PannySVHS

Tasty thread. Will have to read it once I got a bit more time. For now, a bit of a recommendation.
I have a few interesting photocams and I love my Olympus 35 RC, my favorite filmcamera I think. Also, I enjoy the Ricoh 500G, which has a cool feature of double exposure. Both are rangefinder cameras with fixed lenses. The Olympus is a gem to hold and touch, a minimalistic design masterpiece. The Ricoh is a joy because of its price, which it's worth many dozen times. Both with F2.8 and fun handling. Both are a bit blocky in hand but somehow feel so right. I had the Oly 35SP, which is supposed to have a lengendary lens. Unfortunately I never enjoyed it much. Ricoh and Oly are both full manual operation. My other dear favorite is the Yashica Elektro 35CC, with a fantastic 35mm 1.8 lens. What a beauty! With film these gems are a pleasure, which is hard to beat.
Scanner, well Pakons used to be dirt cheap on the bay. Now they go for astronomic prices. Super fast and robust handling of negatives. I love my Kodak RFS 2035 film scanner. CCD magic but only 2000dpi for a 135 (35x24mm) negative, which makes 6MPix. 
Using the cameras. In Berlin I have lost my enjoyment in analogue photography due to the Hipster Consumer attitude attached to this beautiful activity. Good thing, I started my passion about it in Berlin as well years. It depends on the people and the surroundings one is attached or accompanied by. So, happy company and shutter therapy!
One more, there many great web1.0 with awesome and fun reads, not the clickbait copycat articles but labour of writing love and photo passion. Unfortunately Flickr is plagued with dull ads now, interrupting browsing and watching pleasure.
 
 
 
 

I always wondered why they cannot build a "full frame" digi with lens, which is as narrow as a compact film photocamera. Olympus Twin, two lens in on, 35mm and 70mm, narrow, though with a stop or two in light loss between the two focal lengths.

If it was my decision, I’d go pair of S5’s as I prefer to use matching kit for all the reasons…except in my case that would be a pair of S1H’s with the S5 moving into the role of static longer stuff mainly.
But with this year as it is, I am still running the ‘mismatched’ pair of S1H and S5.
I did a 10 hour event a few weeks back exclusively with the 24-105 and really liked the combo…except for size. This was hybrid coverage and for the video side especially, handheld throughout, the OIS + IBIS combo was brilliant.
I then did an actual wedding myself! A real actual wedding after 46 postponed/canceled jobs, albeit just a small local affair.
I went with the combo of 28-70 as my primary lens on the S1H and 20-60 on the S5 and shot 95% of the day on the former, the S5 and 20 end only being for a handful of super wide shots. This was a stills only job.
But in approx 2 weeks, I have some proper weddings finally…
A 3 day hybrid job followed by a 2 day stills only event and I have nailed down my kit combo now for these as follows…
On the right hip, pulling video biased duty, is the S1H with Sigma 35mm f2 indoors switching to 65mm f2 out. Because I shoot 4k 50p, these lenses are more like using a 50mm and a 100mm which is the perfect fixed focal length indoor/outdoor pairing for me.
On the left hip, pulling stills biased duty, is the S5 with Sigma 28-70mm f2.8 pretty much all the time except when I need a wide angle when I will switch it for the 20-60.
With another 3 more jobs max the rest of this year, I can’t justify another S1H until next Spring and then the full line up will be:
S1H with Sig 35mm f2, hybrid.
S1H with Sig 65mm f2, hybrid.
S5 with either 20-60, 28-70, 24-105 depending on specific need such as in the hand for occasional wide angle stills or mainly static, unmanned, on a tripod recording up to 30 mins.
There is no place in my bag for the Sigma 45mm f2.8 and probably not the 28-70 either which is a shame as it’s probably the best all round lens after the 24-105, but I prefer primes.
I don’t think I’d use the 24-105 at weddings and really only keeping it in the car as an all purpose backup lens and for personal landscape work in the mountains.
The only potential change to the line up might be if Panny popped out an SH2 or an S5H for sale before the end of March 2022, but otherwise another used S1H it will be and I will run the above combo at least all of ‘22 and ‘23 for three principle reasons:
1: I am sick to death of playing around with various combos of kit which I would have been well past if this year (and last) had not been so shit, ie, the process has been dragged out far too long due to lack of opportunity and lack of finances.
2: Other than being less than stellar with forward and backwards video tracking, there is nothing else I need or want either within the system itself, or from any other manufacturer.
3: I am a big believer in nailing down the most minimalist kit that you can and then getting so familiar with it, using it becomes second nature and gets out of the way of the process of stills and video capture.
OK, I need another coffee, that was a lot of typing on a phone! 

Does even better, does 4K 444:
https://www.redsharknews.com/production/item/939-sony-f55-f5-gets-4k-444-rgb
  
Did you write that back to front by accident?
  
Depends on the niche you work in, but yeah for most people they're likely to find the FS7 is in somewhat higher demand than a F5. 

The F5 is the obvious natural "upgrade" from the F3. 
However, kinda bizarrely I think the FS7 is worth mildly more out in the free market when it comes to getting work as "a man with a camera". (just because the FS7 has been the "de facto standard"
 
But this here is the biggest reason of all as to why you shouldn't buy a F5 (or FS7). 
 

Above must be my favorite post of the year @kye Super effective in showing colour response and metric and relation of pleasing palette and response to exposure in comparison to "objective" colours such as of GH5. Thanks a lot!

Not seeing much action down in the lenses forum, I have however continued doing my bit for someone's else's economy,  the Japanese economy actually. Bought a cheap nikon lens. The nikon 43-68 zoom, supposable the worst lens in the history of nikon lenses,  if the internet is to believed. You may ask what possessed me to do that ?  and i'm glad you asked, one reason, it was cheap 🙄 the main reason, was the flares it produces. Which i'm kinda partial to.  there is a type 1 with the lens details on the inside of the filter ring. Thats supposedly the soft version, mine is type 2 with the lens detail on the outside of the filter ring. 
today has been  the coldest day of the year so far,  frozen water pipes till about 9 am . I think  yesterday was pretty cold as well. i did take a few shots with the nikon attached to the olympus e-m10 this morning however i'm having trouble uploading them, maybe the cold has frozen the internet as well.  🤔  I'll try uploading them again later. I will say it's nice to be able to mount full frame lenses on a variety of cameras. 
Really been meaning to do spend some time with p4k lately. However since i came back from my roadtrip ( 2600k's in 5 days ) i put the t5 in a safe place and haven't been able to find it since. 
Warning cuteness overload below...


 

I have a R5 since October 2020. I had a 1Dx III from march 2020 until two weeks ago, sold it to buy an additional R5.
Never used an R6 so I cannot comment on that.
 
I basically have 2 custom settings that I use for video: 8k RAW Light 24-30 fps and 4k 120 fps Clog (rarely use Clog3). Rarely I use 4k HQ IPB with no log if I need to give the video for some quick and dirty usage without any further processing.
 
R5 is imo a much better camera than the 1Dx III:
8k RAW is better that 5.5k RAW not for the resolution (although it give some more room for post zoom and pan) but mostly for the much better rolling shutter 15 ms vs 29 ms
4k 120fps is way way better than the junk 1080 120 of the 1Dx III.
Crop quality is a tad better
Lightweight, better on Gimbals
Smaller to pack, basically I can take 2 R5 in the space and weight of a 1Dx III, if you add the insane big charger of the 1Dx III you can take a gazillion number of R5 batteries…..
Flippy screen much better on Gimbals and in low angles
45 mpix much better than 20 mpix for photo
Has zebra
IBIS, IBIS + IS lens allow me to film quite a bit without a tripod, very handy for filming while backpacking for ski, mtb, etc…..
EF-RF Adapter with VND
 
1Dx III is better in:
No overheating
Initial AF acquisition with long lenses but only for photos in non liveview mode.
Has 5.5 RAW at 60fps but no AF
Longer battery life
Same dual card type
More rugged and better weather sealing
 
 
The biggest gain for me with the last firmware is the RAW Light that basically give me almost 2x storage. I’m a fan of RAW as it give me more flexibility in post than Clog and Clog3…. is probably me not doing it right but for me is a night and day difference RAW vs. Clog how much more post processing I can do and fix mistakes. Bonus that on my PC the RAW Light file are much easier to edit than 10bit Clog ones.
 
At the end the only question is if you need long takes and in case that things go south can you live with 4k SQ if the camera would overheat?
 
In my case it has never overheated in 8K RAW Light in my usage (but it will eventually happen). I got at the limit a couple of times at 30-35° C under the sun shooting at 4k 120 fps, this is the mode that seems to overheats the most.

Just picked one up for $600 on eBay also got a Pix E5 recorder. I am still a bit confused as to whether you can record 10 bit 60p off the Pix E5.

Waiting on everything to come. I am trying to kit it out now so I can start using it immediately. 

No F3s on German Ebay at the moment. They get rare. Was thinkin of selling mine. But maybe I would regret. Have not filmed anything with it yet. I realize it´s one of the few affordable high quality HD cameras. FS700 is not due to the highlight aliasing in HD, which I had to experience during a commercial shoot a few weeks ago. With internal recording I consider it to be the better and cheaper C300 MK1.

Above must be my favorite post of the year @kye Super effective in showing colour response and metric and relation of pleasing palette and response to exposure in comparison to "objective" colours such as of GH5. Thanks a lot!

On the DVXUSER site there was some debate on the two S Logs, the one paid and the one released by Sony in the V1.40 Firmware.
You would have to do a search on the DVX site. I would always use an external monitor to use a LUT. The built in LUT I think only came with the paid upgrade.
You could learn how to expose with the S Log only? One nice feature on the Firmware V1.40 is that you can dial in your color temp! On the paid
S Log you only have either 3200K or 5600K.
 
BB 

No speedbooster, just the straight adapter.
They do look nice, and I used them a lot for a while. But there's a lot I disliked about them too. The 12.5mm Is tack sharp int he center at f/1.4 but you had to stop down to f/4 to get sharpness from edge to edge. Plus the entire fronts rotate when focusing which can cause problems with polarizers. I'd only recommend them to people who are able/willing to do the heavy modification needed to adapt the 25 and 50. The 12.5mm and 50mm had nice sizes though, not as tiny as the 25mm and other c-mount lenses. The Fuji zoom lenses are good though. Here's a few more things shot with the Fujis:
Edit: top is a Reel of some of my favorite shots from a short film I DP'd years ago. It's called Escape Room if you want to watch the whole thing (I'm not even sure if it's online) but the director opted to add a shitty sepia filter to everything, though I offered to grade it for him. So this reel consists of my favorite shots (Micro + Pocket + Fujis) with proper grading.
This was a little promo shot for a friend/local library (one of a few I've done for them with these cameras. The only shot that isn't with Fuji lense sis the B&W stuff which was a Computar 8.5mm 1.3 that I used for effect.
The Canon TV-16 Lenses are probably my favorite c-mount lenses for the same reason my FD lenses are my favorite FF lenses: that vintage Canon magic. I can't put my finger on it, but they're soft and a bit dreamy wide open, and stopped down they get sharp but not overly sharp. They just hae a pleasing rendering that goes well with he Pocket and Micro. Here's a bit more of them. Nothing special, just some random BTS footage and another home movie:
This was all 3 lenses in the set, mostly wide open (the 25mm shots were at f/2) with the Micro.
This was the 25mm the first day I got it. Shot on the Pocket.
This was shot on the Micro. Two fo the interviews are shot with the 50mm 1.8, one shot on the 13mm. The b-roll was a mix of the 13mm and 25mm, plus the Fujinon 18-108mm 1.8 and 18-108mm 2.5 zooms.
I know the newer 1.4 cctv versions were made by Pentax, not sure about the vintage ones which have the Cine Ichikuza logo, which are the best ones. They're sharp wide open, and look nice, and don't need any modification, unlike some of the newer ones. I used to have the "zebra" versions but now have all black ones that are a little smaller but seem to have the same optical quality. I got the 12.5mm for $10, the 25mm for $30, and the 50mm for $50 I believe. I also have a more modern 8.5mm 1.5 that covers the s16 sensor and a Pentax 6.5mm 1.8 fixed focus lens that covers s16.
I always go back and forth but keep coming back to these little cameras and c-mount lenses. I have a lot more videos shot with them, including an entire concert at the Wasteland Weekend festival (it's like Burning Man + Rennaissance Faire + Mad Max). There are more home movies as well that I shared here a long time ago. 
The entire concert is on my YT for those morbidly curious and 45 minutes to waste. Above is an excerpt. We shot with a Pocket and Micro with Fuji zooms, plus a friend's Canon 80D and Sigma 18-35mm for the wide shots of the stage. I've been hired to do some pretty fun little jobs and I've used used the Pocket and Micro cameras for most of them. I also shot a number of episodes of a food contest web series, a country music concert, promo videos. Too much to share, really.
A few feature length scripts. My pet project for years now has been a feature based on my Crazy Pete shorts. I want to shoot it this winter possibly. Unless Covid gets in the way again.

It's tied with the Sony FS5 mk. I as the worst built camcorder I have ever handled. Absolutely a wonderful image. Varicam 35 quality in a compact form factor. Plenty of warm color rendering and lively skintones. It eats the FS7's lunch in this department. But the thing was built like a fortune cookie and the EF mount was non-sensical.
Panasonic has all the ingredients available for a top-tier modern cinema camera. 6K full frame sensor. Dual native ISO. 10-bit codecs. Refined RAW workflow. L-mount with an evolving lineup of lenses from quality manufacturers. Decades of broadcast camera experience and reasonable ergonomics. All it takes is the will to put it together in a compact modular package. $8K or less. Do it, Panasonic. Do it.

Thanks to @TomTheDP for finding this comparison between the Original BMPCC and Alexa, and thanks to Alain Bourassa for performing the test!  As @Matt Kieley says, the BMPCC and BMMCC have the same sensor, so it's a proxy for the BMMCC as well.
Not a bad match, considering that this appears to have no adjustments, and shots have different White Balances:

The WB comparison:

Latitude tests:








What I see from this comparison is:
Obviously the Alexa has more latitude, no surprises there Both comparisons vary quite a bit in tone and levels between the shots
(this is an indication to me that the shots were taken quickly and the results not processed too much, so I think is a good indicator of what things are like when used for real rather than in meticulous lab environments) The BMPCC fails at +4 and the Alexa doesn't, but both look reasonable at -3, so the highlights are where the Alexas increased DR is revealed The BMPCC looks very usable across the whole range and this reflects my impressions of shooting with it  Vectorscope comparisons, with colours extended 2X in the scope for ease of viewing..  
BMPCC Primaries:

Alexa Primaries:

BMPCC chart:

Alexa chart:

For reference, this is a colour chart I shot with my GH5.  The absolute level of saturation can't be compared as I can't remember what I did in post, but check out how different the overall shape is, which is much closer to 'correct':

I suggest this is a very good result, especially considering how old and how cheap this camera is, even after the price has risen since COVID lockdown and nostalgia shopping.

Thanks man! 

The first two narrative shorts were shot with Rokinon Lenses (10, 16, 35)
The 15 second horror shorts and the promo video were shot with Fujinon c-mount lenses (18-108mm 2.5, 17.5-105mm 1.8, 12.5mm 1.4, 25mm 1.4, 50mm 1.4)
Lonely Astronaut was the Canon TV-16 25mm 1.4 c-mount lens.
Catch Hold was the Cosmicar 12.5mm 1.9 c-mount lens.

Awesome work as always @Matt Kieley ! Do you remember which lenses you used?

I figure this thread might as well be about the original bmpcc too. I just bought it again. It's like an old girlfriend I just keep going back to. I was going to sell my Panasonic G9 but decided to keep it as a paid gig workhorse since I have some new work coming in. But the bmpcc will be for my narrative film projects. 
Also, if anyone happens to have a cage for the bmpcc they need to get rid of, message me because I need one.

I've posted older versions of some of these, but I thought I should post some old BMPCC/BMMCC videos, some of which are uprezzed to 4K.
Narrative shorts:
This is a promo video a friend I did shot on the Pocket/Micro with only available light:
And some personal home movies:
 

Then again FS7 maybe not so obsolete when you consider this chart:

 
surprisingly not a black magic cam in sight! here is the full article:
https://ymcinema.com/2021/07/12/cannes-film-festival-2021s-cameras-diversity-is-the-key/
 
not just docus either.. this feature was shot on FS7 with Zeiss Super Speed primes:
Gotta love how that camera balances for shoulder mounted shots..

I sold my C200/FS7 during down time of the pandemic. Work is picking up again now and I need a pro A-Cam for client work.
I was sold on getting a BMPCC6K Pro after shooting with it for couple gigs but I'm actually hesitating to go back to the good old FS7.
6K & RAW is very nice but EF mount limits the lens possibilities so much. I still have my metabones EF speed booster which gives the FS7 pseudo FF.
I also love the fat 250mbps XAVC-I codec in Cine EI mode and the FS7's AF is actually pretty smooth on native lenses.
Price wise the FS7s are really cheap at the moment (maybe 800 more than a P6K Pro) but it feels kinda strange buying a used 2015 cine cam in 2021.
The 5" touch screen and double ISO 6K sensor on the 6K Pro probably makes much better sense for future-proofing.
Thoughts?

I think of all the video-capable cameras I've owned, the Pana G6 (which Andrew dubbed the 'GH2 Redux' when he reviewed it) was almost perfect for me - small, light, fits nicely in the hand, mic input, FHD 50p/60p to MP4 files, a lever to control power zoom lenses (the last G series camera to have that), 'creative video' mode etc. and a simple uncluttered control layout. For stills (not video), it also had variable telephoto sensor crop controlled by the zoom lever.
It's successors gained 4k video and then IBIS, but I think they lost some of the 'only what you really need' control simplicity along the way.

I have it and for my shooting in uncontrolled situations with varying WB I couldn't get good results out of the LUT at all unfortunately.  Maybe in controlled shooting it would be different, but it was too fragile to work in the situations I work in.
The BMMCC, however, gets spectacular colour right out of the gate.  It's literally giving me better colour after a 2 minute effort than I could get from my GH5 with hours of effort, regardless of the colour profile and use of LUTs, CSTs, of manual grading.
I believe people think about cameras in the wrong way.  The conversation is about "how good is this camera" or "how good is the image from this camera", and the answer to that is almost always "as good as the operator".  But some cameras are really easy to get great results from, and others are almost impossible to work with and only the best operators in the world can get great results from them.
The question should be "how good is the image from this camera when used by an above average user under normal circumstances and with a moderate amount of effort in post?".  In this instance, the OG BMPCC / BMMCC have to be some of the best cameras ever made.

Have you considered either a Panasonic Varicam LT or Sony FX9 as well as cameras at a similar-ish ballpark price?

True!
I thought the Micro matched pretty well to the Alexa?  Unless you're talking about 4K+ Alexas and shooting a hyper-modern look with the latest high-end cine lenses?
This is a slight aside, but I've been seeing the promo videos they have for their new Signature Zoom lenses and dear god are they going for a sharp look with those videos!  I understand why of course, everyone who can afford to use ARRI knows you can soften lenses up in post of course, but I was thinking how I wasn't really a fan of that particular treatment!
If it was Christmas and my birthday and I won lotto too, I'd wish for a BM Pocket Cine Camera in the P2K form factor with an updated 2.8K sensor with the same colour science, and set to the global shutter mode rather than rolling shutter.  Still, the P2K and M2K (Micro) are pretty amazing for what they cost and how big they are.