Thomas Hill

Pentax fanboys: Even WE have IBIS!

Thanks, that's an interesting though. I could probably also use something like a pro mist or netting or something??? (Thinking out loud.)
Not trying to answer for @rawshooter but I liked the example that you posted. I will certainly look in to them.
Guess I was just hoping there would be some secret lens made in Outer Mongolia in the 1960's that only a few people know about and it sells on ebay for $6... with free shipping

Samyang/Rokinon fit(s) me, no idea how it is for you, though : -)
Here's some sample, you can evaluate by yourself:
Hope this helps! : -)

I am very interested in the new L mount Sigma lenses, that's the newly designed 24-70mm F2.8 in the Japanese video. Will definitely try and pick up one of those when it's available in the UK!

In practice, you can switch forth and back between full frame 4K raw and APS-C 4K raw video recording without great image quality penalty. (The difference in noise and resolution is IMHO invisible if you master in 1080p). And you can put the full frame vs. APS-C crop switch on the camera's quick access menu.
That effectively turns any prime lens into a dual-focal length lens - or virtual dual lens turret. Often, this makes a zoom lens unnecessary in the field.
It's a neat (and often overlooked) little feature of the camera.

It certainly helps and the monitoring advantage to mr isn't just the extra size but also the extra features like false colour and monitoring LUTs.
On the upside for the 1Dx3, though, it doesn't require someone fucking about with lasers to make it do continuous autofocus !

Since I found the YouTube comparison between the Sigma fp and the Blackmagic Pocket Cinema Camera 4K so worthless, I did a comparison test of my own.
I wanted to compare the cameras in two respects: 
(1) dynamic range when shooting a high-contrast subject under optimal light/with optimal exposure + robustness in grading the resulting image;
(2) low light/extreme high ISO image.
My setup was as follows:
Completely dark room; Both cameras with the same lens, Tokina 28-70mm/2.8 (Nikon mount adapted to L-mount and MFT respectively) at the same aperture setting (f4) on both cameras, but at 35mm focal length on the Pocket 4K and at 70mm on the Sigma fp to compensate for the different sensor sizes; Record settings: UHD 23.98p on both cameras, full frame CinemaDNG 12bit on the Sigma fp and BRAW Q0 on the Pocket 4K (= best quality codec settings on both cameras);  For the high-contrast test: daylight-temperature LED fresnel with maximum focus/spotlight on a plastic appliance reflecting some of the light to create high contrast; both cameras at minimum/native ISOs exposed ETTR/to the right. Both cameras set to 11.25 degrees shutter angle (in lieu of an ND filter, since motion rendering is irrelevant in this test).
(Note: Lowest, respectively native, ISOs on the two cameras are ISO 100 on the Sigma fp and ISO 400 on the Pocket 4K. Never mind that nominal difference, both cameras have almost identical clipping behavior at these settings, i.e. ISO 100 on the Sigma fp behaves like ISO 400 on the Pocket 4K. On both cameras, the zebras turned out to be reliable indicators for sensor clipping: To go absolutely sure that I would optimally expose the sensor, I also shot the scene at larger shutter angles - 22.5, 45, 90 and 172.5 degrees -, with zebras popping up as early as at 22.5 on both cameras. When looking at the material in Resolve, this was indeed where clipping had occurred and waveforms remained clipped in the RGB parade even when lowering exposure in Resolve's Raw control tab.)  For the low-light test: same 'scene' as above, but with the LED fresnel turned off and only a practical light in the background turned on. Both cameras set to maximum ISO (256.000), at f4 and 172.5 degrees shutter angle. Treatment in Resolve:
Basic image adjustments only in the Raw tab, interpretation in P3 color space with Rec. 709 gamma: adjustment of white balance/tint and exposure to make the Sigma fp and Pocket 4K footage match. (The raw material of the Blackmagic Pocket 4K was much warmer than that of the Sigma fp with the same Kelvin settings...) No highlight recovery. (Wasn't necessary anyway since there was no clipping in the images.) No noise filtering or sharpening, although the Pocket 4K's BRAW codec already has some baked-in temporal noise filtering. For the extreme grade, only a solarization-like custom curve was applied that pushed the shadows to the maximum and was meant to provoke banding in the material by pushing contrasts:
I exported 16bit TIFF screengrabs which can be downloaded here (6 TIFF files in a zip archive, 133 MB).
Here's how the well-exposed high-contrast scene looks like (25% downscaled images):

Sigma fp

Pocket 4K

- Note that the difference in sharpness may be my user error, and is also influenced by the different depth-of-field between 35mm/f4 on MFT and 70mm/f4 on full frame. The manual focus aides on the Pocket 4K are much better with latest firmware, so nailing focus without an external monitor was easier.

1:1 crops of the above two images:
 
Sigma fp (left) - Pocket 4K (right).
 
Extreme grade, with the same curve (as posted above) applied to the two above images:


Sigma fp

Pocket 4K
1:1 crops of the above:

Sigma fp

Pocket 4K
 
Low light, with both cameras at maximum (256,000) ISO, 172.5 degrees shutter and f4:

Sigma fp

Pocket 4K
1:1 crops of the above:

Sigma fp

Pocket 4K
So, to summarize, I think it's fair to say that the full-frame 12bit CinemaDNG material of the Sigma fp simply shows the benefit of a larger sensor and its lower image noise (even at base ISO if you compare the full-size TIFFs). It's thus only logical that it holds up better in extreme grades and in low light.
My likely user error in nailing the focus of Sigma fp also shows the strengths of the Pocket 4K, namely better camera assist functions and overally a better user interface/more practical user experience for video shooting. - But it's also nice to see that the Sigma fp has some genuine advantages over the Pocket 4K, especially for my own type of videomaking which revolves around event videos (concerts at indie/DIY venues) shot in extreme low light conditions.
 

That's very kind of you, thank you.
Post is minimal at the moment however i think one 'trick' is that i have this as a Resolve project which is YRGB Color Managed, my timeline is 709, output colourspace is 709 but my Timeline to Output Gamut Mapping is RED IPP2, with medium and medium. (Input colourspace is RedWideGamut but AFAIK when dealing with RAW and DNGs this is ignored)
This is because most of the project is Red based. BUT the sigma fp footage is debayering into 709 (So in Camera RAW for DNG is it Colourspace 709 and Gamma 709 with highlight recovery by default).
What happens is that the DNGs are debayered correctly, with full data. But that IPP2 mapping is handling the contrast and highlight rolloff for my project as a whole, including the DNGs. IMHO i do this all the time with various footage, not least because it's easier to match different cameras but mostly because that IPP2 mapping is really nice.
Whilst i'm sure you can massage your highlights to roll off softly, it makes more sense for me to push footage through the same pipeline.
Take some footage and try. When you push the exposure underneath IPP2 mapping the results look natural and the colours and saturation exposes 'properly' Turn it off and then you're in the land of saturated highlights and all sorts of oddness that you have to deal with manually. This is not a fault of the footage but the workflow. Running any baked codec makes this more difficult - the success of this approach is based on the source being linear and natural.
As i say the fp is like an old cine camera, the bells and whistles are minimal but if you're happy manual everything i think it can produce lovely images and it's so quick to pull out of a bag.
If the above doesn't make sense let me know and i'll try to put together a sample.
Cheers
Paul
insta: paul.inventome

Then why replace it?
-- The pot asked the kettle.

Then why replace it?
-- The pot asked the kettle.

Then why replace it?
-- The pot asked the kettle.

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.

I (and many others) think Sony's color has improved considerably. I've done color work on a couple films shot with the A7 and A7s2, and those were the worst colors I've dealt with, especially SLog2. From what I've seen on the web, the A73 is a significant improvement. I don't think there's anything wrong with modern Sony color anymore.

Speaking as a  former a7iii user, I can echo what others have said. You don't gain anything from recording externally with the a7iii. 
Really, the only thing that the a7iii has over other cameras is video AF.
It's a great camera but you're not going to gain much from rigging it up.

Speaking as a  former a7iii user, I can echo what others have said. You don't gain anything from recording externally with the a7iii. 
Really, the only thing that the a7iii has over other cameras is video AF.
It's a great camera but you're not going to gain much from rigging it up.

No, the autofocus will.
Canon users are happily paying $2300 for a 15-35 f/2.8!
Canon RF 24-70 f/2.8 $2,300.....Lumix 24-70 f/2.8 S Pro $2,200 (with better IS)....Sigma 24-70 f/2.8...$1,099!
Canon RF 24-105 f/4 $900.....The Lumix 24-105 S f/4 macro $1300 (doubles as a macro, unlike the RF, has better IS)
Lumix 16-35 S Pro f/4...$1,500 (this one is slightly overpriced)
 
I bet if the Lumix S series cameras had capable PDAF for video then it would have be extremely popular alternative to Sony and Canon.
Canon RF lens prices are outrageous, but people pay to stay in the system because of Dual pixel autofocus.
Panasonic should have taken the hit and used PDAF for at least the S1 and S1H. I think they made a mistake.

If Olympus released a EM-1 Mark 3 with 10-bit 422 150Mbps longGOP 4K with PDAF and their excellent IBIS they would at least be on people’s radars for video.
I’ve always wanted to mash the best from the GH5 and EM1 together into one MFT camera.
I don’t even care if it’s called the OM-D EH-5 Mark 1. 

So i said i'd post some stills, these are basically ungraded.
This frame is in a sequence with car lights, i like the tonality of this very subdued moment. Shot 12bit to manage shadow tonality.

From a different point above. All shot on a 50mm M Summicron probably wide open.

I think i hit the saturation slider here in Resolve. But this had car rolling over camera. It's a 21mm CV lens and i see some CA aberrations from the lens that i would deal with in post. But i'd never let a car run over a Red!

shot on an 85mm APO off a monopod. Nice tonality again and it's day light from windows with some small panel lights bouncing and filling in

A reverse of the above.

Some fun shots.
I think the true benefit of something like the fp is the speed at which you can see something and grab it. Using it just with an SSD plugged in and manual M lenses gives a more spontaneous feel. Now most of the film will be shot on Red, in controlled conditions with a crew and that's the right approach for multiple dialogue scenes and careful blocking. But the fp has it's place and i may hand it too someone and just say grab stuff.

 
cheers
Paul

Seems people like pairing their S1H with Leica-R lenses... and I'm one of them! I'm shooting a short doc on my brother about his comic book, "I Am Not Okay With This", as it's currently being adapted into a series for Netflix. This will be the second time he's had a comic book adapted into a series. The first was "The End of the F*cking World" which did well, however, he told me that people would see him signing copies of the original comic at cons, and accuse him of "ripping off the show". So this time, i wanted to help raise his profile a bit when "I Am Not Okay With This" is released, and it gives me something to flex my creative muscles on. Anyway, some sample stills... Panasonic S1H, Leica Summicron-R 35mm, 50mm, & 90mm. Not a final grade -- just wanted to get some images out.

Government official: “But wait doesn’t that defeat the point...?” 
Kubrick: “Do you want quality or not.”

Just a little end of the year lol for you guys. Have been cookin this one up for a while. I hope you guys get a laugh out of it. This is a parody of the Billie Eilish song “bad guy” except... this one is all about camera gear ?‍♂️
Let me know your thoughts!
 
mostly shot on GH5 in 10bit on atomos ninja v. 
pickup shots in the garage were shot on EOS R in 4k internal. 
a few minor pickups on the EM1 mkii. 

Nikon 50-300 ED ais f4.5
Its my favorite zoom lens, nice manual focus ring and on the sigma I have two lenses at apc, it becomes a 75- 450mm
( this was shot at apc )
Only downside is the minimum focus distance that is a bit far

No I did not have any problems with dynamic range
And make sure you set the bit depth to 14 for stills and 12 for cinema if you want to get the max out the camera.
This is a frame from a 12 bit cdng graded in photoshop. its shot trough a window and with a 30 year old lens.
 

The inconsistent metering is very annoying. It seems to work best in low light. 
The issue that I haven't seen mentioned elsewhere is having to restart internal recording a few times before it will work. Last night, the first time I hit record, it stopped after about 2 seconds. Then it worked fine. Another time, I hit record 5 times with it doing the 2 second recordings and then it worked on the 6th try and recorded until I stopped it. Those times it was All-I 4k 24p but it also happened on a raw 12bit 1080p recording. Took 2 tries that time.
I love the build of the camera and it is capable of producing beautiful IQ but the metering and lack of modern conveniences (decent video AF, moveable screen, etc) has me leaning toward a return. Thanks to the holidays, though, I have until Feb 1 to make up my mind.