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Everything posted by PannySVHS

  1. The phone Raw reminds of the M43 12MPix sensor from the Lumix GF1, but with higher dynamic range. GF1 had some harsh highlight rolloff. Very interested in Raw video from phones in general. Would love to learn more how to implement that into practical filmmaking, data management included due to the large file sizes. I would love a 2.5K Raw mode, downsamplemd from the whole sensor in 3:1 cDNG from a 1inch or closeley sized sensor. Exiting stuff. Usuable entry models around 200USD would break the ice for me.
  2. So I bet, many of you have heard or read of the Iscomorphot 8 1.5x anamorphic adapter, which is a tiny and single focus gem. It was built for Super 8 cameras and even works for S35 but with inherent flaws regarding resolution, since it was built for Super8. Here is a beautiful video in its own right and vertical use of the anamorhot, which means that camera was rotated by 90 degrees. Camera was a m43 Zcam, so the sensor was in a 3 to 4 format position after rotating it by 90 degrees. Taking lens was a 90mm Voigtlaender. This should give us a 3x1.5 to 4 format = 4.5 to 4 = 1.125 to 1 ratio! Enjoy and happy hunting for the Iscomorphot! 🙂
  3. Phoneraw sounds pretty cool. Regarding pinned topics, eight could be a good number, providing a spot for the original phone raw thread and some other hotties like the BMMCC one fi. It would fit the bill and spirit as well I feel. Just 28! was too many imo.:) There are a whole bunch of youtube channels done by people who appreciated the credo of small and old school gear and great dedication of using it. They are all around the 500 to 4000 followers strong. So, still good stuff out there, seemingly overwhelmed by the clickbaiters. If Gerald would be the only one, he would be a great addition to the voices of camera techies. But the large number of copycats is dull as dull can be. Hopefully i get around within the next weeks to contribute some fun stuff. Just a bit busy with the heat and tideous jobs. Got a nice onetaker with the BMMCC, shot with the Canon FD SSC 35mm f2 on a focal reducer. I used a nice little old school trick at the beginning of the sequence and a self built mini jib. It´s gonna be a great pleasure to share all that with you very soon, dear friends. cheers and have a nice week!
  4. Also a very interesting prospect would be a Sony Cinealta F5, with its 2K 444 mode. Some of them even have a Prores and/or a 4K upgrade. Used ones sometimes run for less than a used C300ii does. Exchangeable mounts due to its native FZ mount are a very appealing feature btw.
  5. Lumix S1 has a 3x crop in HD, which should make it possilbe to use lenses that were made for 16mm image circle, such as the 10-100mm Zeiss zooms with its F1.8 and F2.8 variantes, also the lens for 16mm film from the Russian Krasnogorsk cameras such as mir, vega and others. Btw, some S16 lenses cover S35 such as the Tevidon 35mm 1.9, a true killer lens. I tested that myself. So you can take that for granted. Back to A7iv, other than AF and that S16 crop I don´t see a reason for me to switch from my S1. S16 on the A7iv should mean around 2.46K pixels in x-axis (7008 / 2.88) which would give it a true edge compared to the S1 with its 16mm gate and HD resolution for its 3x crop mode. But then S1 might allow me to use 16mm lenses with its smaller image cirlce in 3x crop mode. I think colour science on the A73 was pretty nice, so an A7iv with even nicer colour makes it indeed interesting from an image related point of view.
  6. I still believe to remember right, that you chimmed in once in a while when redundance in threads took over. Maybe not a pleasant and most effective thing to do. I don´t know, so I feel humbled to have suggested a possibly naive idea. People could come up and send you interesting topics they would be willing to write about with filmic examples they did themselves. I f.i. will team up with a friend of mine these weeks and put my Zeiss 10-100 T2 to use with an old Alexa on its S16 crop. I would provide thoughts on the infamous 2x Zeiss Mutar, asking question if it could be combined with a PL-mft speedbooster from metabones to counteract the 2x enlargement factor. Just an example. Or a test of the Konica 35 100 2.8, a varifocal monster of a lens, for which no sufficient test footage exists on the web. Just a bit of keywords of what I could offer, if of interest. I think, pinned topics are indeed a great thing. It will be at your hand, how many and which ones. Imo, it won´t be a r1 to r20 parade of cameras and sofore 20 pinned threads, as a metaphor. Still, there has always been great exitement about your own articles. Afaik they have been the turbo, the sparkle of every dynamics on this forum. I remember a guest article or article feat Ed David and his NX1 piece. It was a foundation of more to come and great posts by the guy. We forum members must leave politics out. It caused a lot of misunderstandings amoung friends. It only gave some real trolls power over us. Their power was destructive. The idea of a camera cafe or chit chat corner is great. I think another important task is to define categories and subcategories the best possible way. To make the relevant, not redundant and appealing and not to large in number. Not a super easy thing to do. But suggestions can be made by members and should provide sufficient ideas. For instance: Lenses should have their own category, such as footage and such as raw shooting cameras. Right now they all range underer "More". NX1 could become a pinned thread in an "8bit vintage category". This is just for a start of ideas regarding an order and topics of categories to express appeal and usuability to an audience and contributors. Challenges, we should follow through and not just announce challenges but also take them and the joy going along with them. Writing about our findings, asking questions along, creating new threads out of problems and new findings.. On a longer note. How about collabs in real time for lens nerding with ppl who are around your area. Just sayin. Not having an obsession here. Too busy carrying heavy lamps to be obsessive with anything else.:) My two cents. Time to go to bed. Thank you for everything, Andrew! Thanks to you others as well! cheers 🙂
  7. It is a great image. Just be aware to test it before doing narrative under challenging conditions. Or record cine 4k or external. My little rule: Test it anyway before filming a valuable project. HD 444 internal turns into 5d2 mush in lowlight, looking just as bad. Cine 4k does much better, UHD 4k not so much.
  8. PannySVHS

    Panasonic GH6

    Spiffy stuff by a new face on youtube, at least to me. Sounds like a presenter from BBC. Super enjoyable to listen to and to watch, loved the colour board tests. The lenscap tests didnt do that much to me but still loved to listen to his voice. 🙂 Interesting findings presented in a very nice manner. Takeaway, DR Boost is terrific.
  9. @webrunner5Well, as good as it gets under conditions with enough light, Don. Had to give your post the smiley for the preview image of the muscular youtubeer.:) Under lowlight condition the internal 12bit 444 HD/2K of the C300II shows severe artefacts that make a GH4 seem like the codec champion of the universe. Cine 4K internal seems to be sweet under lowlight from my experience but always test yourself, as a famous DP once said about hundred years ago. Anyway, original poster will not bother. But maybe some 12 bit 444 HD/2K lovers will care that a C300II will show problems, unless you record with an Odyssey 7Q. But then a much cheaper Sony F4 with extern al 10bit HD 444 or 422 would equal the exteral HD from the C300ii and smoke the internal variante.
  10. PannySVHS

    Olympus OM-1

    So any narrative short films with lighting and direction and actors as well:) shot and to be posted with this camera?
  11. Andrew, @Andrew Reid your article with Taiwan film pieces cannot officially discussed unfortunately, That´s a pity, as they are stunning and I agree with Don, stellar work! Loved the one you did with the 720p monster that the Samsung NX10 was. 🙂 We could start the topic ourselves but that wouldn´t be the same. Your forum deserves a stellar UI and UE. Maybe another expert could chim in and support the forum to the ultimate structure of all cameras forums ever been on this planet, short the world champion in design. I want an essay on this: "Goodbye to Raymond Briggs. A poet, a darkly humoured genius, my kind of filmmaker and illustrator to a tee" People could do a Raymond Briggs challenge. We lazy people never even did a sub 200$/EU 4K 1inch+ challenge!
  12. The graded video shows the potential of a look which can be achieved, which I found very impressive. Though with popping complementary colour contrast and palette, it is far, far, far way from orange and teal. You need a image with good dynamic range and good codec to achieve that look. Crayon style orange and teal look can be achieved with older 420 8bit cams from all manufacturers. Plenty of luts, which were sold for the GH4 by sly sellers, were orange and teal overkill btw. The video you posted looks as seen by the camera. It shows plenty attributes to evalutate regarding image quality from this camera. I still enjoyed a highly specific grade a big deal. And it´s not orange and teal. 🙂
  13. Don, you are very old school, b4 and PL loving man.;) L mount is highly adaptable just like Canon RF, Nikon Z and what not mounts. Lumix S5 with full HDMI would have been my dream camera. So close. You can get them used for 1200 EUR, S1 for similar prices. With the GH5 I discovered a nasty blotch issue in VLog again. I have almost forgotten about it. Pink large blotches on skintones f.i. It was a well exposed shot, daylight, cloudy summerday, which I did last year for a shortfilm. Yesterday I was grading some of my older stuff away and building some digital emulsions and bang, GH5 reminded me of an issue I had found years ago with caucasian skin. Had forgotten about it.
  14. They did a comparison with the S1 and S5, both sharing the same sensor, pipeline and sofore image, being indeed the dynamic range and latitude champs with Canon getting close and Nikon Z9 equalling it with its N-Raw flavours. All tests for video of course. Nevertheless GH6 image in DGO mode is very impressive. Too bad it still has a few things left out in comparison to the two GH5 models, such as 2xDigi zoom or 1.4 crop for S16 coverage. No 2x digizoom for my S1 neither btw. S5 is a steal for the image you get. Even lower price than a S1. S series still needs some grading love. But with that any look is achieveable. Natural light being the most "videoish condition", needing more effort than in lit enviroments imho.
  15. I think the R5 would melt inside. Canon just shut off any time of heat management which the hardware cannot provide. Slogan " just leave that sucker on and keep it running til it melts". And it runs and runs and runs til it melts and melts and melts😄
  16. I second leslies comment. Two of those, so you can go tele and wide without changing lenses. Good thing is, I already got one. So only need another one.😄
  17. R5 in 8K RAW has less latitude in the shadows than a Lumix S5 in downsampled 4K, has half the battery life, triple the price of the S5. Worlds best camera it is not, though for your needs it might be of course. But that I wouldnt be able to know, of course.:) Now let´s test the camera running in the sun of current climate change days. I bet it will not look good, since the hardware is the same, with lack of any kind of sufficient cooling. @FHDcrew Class leading latitude in the shadows by the Lumix S5. R5 has impressive resolution and looks great up to ETTR -5.
  18. Great points. @Thpriest 4k 100p means better rolling shutter. The latter i would take for sure, even without the frame rate. Rolling shutter around 15ms or below for the full sensor would be a need for an upgrade. Otherwise would still buy a S1H over any other camera.
  19. PannySVHS

    Fuji X-H2S

    Maybe smoothing the red channel has an effect on the image, which has not been considered by cined. Hopefully slashcam will do an in depth test of the camera.
  20. From a lens related aesthetic stand point it can be very exiting to have extra height. Allows the Fujinon 12.5mm and possibly other Super16 lenses to shine with maximum estate in heigth on MFT format. Giving it more of the dynamic perspective of that 12.5mm wide angle than being cut off from top and bottom to fit 16 to 9 corsette. Give it a 1 to 1 sujet and cut off the vignette left and right. Lighthouse worked very well in 1to1 ratio. Dunno if it was full heigth of the negative though or masked.
  21. "Gut and schoen" @deezid Now you are needed in the GH6 thread to answer all our questions. 🙂 Our friend @hyalinejimhas been very busy already to do so. cheers🙂
  22. Like I said the 150mbit 422 10bit on the S series and the GH5 is an anwesome codec. Highly recommended even for feature work I must say. Talking about acquisition of course, but that should of course be clear, if talking about codecs in cameras.:)
  23. Solid points. Except the 444 as it would be in Prores anyway and used by 444 lovin pros. 🙂 @webrunner5 But C100 is a spiffy image for what it is, like downscaled GX85 with much better low light and of course more dynamic range. Great colours too. Anyway, GH1, treated lovely, can be still very lovely and a joy for vintage and image lovers. I think I get your point, which is alway something I enjoy a great deal in an exchange of point of views. I also think the internal SLOG image of the F3 is still more impressive than the internal image from the C100.:)
  24. It also depends on the specific flavour of codec, not only related to bitrate but its "magic" as well. The S1 without the VLog and 10bit 422 update it had a h265 10bit 420 codec in HLG and with 75 Mbit. It had definate flaws in homogenously coloured surfaces such as painted blue wall fi. In these areas the material was full of artefacts, specifically cluster of blocks, which were easily revealed by a strong contrast curve. The 4K 150mbit h264 422 10bit codec, as well as the 100mbit 10bit 422 HD flavour are pretty much seemingly unbreakable. I assume one could film a valid cinema project with it. The 4K8bit 100mbit codec was not shabby at all neither for its proposed use in 709, though paling in comparision to its fantastic 10bit counterpart. The 4K 8bit 100mbit flavour on a Sony A7S2 on the other hand sucks pretty much for more elevated grading needs, even in comparison to a tiny GX85. GX85 flavour of 4K 8bit 100mbit is no slouch if not overwhelming it with the task of serious low light, like above 800Iso under Golden Hour fi. Then mushiness will sneak in, also with noise reduction set all way down to -5. cheers
  25. Difference is, that you cannot throw these light conditions at the GH1 as you can throw at the F3. You still would have to get pretty lucky and work extra hard to get an image out of the GH1 like the images in this video. Possible, if not pixel peeping, but not an efficient thing to do imho. Possible but not granted. @webrunner5
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