Jump to content

Kisaha

Members
  • Posts

    3,605
  • Joined

  • Last visited

Reputation Activity

  1. Like
    Kisaha reacted to Marcio Kabke Pinheiro in New Fuji X-S20 (with DCI & UHD 60p plus 6.2K/30P 4:2:2 10-bit internal)   
    Finally got some time to navigate all the menu and do some quick tests. Call me impressed.

    Surprise one: one little old desire (that nobody mentioned in the reviews) was that now the "3d" electronic level could be enabled pemanentely on the screen / EVF; in the X-S10 - and I guess in all the last generation's Fujis - only the horizontal level was permanent, the 3D version should be activated by a custom button, and disappeared after taking a shot.

    Surprise two: a new focus assist tool, only in video mode - Focus Meter. Is a "needle gauge" that shows where to turn the focus ring to bring the image in focus, and that could be used in conjunction with peaking. Works very well and very accurately.

    And finally, the AF. The face / eye AF interface and working mode was completely changed form the 4th gen Fuji's. In these (X-S10, X-T4, etc), when face / eye AF is on, the camera selects a face / eye and shows it on the screen in green, the other faces are marked with grey boxes, and you could change the face to focus with the joystick. In theory, a good system - until you hit record, and the camera goes haywire changing the face focused at will. For me, with more than one face on the frame, was unusable.

    Now, you choose a area box (that you could resize), and the camera will focus on the closest face of the box. Period. And tends to stick quite a bit in that face before switching to other. Not a perfect system - did not tested the worst situation, with all other people standing in place and the focused person going to the edge of the frame, far from the box, which in theory will make the camera changing the face focused - but if you keep the subject in the same spot of the frame, or move the box with the joystick, works perfectly.

    There are more subtleties to discover - one test was filming my wife's father, my wife and my daughter playing in our living room, tracking my daughter (an electric 4 year old), a case which the X-S10 failed completely; the focus point moved from person to person if they are close. With the X-S20, started tracking my daughter, and NEVER let her go. Focus spot on 100% of the time. And with an unexpected behaviour when my daughter got very close to my wife's father, instead of jumping faces, the old gray box appeared on his face, but the AF was kept on my daughter. One touch on the joystick, and then he was in focus - even with my daughter closer to the AF box. Another touch, returned to my daughter. Just as I wanted to be.

    The detection is much improved too. In the X-S10, if the person turns and the face did not appear, the camera reverts to the original AF mode. The X-S20 recognizes the back of a head - when the person turns, it starts tracking the back of the head. The person turns back, it revert to the eyes again. And the face / eye detection works in much farther distances than before, and gathers eye / face instantly.

    Is a completely new behaviour, much, much better than before.
  2. Haha
    Kisaha reacted to IronFilm in Sony New Camera Launch - 29th March 2023   
    Time for us to ditch Sound Mixing etc and become "social media influencers"??? 
  3. Like
    Kisaha got a reaction from SRV1981 in Travel Compact/Easy to use Camera   
    I tend to shoot a lot less when I have only my phone.
    When I have a dedicated camera I will take more, and 99%, better photos and videos.
    Is the ZV-1 really equal to a phone?
  4. Like
    Kisaha got a reaction from PannySVHS in Panasonic S5 II (What does Panasonic have up their sleeve?)   
    I would also like to know about the cart! Most of the times, a cart is more important than a new camera!
  5. Haha
    Kisaha reacted to BTM_Pix in Panasonic S5 II (What does Panasonic have up their sleeve?)   
    I've had my eye on getting that for a while.
    Unfortunately, I need a bit more capacity for all the shit I've accumulated that I can't let go of so this would have to be me dragging my suitably sized cart to a gig.

  6. Thanks
    Kisaha reacted to MrSMW in Panasonic S5 II (What does Panasonic have up their sleeve?)   
    Sorry, it was not 70 euros, but 90 euros https://www.amazon.fr/gp/aw/d/B0B4KN8ZR2?ref=ppx_pt2_mob_b_prod_image
    2x Aperture Amaran 60x on 2x sturdy ‘up to 3 metre’ light stands, one with square diffuser soft box and with with a more focused ‘spot’ set up.
    Both/either can run off the mains electric (50m 4 socket cable reel) or off my portable Poweroak 500wh power bank, or battery powered (22 minutes at max output). 
    Then I have the Rotolight Neo 3 which can be used either on camera (stuff like the dance floor) or lightweight light stand (stuff like bride and groom prep).
    I also have a Falconeyes (stoopid name!) F7 if I want to go even smaller or maybe set up a hair light or something for portraits, or slap it on the counter top for some nice side light during food service.
    Smaller still, 2x tiny Godox units that cost about 25 euros each.
    As with all these things, it’s about not having too much kit so everything has its place.
    Most of my weddings are outdoors with meal/speeches maybe 25-30% of the time indoors and that’s what the 2 biggest units are for, ie, mainly ‘outdoor’.
    The Rotolight gets carried around inside and if not needed, just sits in a corner.
    The other 3 are camera bag so can be used rapidly in any given situation.
    Almost 100% of my work is at private country estates (ie, not urban or city centres) hence why I can just park, live and work out of my motorhome on site and hence why the new trolly makes sense (I don’t know why I did not think of it sooner!) because it’s a single load and trip at the start of any job, and then reversed at the end. 
    And for video this coming weekend, I’m trying out the 6k mode on the S1R. Yup, the 6k mode! They removed the 6k/4k mode on the newer S5ii but it exists on all the previous S cameras.
    It’s limited to 10 minutes but I don’t care about that because not including the longer form tripod static stuff, it’s only 10 second clips. And you can extract stills as it’s shooting 6k 30p 18mb stills but with the option to select any 1 of 30 stills in any second, or just keep the thing as a video file.
    I just need to go fiddle with the set up now as the S1R is easy (harness) and the S1H is easy (tripod) but the S5ii I have to MacGyver it so it can seamless transition from the other side of the harness to gimbal to tripod without changing base plates or anything. I’ll work it out… 🤪
    I’d rather not be as by nature, I like consistency, but such is the nature of this particular beast, I have not been able to find it. But very close now…
    A Nikon + adapter + Tamron set up would nail it, but cost a bomb and I don’t have that kind of cash to invest this year.
    Going with a pair of S5iix’s and a single S5ii was going to be it…and still maybe, but as I mentioned above, what am I really gaining over using my current set up for the cost to change of 3000-3500 euros? 
    Uniformity across the bodies yes and is a big thing for me, plus full frame 6k rather than a mix of APSC and pixel:pixel not quite 6k (more like 5.4k) and less than stellar AF on all bodies, but I only need it in one and have it with the S5ii.
    I’ll shut up now. I have gear to MacGyver… 😉
     
  7. Like
    Kisaha reacted to PannySVHS in Panasonic S5 II (What does Panasonic have up their sleeve?)   
    What cart did you buy? @MrSMW Also, I am interested to know what´s exactely in your lighting and whole package fitting all in your 4 wheely. Appreciated! 🙂 cheers
  8. Like
    Kisaha got a reaction from kye in Once in a lifetime shoot. What primes should I bring?   
    It is very important to know your place and understand your concept completely, in the pro world.
    That is number one.
    I recently did a documentary series with young directors (one director each 25minutes episodes), almost all of them did more than 5 hours interviews! that was too much for the project, the concept behind it, and the budget.
    As of the technical stuff. When I was doing such work I always shot 50p (more is just too much) and used whatever technique I considered appropriate. A few timelapses and hyperlapses were good transition tricks also. Speedramp also. Whatever..
  9. Like
    Kisaha reacted to herein2020 in Once in a lifetime shoot. What primes should I bring?   
    I sometimes use time lapses or hyper lapses to help tell the story. I mainly only use hyperlapses with drone work and occasionally timelapses to show a setup, or for dramatic effect such as to show the sky rolling across the horizon.
    I have a dedicated Canon Rebel T6s that I use just for timelapses, it has incredible battery life with the dual grip handle (over 2,000 images in one timelapse once and it still had over 50% battery life remaining), plus I don't want that high shutter count on one of my more expensive cameras, additionally I like to set up my timelapse camera somewhere and leave it while I go shoot other content so there's the theft concern as well. Lastly, it is blazing hot here in the summer and it has never once overheated during a timelapse so its a great little timelapse camera.
    Many times I have lugged the timelapse camera with me planning on setting up a quick 15min timelapse to use as the opening or closing for the video and many times it's just a not a good fit, either there's no place I feel is safe enough to leave it while I do other things, or the sky is completely cloudless so it would be a wasted effort, etc. 
    As far as where in the edit I tend to find them the most useful, for me its usually the very beginning opening sequence or the closing i.e. a timelapsed sunset is a nice closing shot especially in places where I cannot use the drone. But without the right conditions (cloudy skies, progressive changes, etc.) timelapses aren't worth the time or effort to me.
    When editing 60FPS on a 30FPS timeline I do occasionally only slow down say the last few seconds of a longer 5 or 10s clip, just enough to stretch it to the jump point which keeps the rest of the clip real time while getting it to the logical jump point, also sometimes I combine 60FPS with optical flow to drop all the way down to 25% to simulate 120FPS without actually shooting 120FPS if I want truly slow motion; this effect followed by a speedramp can be quite dramatic.  I know purists may say optical flow isn't "pure" enough slow motion, but in DR with the right settings it does a really good job depending on the content being slowed down.
     
    I decided years ago to stick to 30FPS and 60FPS for all of my work unless the client specified 24FPS, or PAL....for me it eliminates all of the conformance issues and reduces the problems with pans, eliminates the jittery look, etc. etc. I figured out long ago I will never be a Hollywood feature film videographer so the 30FPS delivery framerate looks the best with the least amount of work to me.
  10. Like
    Kisaha reacted to Attila Bakos in Fuji X-H2S   
    I'm fed up with Atomos, I wasted a huge amount of time doing tests for them for the stuttering issue in ProRes RAW. They didn't even try to replicate it. I reported the problem at the 8th of February, since then I provided tons of test material. And where are we now? They still think it's my unit, or my SSD or my HDMI cable even when I told them I tested with multiple units, multiple cables and SSDs. Unbelievable.
    In the meantime some other guy asked BlackMagic about the same issue (so apparently this is related the the X-H2s), and they sent it to their engineering team right away, they reproduced it and notified Fujifilm about it. HUGE difference between the two supports. Seriously, even Fuji is better than Atomos, because they don't reply at all, so you won't waste your time with them 🙂
  11. Like
    Kisaha reacted to MrSMW in Once in a lifetime shoot. What primes should I bring?   
    Probably about the same…
    I’m just not a fan of big lenses and especially if they extend a long way.
    I was moving over to f1.4’s from my f2’s, but when they arrived and I put them on my cameras, it was a definite no. I’d rather shoot higher ISO, so I sent them back.
    The biggest lens I currently use is the Sigma 28-70mm f2.8 which only extends about an inch max when zoomed out.
    Maybe I’m a bit odd, but I’d rather shoot 2 bodies with smaller lens to get the same focal lengths as a single body with a bigger zoom.
    I think of and use all zoom lenses as X + Y and not X to Y, ie, if the 24-105 was internal zoom, I’d maybe use it more, but then again, it’s really too extreme for my needs as I use zooms like primes, ie, only at their extreme ends so 28 + 70 = good, but 24 + 105 = meh.
    So my 24-105 sits in a bag most of the time as back up/wet weather.
    I would use an all prime set up if I could, but that eternal equation of number of bodies plus focal lengths required buggers the mathematics up!
    I would make an exception for Tamron’s 35-150 however because it’s just so versatile for my needs.
    But that would require a change to Sony or adapted to Nikon and that is not happening any time soon.
    So my current set up for my needs are:
    28 + 70 zoom welded to Body 01
    16 + 28 zoom or 90 with Body 02
    18 (27) + 50 (75) APSC zoom welded to Body 03 (static and gimbal use only)
    I would like something like a 150 as a compact AF prime, but it does not exist in L Mount, 105 being the longest f2.8 (without going up to massive 135mm f1.8) or 70-200 zooms which are not for me.
    I really hope that Sigma come out with either:
    A. A compact 70-200 Contemporary I Series to pair with the 28-70, but actually a 70-180 like the available Tamron might make more sense and be smaller?
    B. An equivalent of the Tamron 35-150 except make it constant f2.8 as the f2 at the wide end changes very quickly and I would rather it did not.
    C. Get completely funky and do something like a 40-120 f2.8 with internal zoom and I would never buy another lens 😬
  12. Like
    Kisaha reacted to MurtlandPhoto in Once in a lifetime shoot. What primes should I bring?   
    Such an awesome discussion here. Thank you everyone!! Small update: the concert has happened. I ended up using only the 24-105mm f/4. Thanks to many of you I realized that changing lenses would have cost me shots, no matter how much I wanted the look from my primes. Light wasn't an issue as the FX6 is amazing at its second base ISO. 

    Technically speaking the shoot went very well. I was on-site for 2 days capturing all sorts of BTS footage of load in and set up. There were a few pretty dramatic setbacks, though. As with many big name acts, there were some strict PR guidelines put in place that I could not control. So, I wasn't able to get many of the types of shots I'd originally scoped for this project. The video is being reviewed by the band's management now. So, hopefully another update coming soon.
  13. Like
    Kisaha reacted to MrSMW in Panasonic S5 II (What does Panasonic have up their sleeve?)   
    Liking the 6k 30p ‘open gate’ (3:2) on the S5ii…
    Testing it ahead of the arrival of that pair of S5iix’s due hopefully soon…
    I think I will probably be using it as my go to for the bulk of my work going forward because it does have an extra edge of detail over 4k and allows for better quality 9:16 highlight films using the same material, on top of my regular wedding films/videos.
    The only issue I seem to be having is my M1 chip MacBook doesn’t seem to like it much whereas 4k footage flies through it. Not sure what’s going on there…
    The baked in LUT works great so will also be using that going forward.
    Using the Gamut conversion LUT which is my preferred one and the footage coming out is nicer than using any profile with more DR.
    After some minor adjustments, it’s then just a case of the grade but I am much preferring getting an ‘a good starting point almost ready to go’ SOOC image.
    No ‘worthy’ examples at this time as I was just messing about really trying out some different set ups and getting round any potential flicker etc (using 30fps in a PAL region).
    It’s tungsten that is the only occasional issue but these things have synchro scan so as long as you don’t mind breaking the 180 degree shutter rule, you can tweak it any which way. Or just shoot 108/216/324 degrees if you know it’s just going to be awful.
    Most of my work is daylight plus some LED so not really an issue anyway.
  14. Like
    Kisaha reacted to herein2020 in Once in a lifetime shoot. What primes should I bring?   
    Yes you are right, the same goes for here, certain churches don't allow flashes during weddings, many events/venues don't let you bring anything even resembling a professional camera on their property or in their venue unless you get approval first which of course is nearly impossible to get. For places that are that bad, I just tell my client that I refuse to film there. These days I don't really do the tourist thing anymore but if I did even the R7 would probably be too big for venues like that. 
    I didn't even think about the smaller size of the venues there. I have been to Europe a few times and each time, the smaller size of everything was the first thing I had to get used to. By comparison most things in America seem large to the point of being wastefully excessive. Events are the same way, most events are in huge venues with large crowds and the zoom lenses really help close those gaps. I think with smaller venues I would be more likely to consider primes or something like the 24-70 F2.8. I guess that's why it was hard for me to even imagine some of the lens choices that people were making here when I was thinking about the amount of space I need to cover in my typical event. I have even used the 70-200 on occasion because things were just so far away or so high up that the 105 wasn't long enough for me to capture the level of detail that I wanted. BTW the 70-200 RF F2.8 is incredibly stable handheld even at 200mm way more so than the EF version ever was.
    Its funny, I don't look at them as compromises at all as long as you deliver something the client is willing to pay for. At the end of the day it is just photos and video footage, to me it's only a compromise if you compare it to something else you could have done or some other equipment you could have used, but if the client is pleased with the final product then I consider that as having picked the right equipment for the job even if that client happens to be yourself.
    Sure you could have picked a sharper lens, shot with a higher resolution camera, used a gimbal instead of handheld, etc. etc. but none of those things mattered in the end so I don't consider not using those things to be a compromise.
  15. Like
    Kisaha got a reaction from ac6000cw in Once in a lifetime shoot. What primes should I bring?   
    Agree with everything, just add to this my experience.
    For me, even the 105 is sometimes limiting, that is why I prefer the 18-135 EF-S for Canon S35 (or APSC) run and gun, and that is why usually I go with the Olympus 12-100mm 4f..
    I do cover the whole spectrum of moving images (from mainstream drama, to indie documentaries) so I understand what everyone says.
    My last jobs were a feature film (I did sound) that we used just cine primes, a documentary with Pocket 4K cameras and the 12-100, Alexa TV ad (did sound), another one with 4K/6K cameras (did sound) and Sigma EF (18-35, 50-150), TV show with GH6 and 12-100mm, a theater/music performance (GH5+BlackMagic cameras with Olympus lenses), Canon C300mkIII + C70, a couple projects with Sony cameras, e.t.c...
    There is no ONE style of preferred setup. Depending the job and the project you have to adapt. It is a lot different to work on a scripted short, a verite documentary, a TV ad on Alexa, a live performance..
    If you cover something, is more important to have the right moments than have just a few of them with great style..in the end, the content is more important than the form.
    Of course you try to have a great balance of those, but first be sure you cover the basics and then add some artistic style if you can.
  16. Like
    Kisaha got a reaction from herein2020 in Once in a lifetime shoot. What primes should I bring?   
    Agree with everything, just add to this my experience.
    For me, even the 105 is sometimes limiting, that is why I prefer the 18-135 EF-S for Canon S35 (or APSC) run and gun, and that is why usually I go with the Olympus 12-100mm 4f..
    I do cover the whole spectrum of moving images (from mainstream drama, to indie documentaries) so I understand what everyone says.
    My last jobs were a feature film (I did sound) that we used just cine primes, a documentary with Pocket 4K cameras and the 12-100, Alexa TV ad (did sound), another one with 4K/6K cameras (did sound) and Sigma EF (18-35, 50-150), TV show with GH6 and 12-100mm, a theater/music performance (GH5+BlackMagic cameras with Olympus lenses), Canon C300mkIII + C70, a couple projects with Sony cameras, e.t.c...
    There is no ONE style of preferred setup. Depending the job and the project you have to adapt. It is a lot different to work on a scripted short, a verite documentary, a TV ad on Alexa, a live performance..
    If you cover something, is more important to have the right moments than have just a few of them with great style..in the end, the content is more important than the form.
    Of course you try to have a great balance of those, but first be sure you cover the basics and then add some artistic style if you can.
  17. Like
    Kisaha reacted to herein2020 in Once in a lifetime shoot. What primes should I bring?   
    All very true, for me 24mm on the R7 is actually around 35mm so we are on the same page there, but for me I use the 105mm end (around 155mm) FF equiv for background compression for detail shots and also for reach at the long end. I would say that I spend maybe 50% of my time below 70 but the full 50% of the rest of the time I am above 70, that's just how often I need take detail shots which is where I use background compression since F4 isn't particularily fast, and also where I am far enough away from the action to the point that I need the longer focal lengths for a quick shot or I want to punch in and fill the frame with some activity.
    At the type of events that I shoot, the clients expect a full compliment of detail shots of the vendor's wares and that's when I use the long end for background compression. To me the 24-105 at 105 looks better when taking detail shots vs the 24-70 at 70. 
    I also shoot almost exclusively handheld these days and the Canon 24-70 does not have IS where as the Canon 24-105 does so that's another plus.
  18. Like
    Kisaha got a reaction from kye in Once in a lifetime shoot. What primes should I bring?   
    We shoot a very popular show with 2 GH5 and 12-100mm Olympus 4f lenses. 
    I remember years ago for the same project we were carrying video cameras with suitcases full of lenses! It wasn't only tiring and stressful for us, but for the presenters also and the whole production..
    We also use the same for recording performances/live events. You do not have the time to change lenses.
    When I take pictures and I have to cover everything, I use 2 bodies with a workhorse zoom (and a flash just in case, there is no shame on that!), and a prime that fits the occasion (for more "artistic" and/or personal approach) and usually, a 3rd small body (I have always some kind of backup with me, even when I just use one body) with some oddball lens (ultra wide or even fisheye, just for a couple of "weird" ones.
  19. Like
    Kisaha reacted to herein2020 in Once in a lifetime shoot. What primes should I bring?   
    @kye @MrSMW To me shooting events has absolutely nothing to do with style, for me, style doesn't enter the picture until the editing stage for both photos and video when shooting events. My approach to events is that I have one job; capture literally everything; starting with the critical shot list and then going from there. For video my focus is peak action and variety, for photos my main focus is on the branding and the vendors, for a concert it would be the band members, and a few shots of the audience or peak action shots of people that seem to be enjoying the event the most.
    During the edit is when I can focus on stylistic color grading, transitions, audio tracks, etc for the video, and stylistic color grading and compositions for photos. For other types of projects I focus more on style during the shoot such as for music videos (budget permitting), modeling videos, fashion, promo, commercial, boudoir, etc, etc. But during events I stick to my one job; capture everything. 
    So many times after an event the client will ask did I happen to get a shot of xyz vendor, or abc activation and most of the time I can say yes. For a concert I would get everything from the trucks that the band members arrived in to the crowds waiting in line, to the food vendors lined up around the venue, to the band itself, etc, etc both photos and video because I have no idea what was left off of the critical shot list that the customer might ask for later.
    For everything I shoot I try to get close, medium, and wide shots to provide variety, I mix in some totally random shots of small details like the instruments sitting on the stage before the band gets up there, or the lights in the tent above the stage, etc. Those details I use later to break up what can feel like monotony in the video and little details like that is how I attempt to re-tell the day for the viewer; focal length to me is the least stylistic thing I focus on and that's why there is no substitute for the 24-105 for me since there is no 35-150 option for Canon; even if there was, I would still prefer the 24-105 because its perfect on a crop sensor body like the R7. I also if at all possible try to get a few seconds of drone footage to show the big picture and further bring the viewer into the experience of the event.
    I guess all of that put together becomes my "style" but the last thing I would do is lock myself into primes during an event or multiple bodies if at all avoidable. For me my format/style works for me and has helped me build up a list of repeat customers so at the end of the day whatever works for you is whatever you should do.
     
    I can't see a single scenario where I would need that combination of lenses but that's just me. No hand wringing here after shooting years of events there are only 4 lenses I have ever needed for events:
    Canon EF 24-105mm F4.0 - Obviously my first and favorite choice, it covers nearly all of the focal ranges you listed with one major downside; it too slow for lowlight. I use this lens for nearly everything until the sun goes down. Obviously it does not get down to 16mm but I don't like that focal length anyway when filming people due to barrel distortion at the wide end so I have a 16-35mm but I have never used it for anything except landscape and real estate.
    Sigma EF-S 18-35 F1.8 - When the sun goes down this is the only lens I use now that I have the R7.  This works great for low light events for both photos and video when combined with a single panel light.
    Canon RF 70-200 - When I am shooting an event locked down with a dual camera setup (i.e runway shows, dance recitals, opera performances, etc), I put the 24-105mm F4.0 on the C70 and the RF 70-200 on the R7 and lock them both down on tripods. That's my long form/locked down event setup.
    Sigma EF 50mm F1.4 ART - I rarely use this lens these days since getting the R7, but occasionally I will pull it out for product detail shots if it is that kind of event so that I can get razor thin bokeh and have great low light performance.
    As far as trying to get people to 'feel like they were there', I guess I'm just not artistic enough to see how the lens focal length in any way can portray that feeling at all. To me I've never watched a video and thought; that focal length is exactly how my eyes would have seen it so I really feel like I was there. Instead I have watched videos and seen such a wide variety of activities portrayed in the video that is made me wish that I had been there....so that is my goal with event videos, to make the viewer want to buy tickets to the event next year because they missed it this year; and that is exactly how my clients use my event videos, they repost them the following year to try to bring up ticket sales.
    I also think since most people will watch the video on a cell phone, attempting to use focal length to pull the viewer into the event is an exercise in futility. With people's short attention spans and increasing need for stimulation to stay interested a good event video in my opinion is absolutely full of content that catches the eye every few seconds; its not uncommon for me to use upwards of 60 clips in an event video that is less than 90s. Of course this depends on the type of event as well, but in general more is better these days.
    A final consideration is that nearly all of my clients want an IG/FB/and YT version of each video. With a properly composed video, you can convert a landscape YT video into a portrait IG/FB video with a few mouse clicks and the video will need minimal re-composition. With the lenses I use and the way I compose the shots this all works out for me with minimal editing effort.
  20. Like
    Kisaha reacted to Anaconda_ in Once in a lifetime shoot. What primes should I bring?   
    I would recommend not changing lenses at a concert. Firstly you'll lose time finding enough space to change them, or balance the lenses in your arms and risk dropping everything.
    But most importantly, concerts get hot and you will 100% get condensation on the sensor, meaning you'll be unable to shoot anything for a minute or so each time.
    Better to have two bodies with a nice combination of primes (say the 21 and the 50)
    But I would personally stick to the zoom on cam A with a super wide prime for cam B.
  21. Like
    Kisaha reacted to hyalinejim in Panasonic S5 II (What does Panasonic have up their sleeve?)   
    Battery life is ok but not amazing. Probably similar to the GH6 which I tested here:
    If shooting on sticks for interviews or whatever I hang a USB powerbank from the tripod and then it lasts all day.
  22. Like
    Kisaha reacted to MrSMW in Panasonic S5 II (What does Panasonic have up their sleeve?)   
    It’s OK. Just that, ie, not terrible and not superb.
    Other than my gimbal unit for video use, I am switching to battery grips for hybrid use and my pair of inbound S5iix’s.
    One in the body, one in the grip and another on charge. I think the grip one goes first so if that is the case (it usually is) then maybe one swap later in a typical 12 hour day should be good.
    I don’t shoot non-stop for 12 hours obviously… 🤪😉
    Batteries are cheap, can go in pockets and take seconds to swap so IMO, batteries have always been a non-issue for me.
    Any situation where it has any chance of running out, powerbank clamped on the tripod.
     
  23. Like
    Kisaha reacted to Django in Sony New Camera Launch - 29th March 2023   
    The A7Sii was quite seminal being the first FF 4K mirrorless with IBIS that could literally see in the dark. Noise was never an issue with that camera since it had such great low-light performance across the ISO field. The real problem with these earlier A7 cams was the horrible AWB in mixed lighting combined with so-so CS. Andrew had a classic hilarious YT video about the A7Sii zombie skin tones. Sure you could somewhat correct it in Davinci but 8-bit really isn't the best for heavy color correction not to mention the waste of time. Daylight shooting not so much an issue but the camera had a few other cons brought up in that video such as slow AF, harsh highlight roll-off, poor battery life, build quality issues etc. 
    Still for the current used price its a great little budget camera if you find one in not too battered state (they honestly haven't held up well) and don't shoot much mixed lighting. 
     
    The A7iii fixes most of the A7Sii issues both in build, battery life but also AWB/CS. Also uses oversampled 4K for more detailed current IQ. But they still go for +$1.5K used. Not bad but not phenomenal considering you can now get a 10-bit cam for not a lot more from other manufacturers.. 
  24. Like
    Kisaha reacted to markr041 in Sony New Camera Launch - 29th March 2023   
    Very nice write-up. But one advantage of the ZV E1 is Dynamic Active Stabilization (DAS). It turns out that what is going on is that Sony is exploiting Clear Image Zoom technology, now much improved by AI - you can use all the tracking AF features with CIZ - CIZ is better on the E1 than on any fx camera (and the a7s iii) because of the AI (you lose tracking focus with ZIZ on all other cameras). Anyway, the DAS uses the augmented CIZ to zoom out to accomplish the crop. So the loss of resolution you expect from the crop is not there! Moreover you really can walk and shoot with the camera with no gimbal and it looks good  - much better than the simple crop you get using gyro stabilization in post, and a smoother result.
    I will have a 4K 60P real video soon, which shows off the audio (live music), focus pulls, CIZ, DAS, and AF. Shot in 4K 60P HEVC 200 Mbps 10bit 422 Slog3. And I used the kit lens. First time with the camera. As you said, the images look as good as the fx3 (a7s iii), but the capabilities are really enhanced for using in the field.
    And, in a 2.5 hours shooting with clips ranging from 10 seconds to two minutes exhausting 96 GB's of storage and 76% of the battery the camera never even got warm (65 degree (F) weather and humid).
  25. Haha
    Kisaha reacted to ntblowz in Sony New Camera Launch - 29th March 2023   
    No EVF is a key feature according to Sony
    Wonder how long the the camera last with 4K120P in july/aug temperature..
    The processor on those new camera felt much more refined vs 2-3 year old release, the R8 makes my R5 felt a bit old for sure lol.
     

×
×
  • Create New...