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Towd

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  1. Wow! That is really an impressive diversity of styles. And I bet they never spent any time arguing about 2k vs. 4k or what sensor size they were shooting on.
  2. Oh, it's mostly just a for fun lens and way beyond practical. I currently own a Nikon 75-300mm F/4.5-5.6. It's a total shit lens-- on or off my speedbooster. Tons of chromatic aberration and very soft. I've had it for like 15 years, and it has never impressed. My other telephoto that is much nicer is an Olympus 40-150mm F/4-5.6 that I picked up as my first native m43 lens when I bought my GH5-- on sale for $100 dollars US. This is... no joke, a really decent lens for a plastic-fantastic bargain bin lens. Puts the Nikon to shame, and it fits in a front pocket. It's currently my only autofocus m43 lens, and does a half decent job for its size. So yeah, I'm interested in a nice long tele for my growing micro four thirds passion.
  3. I've been toying with an investment in that lens, the 100-400mm, or the fixed 200mm, so I'd love to hear more about your experience with it long term. The 50-200mm definitely seems the most practical while the fixed 200mm is probably the least. I've generally come to the conclusion that I'll be shooting Panasonic (GH series) and not Olympus long term, and so will probably favor Panasonic glass. And Panasonic seems to include lens stabilization more often than Olympus. Yeah, I was being overly harsh there to reviewers. I think that trolls however love to find holes in a reviewer's conclusions, so the reviewers play it cautious. I do enjoy the whistle clean image aesthetic that seems to be the growing trend in video. With Neat Video or other degrainers however, it's very achievable to get a clean image even up to 3200 on the GH5-- but it will soften the image some, and of course you'll be losing some dynamic range. That said, I love me some grainy 16mm scanned film. Probably one of my favorite looks.
  4. Yeah, people completely blow out of proportion the noise on the GH5. With some minimal work in post it cleans up really nicely-- especially if you are delivering in 2k it's just a non-issue. I think a lot of reviewers just discount it to avoid trolls who might discredit their standards. None of these people I think have ever worked with film or the early generation digital cinema cameras that were noisy as hell.
  5. That's the digital stabilizer that shifts the image on the sensor. Kind of like an in camera version of post stabilization. I prefer to just use the mechanical sensor stabilization and lens stabilization if a lens has it, and add digital stabilization in post. If you need it and don't want to bother with the post work, it adds a little more smoothing to your video. One difference between the mechanical and e-stabilization though is that the regular sensor stabilization will help correct for the motion blur in micro jitters, but e-stabilization will not.
  6. Yeah, I remember reading somewhere that the cost for a full frame chip is only a $100-$150 more than an APSC. Why would Nikon want to split their time catering to that market when they need to stay busy filling out an offering of full frame lenses? If you want to shoot super 35 on a Nikon, just use the crop mode. I think the APSC format was a compromise due to the limitations of the technology of the time. Nikon and Canon are probably happy to leave it behind on their new generation of mounts. I won't be surprised to see full frame Nikons and Canons in the $500-$600 range in a few years. Long term, I kind of see the market shaking out into M43 for those who want small travel cameras with a few more features and options than smartphones. Full frames with crop modes for the mid range, and Medium format for crazies who want to go for a niche look. Hell sometime in the next 10 years I wouldn't be surprised to see an IMAX digital sensor for big budget and special venue projects.
  7. Yeah, as nice as the Meike I have feels, and weighs I wouldn't want to see if it would survive a drop onto concrete. For the price, "disposable lens" is probably an apt description. But who knows... maybe it's a tank when abused. I really can't tell from holding it. If I had a huge youtube channel, I'd buy two and run a physical torture test on one to see how it survives.
  8. If you guys are into manual focus primes, I'm really impressed by the Meike 25mm t2.2, and I'd imagine their new 16mm is just as good. It's very well built, incredibly sharp, and has a beautiful out of focus rendition. Having always wanted to try some Veydra primes, I couldn't resist the chance to test out the Meike for the $330 price tag. If you look at Veydra's performance in some MTF tests from Lens Rentals, they put some Zeiss CP.2s to shame. Even at T2.2 they look to just edge out the best Pany-Leica and Olympus pro glass stopped down to F 2.8. Some links to compare MTF tests: https://www.lensrentals.com/blog/2018/03/veydra-cine-mini-prime-mtf-optical-bench-tests/ https://www.lensrentals.com/blog/2018/03/finally-some-more-m43-mtf-testing-are-the-40s-fabulous/ I'm currently in the post hell of a large project I'm wrapping, and will not get a chance to really test the lens out for a while, but I've been towing my GH5 with the Meike around and shooting a few random things when I get a moment. Here's a few frame grabs from Resolve. The horse was shot around T4-5.6. The others were wide open. Everything was shot in V-log with a quickie color grade so I could see what I was looking at. No sharpening in camera or post. Based on how happy I am with the Meike, I might end up collecting a few of these if Veydra doesn't make a return to producing lenses.
  9. I don't know man. You're in the GH5 thread arguing about the Z6 with features that aren't even out yet. It'll be interesting to look at when it's available, but hypotheticals don't help with anything people want to shoot today. A lot of people don't want to shoot full frame-- been there and done that. It's a pain in the ass to keep everything in focus. Actors drift off a mark and blow a shot. It requires more prep to get right, and more takes nail a shot. In documentaries I find it distracting when the environment is too blown out into to mushy bokeh as well. In my opinion, there's a nice level of defocus necessary to help direct the viewer's eye, but too much can be annoying. Micro four thirds hits a great balance for that in my opinion and packs into a very small package. If you need extreme bokeh in a scene, throw on a speed booster, long lens, or shoot with one of the many f.95 lenses out there. I totally get why people want to do full frame shooting for some projects. And it's certainly fun to experiment with different styles and looks. And I can even see why bloggers would want it since they often don't have interesting backgrounds and their style resembles the realm of portraiture with their self interested subject matter. But the GH5 fits all your requirements if you don't care about shooting Vista Vision... In regards to the rig you posted, I might as well grab a Red camera and shoot with that. Used ones are not even that expensive anymore. Or grab a Z-Cam, or the black magic pocket you posted. The point of the GH5 for my purposes is 10 bit log capture in a small camera body. The only other camera I'm aware of that can do that is the X-T3 and it lacks internal stabilization. The conversation started because you came here posting that GH5 users were somehow misleading new buyers into buying an outdated system that wasn't as good as the Z6 or S1. I'm saying it's still more than relevant today. Different tools for different problems.
  10. Good color is subjective and a matter of opinion. You can't jump through logic hoops while stating opinion as fact. Also, I'm happy to debate cameras, but please leave out the personal attacks. @kye is one of my favorite posters on this board and if his posts are not in the spirit of the board, I don't want to be here. Personally, after shooting in 10 bit internal for a couple years, I think it's a requirement for any camera in 2019. If you have to slap an external monitor onto the camera to get 10 bit, then I think you'd be better served just getting a full video camera and rigging it out. If hybrid is your thing, then again, I ask who wants to deal with an external monitor while shooting photos and video? To me all the blustering about who has the best color is opinion and irrelevant unless the camera shoots 10 bit. It's not that you can't get great results with 8 bit, the problem is the 1-2% of the shots where banding appears in the sky, or when you have to save a shot that wasn't exposed with perfect settings, or some extreme grading breaks the image, or a multitude of other gotchas where a save in post is necessary-- that's where 10 bit shines. Raw adds even more flexibility because it opens up more extreme exposure and white balance adjustments in post. You can get great results in 8 bit, but a lot of the time pro cameras are about saving mistakes made on the set, or at a location that can't be easily repeated. ...and until the Z6 actually shoots raw, its vaporware and irrelevant. It's so tiresome to debate what camera will be best in the future after X spec is added... 🙄
  11. I thought this was a nice breakdown of the S1 with some comparisons against the GH5 and a7 iii. It looks like it would pair up well with a GH5 in a multi camera shoot.
  12. The Nikon doesn't shoot 10 bit internally or have even half of the video features of the GH5, and it currently doesn't have raw shooting and if and when it comes, you'll need an external recorder. The S1 also doesn't offer half of the shooting modes of the GH5 and I believe only offers one 10 bit internal record mode right now. It'll be more interesting to people when the V-log update becomes available. But that'll be then. The GH5 has been a workhorse for over two years with a proven set of features that are available right now. People shoot professional work with it now and have established workflows with it. They know what to expect from it and how to get their best work from it. In addition it still has almost no competition in the unique video features it packs into the body.. and yeah, it's over two years old. At its current price, it is still a great buy if you want to record 10 bit internal video with a built in stabilizer. Personally, I'm playing "wait and see" to observe what happens after the raw and v-log updates show up, but personally I'm more interested in seeing what the GH6 may offer. Not everyone needs or cares about shooting video in Vista Vision / full frame. And just because it's a flavor of the moment, doesn't mean it's actually necessary or better than micro four thirds. And the general observation by the community is that the smaller sensors like APSC and m43 get the cooler video features earlier than full frame competitors due to heat and sensor read times. Also, some of us REALLY hate rolling shutter and it's a more pronounced issue on full frame bodies. I could see possibly picking up a full frame and using it mostly in crop mode, but then I end up asking myself why bother when the camera I've owned for two years has more video modes and features. And in another year or so, there will be some new camera like the GH6 to grab our interest. I see you bought a Nikon Z6. It's a great camera-- go enjoy it. Pretty much every camera out there can deliver excellent results. But different people have different needs. I don't know why you are on this crusade to troll the GH5 thread and convince us that we need to sell our cameras. I'll end by just saying, if I was in the market for a new camera and buying into a new system, the Z6 and S1 would be very tempting and both look to be really exciting systems for someone new to the market. You really can't make a bad choice. For me, I have years of prior work experience going back to 10 bit Cineon files from the scanned film days. It's something I'm used to and really appreciate.... so I'd probably be much more drawn to a camera that recorded 10 bit internally. When I saw the GH5 was going to offer 10 bit log, Panasonic won me over, and I took a chance and bought it on day one. I've now come to love all the cool features it offers that I didn't even know I was missing, but now wouldn't want to do without them. Yeah, the color doesn't perfectly match an Alexa, and an Alexa doesn't perfectly match scanned film. But there are so many great choices out there we're spoiled with great options. 😎
  13. Yeah, I think GH5 colors were a big improvement over GH4 colors. Before the GH5, I only really liked Canon and Nikon colors in the DSLR segment. But the GH5 is good enough, and 10 bit internal recording helps a lot with grading. There's a whole thread here devoted to an Alexa LUT for mixing GH5 with Alexa footage. I know a lot of people mix GH5 with Red footage as well including myself. So yeah, I don't think its best in the business, but the GH5 can get the job done, and it's crammed with video modes that still are not matched by anyone else except maybe Fuji. Fuji's latest stuff looks great too, but I have not worked with it, and it came after the GH5. Sony's color has been improving, but not as fast as Panasonic of late, IMO. Oh, I was referencing this organic sensor Panasonic has been teasing: https://www.dpreview.com/news/1440456457/panasonic-unveils-industry-first-8k-organic-image-sensor-with-global-shutter It's supposed to have like 16 or 20 stops of dynamic range. I'm just being a bit facetious since the wedding video above had some beautiful skin tones, but heavily clipped highlights in the windows. Everything is organic these days, it gets a bit confusing! 😉 I can't comment on the S1 in detail though. I've only watched some Youtubes on it, but I like how it looks. I don't think I'm going to bite though. I don't really need full frame recording and it's not enough of an improvement over the GH5 for me to dump my kit and switch formats. I am watching it and the Z6 to see how they evolve though. They are the most interesting full frames at the moment for me. Yeah, watching the weird incompatibility play out between Sigma and Leica feels weird. It's too bad there is not an open m43 equivalent for full frame.
  14. I have to say, the colors in each succeeding Panasonic model in the last few years have seen a dramatic improvement in color. From GH4 to GH5 to GH5s, and now a big jump with the S1. Really beautiful images coming off this camera. Wish it had just a touch more dynamic range. Stop teasing us with that 20 stop organic sensor Panasonic and stick it in the GH6 with your new color science/ processing/ mojo /magic!!😀
  15. This would actually be pretty slick. I really like the open m43 standard. I'm kind of hoping we'll see this sensor in an m43 format. If not in a GH camera, maybe in a full on video camera. https://www.thephoblographer.com/2018/12/12/new-co-developed-fujifilm-and-panasonic-organic-camera-sensors-capable-of-8k-will-be-released-in-late-2019/
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