PannySVHS

I just saw a video with the S1II, shot for a big review site. It was a rather lazy display of cinematography, in concept and realisation. Shouldn't working for a huge review site be rather inspiring for the tester to do the cameras justice when using it in the field! They don't make it easy for us to want to buy a camera. Good!:) Nikon Z6III for 2100 Eur new, now that is a whole lotta camera for that price! Maybe there are some convincing comparison videos between Z6III and S1II with convincing video work. Names are both kinda equally meh.:)

Of course, Lumexa😎 S16 gate on the S1II would be around 2100 x 1250px, considering a 2.88 crop factor and a 1.66 aspect ratio. That's not too bad, better than the og pocket. Mft sized gate would sport around 3000px in width.

I meant, beside being a FF camera, give it a variety of formats/gates. Wouldn't that be a jam.:) @eatstoomuchjam

And 10bit Hlg or log, please. Call it the Lumix Bolex and a sister model the Lumix Bolex ND. Give it a S16, 16, 2/3, S8 and 8mm gate mode plus GH4 battery life. @eatstoomuchjam

That goes for many cameras, all of the 10bit bunch for sure. Nowadays users are obsessed with numbers but grade their footage to the shittiest outcome possible. It's really laughable. GH2 or GH4 videos look better by average than many videos by current cameras. That says a lot about these kinds of users from back then.

As long as colours look shitty enough, everbody seems to be happy.😊 A lot of youtube footage from the current 10bit and raw cameras makes CineD on the Gh4 look like from a grand era of color science. I really loved the colors from your Bmmcc footage and I liked them better than GH7. @kye I've only liked the color from half a hand full of GH6/7 videos, one of them with high production values by Olan Collardy. It seems to me like it's harder for a lot of people to treat log footage shot in natural light, coming from these modern hybrid cameras of the last five years. I like my og bmpcc much better than my Lumix S in that regard, same with stuff available on youtube.

LX10 in photo raw is very nice. If it had 10bit HLG for video, it would be a perfect pocket camera, even moreso with an evf. I don't enjoy slippery phones for taking images, billions of people do though. I love the 24 to 70 F1.4-2.8 zoom on the LX btw. A 24 to 50 zoom coupled with a 1 or 1/1.5" sensor would be nice and a mechanical focus wheel as well. Afaik only a few phones offer the latter. Is that right? Are these your shots? @Andrew Reid Nice images and colours. @Cosimo Colors remind me of GH2 palette when in use of skilled hands. Old school digi vintage look by oldschool 8bit masters like Martin Walgren or Andrew Reid.:) That reminds me how much of imagelovers GH2 users were when creating their pieces. I barely find any good stuff shot on recent cameras. The destruction of vimeo didn't help that I guess.

I've been thinking about the 15mm Panny Leica for a while. It's a pretty looking lens. I am very happy with my 14mm pancake though, which is an awesome little lens on my GX85 and my og pocket. The 15mm has about 1 stop more light gathering in comparison. If it had a clutch mechanism for hard stops in MF like the Oly 12 and 17mm, it would be hard to resist for me. There is also a cheaper Dji branded variante out there which came with Dji's mft raw recording gimbal camera. What would speak for the Sigma over the Leica? Maybe the big focus ring and ultimate image quality? Though I imagine the Panny Leica is no slouch in the image department. What camera would you mount your lens of choice to? Did I read something about a GH6 or GH7? Maybe big lens for a big camera then?:) @mercer

Would love to see the Konica 40mm on your FP, even moreso on your 5DIII. @mercer But I think, flange of Konica is shorter than EF. I have an extra adapter for L to Konica mount besides my EF to L adapter. So I am pretty sure, flange should be shorter than EF. I still have a sleeper lens, a 50mm f2 Schneider Kreuznach in Akarette mount. I am not sure if there is an adapter out there, as there were barely any professional ones around for Mft. Akarette like Akarelle is a viewfinder camera with mountable lenses. Lenses and cameras are from the 50ies.

The mighty 35 to 100 F2.8 zoom. I got three of them in search of a perfect one. It is an exiting piece of class. It´s from around 1968 to early 1970ies afaik. Back in the day it was a very expensive and overengineered lens with the goal of being on par with primes. Happy hunting to find one in good condition.:)

Could be the sensor from the Nikon D60 btw. @MurtlandPhoto I used to fancy that Epson camera years ago. For photography I love a plastic fantastic Canon Autoboy, a Oly 35RC or a Ricoh 500G and other ps and fixed lens rangefinders. I had a great summer with the mju II, XA and 35RC Olys when film was still affordable. I had so much fun trying out an Oly 35 SP or a Yashica Lynx 14, which I have sold since then. I love using the og pocket for the image, for the size and the whole feeling. The quirks are fun and a great challenge to grow on, though I would not include the battery in this category but rather name it what it is, a nervewrecking flaw. I love to combine things in ways that exite in regards to handling, artistic possibilities, the right strokes with the right brushes, like the og pocket with an AF 14mm Lumix lens or a S1H with a 35mm C-mount Zeiss, making me feel an artistic rush and sensation.

There are discussions about specs and there are discussions about discussions which are about specs. This is the thread to find both of them.😊 It´s also the right place to ask, if anyone in this thread would love to do a Lumix S series "challenge" of filming fun and task? Who would like to participate? How about some telelens action, 70 to 200mm range fi? Urban life, 120p slowmo, leaves and trees in a captivating montage? What else comes to mind? You name it.

Filmstock Lynch Dune > digital Villeneuve Dune, Filmstock Bladerunner > digital Bladerunner 2049. Oh boy, I´m in trouble now. The original Bladerunner is a stunningly beautiful and groundbreaking scifi neo noir, in which color makes the world materialize like one can touch and breathe it. Bladerunner 2049, though a well designed and high class realization, is rather abstract and reduced in regards to composition, geometry and colour imo. Lighting, though a tour de force of effort and technological prowess, feels streamlined to me. In comparision, light in the original Bladerunner is vivid, lively, wild and untamed, of opulent baroqueness. 2020ies Dune felt hollow to me, when I watched it on Netflix. It looked and felt like a center perspective duotone coloured video game. I just read that it was transferred from digital to analogue and then scanned back to digital. Posh spice! 😊 The 1980ies Dune was fun and a best of 80ies spectacle with a meditative prologue and full of atmosphere, great ambitions and quirky failures, a cult classic with lasting charme and soul. Though I prefer the analogue filmmaking of masters like Lynch and Scott over filmmaking of current times Villeneuve, I would not say that analogue Roger Deakins is better than digital Deakins. I imagine there would be more bad analogue movies than good ones and at the same time more digital mediocrity out there than analogue lacklusters in absolute numbers, due to the sheer amount of digital output. A statement about analogue being better than digital is very general and misses a lot in regards of the beauty and quality of digital filmmaking. The og post is still a good tease for a lively discussion and a well written fun read. It sofore deserves my big like! I do not a agree on the general premise of the original post but I can share its love for originality and sincerity for cinema, though I found that in digital as well. I love the number of quirky, playful, inventive shorts, semi pro music videos, classic and not so classic indies and labours of love, which have been produced since the rise of 8bit 420 cameras. I love the 8bit 420 gems of old days vimeo as well as full scale digital cinema movies like Lighthouse, oops that one was analogue.;) I don't care for most of the high scale Hollywood or Netflix Blockbusters but I love tons of other digitally filmed, edited and graded films and videos I got to enjoy. On a side note, the first Raid movie was an 8bit 422 masterpiece in many regards, the glory of Panasonic AF100 output to an Atomos Ninja. Most of you know that, of course. I still enjoyed mentioning it.:)

@eatstoomuchjam@Clark Nikolai Let's get it rolling.:)

Just use the search option. As an example I found the coolest posts on lensing that way. Give it a try. If you don't find it here, search Roger Deakins' forum. You can also post a question of yours which you wanna ask about a topic of your interest.

The forum is overflowing with cool stuff. Just browse around. You could also ask your specific question or post your insights and findings from your filming job or activities.

Good thing, Ninpo made a joke and that you know about it. Just these youtube jokers make themselves believe they are not a joke nor shills. @wushuliu We know they are a joke though and not even being entertaining. S1RII, keep the hot footage coming.:)

I'm seconding a used Lumix S5. GH5 and G9, if full hdmi is necessary. Also the additional 4K S16 mode is super cool. GH5II for full hdmi, preinstalled VLog and also sporting 10bit in 4K60p just like the S5. It further shows the least sharpening of the bunch.

I'm keen on our own findings, footage, artistc work, analysis, concepts, our creative work in general and reflection about it. Like in my post above, I am with @kye and @QuickHitRecord on this. Well designed challenges are a great. I'd love that. I don't care about the endless repetition of specs and mediocore youtube links over and over again, which have been bloating some threads. Less hot air, more artistic work and experiments. Like in pre corona times. The cinematography . com forum has tons of that kind of great stuff. Why not getting back to focus much more on that rather than recycling internet discussions.

The 28mm and the XM5 should be a treat. S5 and the 135mm on sticks would lovely, maybe even in S35. I'm getting exited to test my S1H on sticks with the 90mm. @Ninpo33 S1RII, like the S1H before, could be the h264 and h265 camera of the year besting all other Dslms in these codecs up to Iso 12800. All Intra h264 and Prores HQ should provide pretty much the same quality anyway. Can a variety of crops be used for Prores Raw, like S16, S35 and 4to3 ratio?

That 135mm looks pretty. Thanks for posting. What camera do you use the 90 and 135mm with? @Ninpo33

Yes, readout at 6K60p is faster than for 8Kround with 15.5ms. @Andrew Reid Pixel to pixel 4K120 should provide same resolution as it does on Sony FX3 and A7SIII. The S1RII has a 2x cropped gate in 4K120 pretty much the same as a FX30 in 4K120. With the higher sensitivity and dynamic range of the sensor it could possibly mean only one stop of higher noise in this 2x cropped 4K120 mode at isos up to 12800, compared to the full sensor 16 to 9 gate of the FX3 and A7SIII and one stop better than the FX30 or a GH6/7. But that's an estimation. Tests will show. Colour and a high resolving unsharpened image with good latitude regarding textures and colour could be strengths of the S1RIII.

Pixel to pixel mode should show the same resolution as the FX3, just in MFT gate. @Walter H Penalty regarding noise could be okay, since the S1RII has very good noise performance. It's a 6K60p full frame camera with the 4K120p mode of a GH7 as a give away. I know the GH7 does it oversampled. Then it's a Sony 4K120 FX30 thrown in for free.:) I would love to see the 28mm Vivitar in action.:) @Ninpo33 It looks like a Vivitar I lens in body design and sturdiness, doesn't it? Iirc from my ebay tours some years ago, it looks just as cool. Is the 135mm as nice as the 90mm? Have you shot with the 90mm? cheers

Great idea! @Andrew Reid There are so many cool people I enjoyed to interact with on this forum. So many cool posts. I would love some of the older discussions to be continued and new topics to be explored in the Eoshd spirit we all cherish. We could share more of the cool findings and lens explorations and footage like we have been doing in the past. My Konica 35-100mm F2.8 needs to be showcased or my 16mm lens set which has been in use for the SI2K from Pillefilm in Cologne until they quit business three years ago and so on. Sharing footage has become less pleasant though with all that datamunching these days, especially when it comes to footage with people and family. It's a challenge we are facing. In addition to the fact that vimeo as we know it has practically dissolved. Maybe i should get a dog like gunpowder which people might enjoy to see being filmed, of course only until @Mattias Burling is coming back. Since we are at it, I would love to see @Ed David swinging a Cinealta F3 around again with his Libatique handheld camera skills. Like said, great idea, Andrew. Maybe another 8bit challenge would be lovely too. Ed David putting the internal 8bit Slog of the F3 to a test. I could do the same. Anyone still with a C100 or og C300 around?:)

@Emanuel RS in 6K/4K 60p full frame is around 15.5ms, so pretty good and not an issue for most scenarios. I am not fond of the 22ms in 24p 8k/4k, especially not the latter. What I could take away from the online footage is a lush creamyness of textures which I really like, high resolution without oversharpening.