graded image. I hope to upgrade my computer soon enough.
That said, I'm in the middle of a test for a short film I am hoping to make this summer.
But to stay on topic, I forgot how amazing the Tak 50mm is and I really like it with the FP.

In other news, I finally had a chance to get out and shoot some stuff yesterday with the FP. For this outing I brought along an oldie, but a goodie... the Super Multi-Coated Takumar 50mm 1.4.
Here are a couple shots that didn't turn out terrible...


I'm still using my old MB Air from 2014, so I can't always say the image posted looks exactly like my graded image. I hope to upgrade my computer soon enough.
That said, I'm in the middle of a test for a short film I am hoping to make this summer.
But to stay on topic, I forgot how amazing the Tak 50mm is and I really like it with the FP.

In other news, I finally had a chance to get out and shoot some stuff yesterday with the FP. For this outing I brought along an oldie, but a goodie... the Super Multi-Coated Takumar 50mm 1.4.
Here are a couple shots that didn't turn out terrible...


I'm still using my old MB Air from 2014, so I can't always say the image posted looks exactly like my graded image. I hope to upgrade my computer soon enough.
That said, I'm in the middle of a test for a short film I am hoping to make this summer.
But to stay on topic, I forgot how amazing the Tak 50mm is and I really like it with the FP.

I have a similar unbranded lens that's f1.6. With the 2.5K crop mode, it's almost perfectly usable throughout the range. It's a fun little lens, and very versatile. The only downsides are the rotating filter threads, slight vignette at certain focal lengths, the zooming mechanisms/runners showing up in bokeh when shooting wide open, and spikey party-favor bokeh when closed down. So, there are some compromises.
I was looking around the ZLKC storefront on AliExpress and there are lots of neat 1.1" c-mount lenses on offer. I would imagine that they would cover S16, but I can't find any reviews.
Have you installed Crop Mood yet? The M becomes a whole new camera.
Ah, yes. I remember that mod. It was one of my favorite threads on this site. Once you start getting into 1/2" lenses and smaller, it really is uncharted territory. Too bad there aren't many interchangeable lens cameras that can work with them.

The 50mm f/1 Noctilux vignettes like crazy on full frame.

As I'm sure you know and you just misspoke, you need an external drive for 12bit 4K, not an external recorder. You can shoot internal 12bit 1080p, but ML Raw has an undeniably better IQ, in all respects, than the FP's FHD.
I agree about the IBIS, but I don't really see a point for ML Raw with the R5? You can already shoot internal raw. But all of the Canon IBIS cameras are Digic X, so it will be a long time before they break that code.
It will be interesting to see what they can do with the EOS-R and hopefully the M50. I'd actually be really happy if they were able to enable continuous MLV raw on the 5D4.
But I'm still really impressed with what the 5D3 with ML Raw and a Canon IS lens is capable of handheld. So maybe I'm just easily impressed. 

Script and partial shortlist written. Ready for action tomorrow night when wife is out, so hopefully no interruptions!

I really think Redraw is coming or at least a varient of it. I get market segmentation but Nikon already displayed its willingness to put internal RAW in their cameras with no caveats. REDraw is coming to Nikon mirrorless. 

I don't think this will kill sales for any of the "RED" cameras. They are made for a traditional on set workflow. No one is going to want to use a Z8 with HDMI on a large production unless its a crash cam. 

Plus the RED Komodo is priced the same as the Nikon Z9 to begin with. It's not like its ARRI where they don't sell any cameras lower than 50,000 usd. 

RED never had the capacity to put out a mirrorless body and compete with the likes of Nikon or Canon, now they don't need to. 

We shall see soon enough. 

I'll chime in with my usual advice about colour grading.
The simple fact is that colour grading has a much more significant role in getting great looking images than the camera does.  I'll also re-enforce the points above that what you point the camera at is more important than anything else.
When we look at something shot on ARRI or RED or the high end Sony cameras, the reason they look great are 70% the scene, 25% the colour grading and 5% the camera.  I know this is a bold statement, but I stand by it.
Colour grading is the elephant in the room of all online discussions about cameras.  Everyone is looking at sample videos and going "wow, this looks great - I want to get that look without doing any colour grading or work in post at all!" and it's just not true.
If you need more convincing, here are a few things to look at:
The BMPCC 4K can match the Alexa almost perfectly...   So, why don't all P4K videos look as good as Netflix shows?  It's not the camera! The image from the GX85 is more flexible in post than you think...  @John Matthews I haven't forgotten about doing a follow-up with skin-tones in it. Simple colour grading > Camera colour science...  I compare a few examples of the 709 version of some professional grade images with the final colour graded image, and it's pretty obvious that the 709 version looks quite plain - a lot like the images we get when us mere mortals shoot The best film-making advice I ever got was to do with colour grading, but it helped me improve my shooting, editing, sound design, etc etc, the whole lot. Here are a bunch of GX85 shots SOOC that I took in Korea last year..  this just goes to show you that not only is the GX85 a very capable camera, but that it's the subject that you put in front of it that really makes the difference.  Of course, colour grading will elevate these beyond that level. High-end TV shows and movies look nothing like the standard images out of a camera... In this thread I compare some standard images from ARRI with real images from TV shows and movies and it's pretty obvious that not only are the colours significantly changed, the real images aren't sharp and clean like the videos that camera YT seems to idolise.  The goal isn't technical purity, the goal is creativity, and this means taking your sharp and clean images and giving them some character.   I could go on (many will wholeheartedly agree on this!) but long story short...  the camera is a minor part of the journey that the image takes from finding / creating something cool to point it at, to all the work done in post.
Also, learn to edit.  Well edited bad-quality clips are better than boring high-quality images every time.

I thought the same, until I tested a bit the 4.1 K (pixel skipping) of my z9 as I calculated that it was about 350 mb/s bitrate  (I dont know if it is capital M or small m), compared to about 200 mb/s the h.265. Another surprise was that it played better using Resolve than H.265. For me this has been my defacto standard for higher end work.
I must do some more test about DR etc. to know what loss compared to 8k. Which I think is just too much. If I could get a 4k or 6k raw camera, I would be super happy or with the likes of Redraw higher compression. 

I, for one, can say that I enjoy having internal raw available (even if I don't always use it) and that I have little or no use for 8kp120.  
I'd also say "Nikon won't enforce their new patent" and "they'll probably license it" are completely incompatible statements.  If they don't enforce it, other companies would be stupid to pay for a license.  Even if Nikon fought to invalidate the patent in the past, now that they own it, there's a decent chance that their opinions on the validity of the patent have evolved.

It’s just not how it works.  Sony semi sells and DESIGNS sensors.  They don’t hold back tech from any customer who is willing to pay.  They also do business with Sony direct competitors.
 
They all co-operate a lot more than us consumers realise   
Think of them as a seperate company to Sony cameras.  

why do you think sony owns autofocus, or that nikon licences it from them? 

I'm not sure pixel shield PDAF IP is totally owned by Sony, since Nikon has a lot of patents related to that technique. Of course many cross licencing is happening in this industry. Dual gain was invented by Aptina, now part of ONsemi, which doesn't provide sensor for any of Japanese ILC makers, but everybody is using the tech. However if they want to add AF capabilities to RED, I don't think they would use pixel shield technique, cause it degrades image quality a little bit (the shielded pixel has lower S/N ratio than the rest of the pixels). Dual pixel and quad pixel is the way to go. Nikon has some interesting patents about that too. People put too much emphasis on sensor license fees. The fees are not really a big deal. The fab costs is. 

Announcements like this are just wonderful...
All it took was a pair of press-releases and all of a sudden dozens of people with no training or experience instantly turn into patent attorneys and corporate lawyers specialising in mergers and acquisitions and market strategists etc, and not only that, they also instantly gained insider knowledge about market caps, sales figures, product strategies, etc, and just when you'd think that it couldn't get any better they also become R&D experts in both hardware and software design!
With a shift so radical in capability, even the hardened skeptic must believe there is a higher power involved.

I think I know the reason, why Nikon bought Red. I'm very sure they did it just to piss this guy off. He sounds like someone just cut his mullet off. 😊 I like Mike. But seeing and especially hearing him was hillarious. "I am pissed."😂 He just bought an Epic btw.
 

Here's an interesting video regarding the purchase...
For those that don't have the time, or inclination, to watch, he basically says that this purchase was so Nikon could get into the high end cinema market. He also claims it has nothing to do with the patent, but then kinda contradicts himself. Either way, it's a breakdown of what probably occurred over the past 2 years between Red and Nikon...
Trigger Warning: if you despise Red and believe their patent is complete BS, then you may want to skip this video.

Well, I don't need any because I'm not a customer at any point in the near future, but if I was considering buying into the Red ecosystem, I'd like a bit more information from Nikon or "Red" before I made such a big purchase... another press release... a new Red camera with a Nikon badge on it... something to let me know that they're not just going to ingest the IP and scale back their new cinema division.

Well, I don't need any because I'm not a customer at any point in the near future, but if I was considering buying into the Red ecosystem, I'd like a bit more information from Nikon or "Red" before I made such a big purchase... another press release... a new Red camera with a Nikon badge on it... something to let me know that they're not just going to ingest the IP and scale back their new cinema division.

Lol what. Only some of Nikon's sensors are Sony designed. Others like the z9 are designed by Nikon and then manufactured by Sony. 

There has been no mention of n-raw being ticoRAW since 2022, so I couldn't say with any certainty if the current version of n-raw is the same as was announced before the Z9 or Z8 was released.
As far as Red's patents... I'm not a patent attorney or a patent judge but I do know that many companies, including Apple, could not convince a court that their patent was invalid.
We do know that in May of 2022, Red filed a lawsuit against Nikon for patent infringement and less than a year later, in April of 2023, the case was dismissed at the request of both Red and Nikon and less than a year after that, it's announced that Nikon purchased Red.
So it may be possible that Nikon wants to enter the high end cinema market, but based on the timeline of events, one can ascertain that Nikon's purchase of Red is about Redcode Raw... maybe... but I haven't sat in on any of the meetings between Nikon and Red for a while...