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Posts posted by Django

  1. 18 hours ago, kye said:

    Interesting that you're very sensitive to the motion.  I'm curious to hear more because I suspect it means that you're sensitive to un-natural motion rather than all motion (otherwise you could never go anywhere or do anything!).

    What types of motion are you more/less sensitive to?

    I'm very prone to "motion sickness" (car travel, sea travel, VR etc):   https://en.wikipedia.org/wiki/Motion_sickness

    zero problems in airplanes, trains, or when I'm driving myself (only as passenger). the worst is FPS video games & VR, I get sick within seconds. Probably why I had similar reaction to the gyro stab tests..

  2. Pretty impressive stuff and not that big of a crop-in. However viewing those tests gave me heavy motion sickness (I'm super sensitive to it), felt like I was in a FPS / VR game. Stabilisation is almost too good lol. Kudos to BlackMagic though, their name really holds true.

  3. On 6/24/2022 at 1:31 PM, WaitWhat said:



    Pretty good footage with better narrative... 

    First watch on my tablet I didn't notice anything but later on my desktop monitor I found weird noise in the shadows. What do you think guys ?

    I think it looks superb and makes me wanna dump my gear and go out and shoot with an XH2S immediately!

    According to the BTS video/page it was all shot in 6K open-gate mode, mostly Flog2 and those noisy shots were at ISO8000. I like the Fuji noise though it resembles film grain not ugly chroma noise or banding.


  4. 10 hours ago, MrSMW said:

    The only system that actually meets my requirements is a Fuji XH2s based on. Or possibly r or whatever the next camera coming this Autumn is like, but essentially they now have the bodies and the lenses that work for me and 2.5 years ago, they kind of didn't.

    Sony and Canon are both viable options but as much as I'd like Nikon to be, I don't think it is...but would have to check the latest spec etc, especially after firmware upgrades.

    A 3x body R7 approach could be my next best option after Fuji...

    We often tend to obsess over camera bodies but it is indeed the native lens selection that makes/breaks a system for me. 

    And hence I can't really recommend R7 at this point. It has only 3 RF-S lenses atm. Meaning you're going to have to adapt either FF EF or EF-S. Meh. 

    On the other hand Fuji released its most accomplished hybrid and has a plethora of excellent lenses, including new generation primes and that parafocal motorized 18-120mm F4. AF on XH2S seems to finally be on point with a very sticky face eye detection. Plus of course the Fuji IQ and the film simulations for SOOC goodness.

    I'm also tied into not one but two other systems (Sony & Canon) and what I like about them is they have pro cine lines (I like having mirrorless + cine cam) and both FF/S35 but I'm finding it very hard to resist going back to Fuji with the XH2S and a couple primes  (18mm F1.4, 33mm 1.4, 56mm F1.2) and the new 18-120mm. Can't wait to test that camera out.

  5. Anton Bauer Titon base is the way to go imo for proper batt life.. dummy battery p-tap mode:


    works handheld too, here in USB-C mode..


    most annoying part of the Pocket 6Ks is the unreliable battery life metering.. another reason to go external with indicator.

  6. Hadn't read these posts, thanks @gt3rs for the feedback.

    To be fair to Canon, it seems most of the R5C video 'issues' are also there on the C-line cameras.

    The C-line AF is not as snappy as an EOS hybrid. It can't compete for sports/action.

    Video playback is one by one, no quick scroll. Etc.

    I understand how this could be jarring for EOS users but its something C-line users are familiar with.

    Its true Canon should further integrate the two teams/OS's and merge the features a bit.

    I guess you can feel its a gen-1 type product. For me none of those would be a deal breaker though.

    I don't do sports/action. I guess R3 would probably be a better solution than R5C for such cases.

    The battery situation however seems much worse than I thought.

    @gt3rs Have you looked into the Titon base P-Tap kit? Seems tailored for the R5/R5C:


  7. 7 hours ago, kye said:

     I think there's something in here about limited dynamic range.  I've noticed that many people seem to be afraid of contrast these days too - maybe it's from staring too long at LOG footage and forgetting that film created rich contrasty images?  Sure, these lower-DR 8-bit 709 cameras clip pretty hard, but according to imaging-resourcethe GF3 has about 10 stops of dynamic range. According to ARRI, colour negative film has 5.5 stops of DR between 2% and 90%.  Who knows what film they were talking about but it's a real measurement from a reliable source so it's in the ballpark and worth consideration.

    Film doesn't underexpose well so you get crushed blacks rather quickly hence the contrasty look but it obliterates digital in highlight DR latitude. Kodak Vision has been championing their motion film stock and I remember reading it gives DR readings anywhere from 12 to 20 stops depending on scan techniques and recovery methods. You can check some of the charts yourself:


    The wider exposure latitude in KODAK VISION3 Films differentiate film capture from the limited dynamic range of digital capture. Digital "dodging and burning," a very powerful tool in the colorists' toolkit, is now even more powerful—up to two stops more image information can be extracted from scene highlights in VISION3 Films.

    If traditional 10-bit scanner data encoding schemes are used to digitize films having this extended density range, highlight information captured on these film could be lost. Kodak has recommendations for extracting the full density range stored on high dynamic range films in a technical document titled Scanning Recommendations for Extended Dynamic Range Camera Films

    Also recommend some of the great accompanying videos :


    notice at 1:40 how the DP states he overexposed the highlights by 6-7 stops and again at 2:00 the field is 4 stops over and the sky 7 stops over before recovering the highlights. have fun achieving that kind of highlight latitude in digital!

    ..again at 7:37 overexposing the grassy area by 3-4 stops and perfect recovery.

    Just some extra food for thought when comparing film to digital.

  8. 21 minutes ago, mercer said:

    Nah, the stable Nightly Build is 1080p Full Frame 14bit 16:9 Raw. It shoots continuous with proper live view. Playback was wonky when I tried it back in '17 so I never tried it again. It has exposure meters including a Raw Histogram with an Over Exposure Warning including which channels are clipping. It has peaking and "Magic Zoom" ... punch in while recording. Everything is stable and I've never had any hiccups.

    Only the Experimental Builds have a crop and a wonky Live View.

    Right, now I remember! That was the build and settings that worked best. I just might pickup a 5D3 again at some point for nostalgic reasons and to experiment with ML RAW again. Good to know the workflow in post is simplified a bit too..

    17 minutes ago, mercer said:

    I agree about film for stills, though. It really makes you slow down and find your shot. 

    Absolutely. I actually also simulate the film workflow with my Leica M9 as the playback is totally useless on the super low res display, no live view and it only takes small size SD cards that I fill to the max with only 24/36 pics available. Changes everything. I did a pro portrait shoot recently with this M9 setup and the R6, end result was well 36 shots on the Leica vs +400 on the Canon. There were great shots on both cameras but the clients favourite was by far the Leica ones (and I did not tell them which came from which camera). There was just more work/effort put into the composition, direction etc.. was an interesting experiment!

  9. 4 hours ago, mercer said:

    I suppose, but filmmakers shot feature films for years on film without any playback. It's a modern comfort. Now I'm using an old build from 2017, so it's possible they've figured that out since then. For me, the 5D3 was so very liberating because once I used the camera, I didn't look back... or forward. The image was MORE than good enough for my humble hobby. I wish I could have that epiphany with some lenses.


    I can deal with no playback, but no Live View + No playback? Is that how it really was (I forget its been so long)?

    So what you're basically shooting from the optical viewfinder or guesstimating focus? metering exposure etc?

    If so that's actually good for skills (its why I still love shooting film for stills) but damn thank goodness for "modern comfort" as well!

  10. 3 hours ago, IronFilm said:

    Ouch, that's a painful loss!

    And yeah the C300mk2 had the same problem too as the C200, as the C300mk2 was priced above the FS7, yet saw a steep drop in value because it didn't become as popular as the FS7. 

    However, it seems now on eBay the C300mk2 is keeping a bit more value than the FS7. Just simply due to the greater number of FS7 bodies for sale???


    Yeah its pretty much supply & demand but also its a camera that cost $16K when released and some owners are probably more reluctant to "dump" it for peanuts. The C300mk2 is still imo a great older cam as is the FS7. Its actually a camera on my current (Canon system) upgrade list. The C300mk2 has that one elusive codec that would be my perfect default go-to: 12-bit 4:4:4 2K Clog2 internal. That codec alone places the C300mk2 the closest to ARRI's ProRes 4444 XQ. 

    3 hours ago, IronFilm said:

    Yeah I think the C70 is one of the nicest releases Canon has done (when you factor in cost, as if you don't care about price... just get a C500mk2!). 

    But at the end of the day, what compelling reasons are there to get the C70 over the FX6? If it was C70 vs FS7, then I'd side with the C70. 

    But the FX6 is:

    Lightweight, compact, has timecode, has good AF, SDI out, DCI 4K 60fps 10bit internal, etc

    The FX6 is also FF (no speed booster needed) and has that game changing E-ND.

    That said the FS7 is still above class (FX9 is its replacement) and is the only cam I know that has the native ENG shoulder mount with extended arm config. Not for everyone nor for every situation but I love the ease of use and comfort of that setup and the output it gives.. here is an old pic I found on google of Andrew at photokina during release !


  11. 9 minutes ago, webrunner5 said:

    Tell me any camera the OP can afford to buy with a fast lens that is good at low light. And I am not talking about cheap ass MF Chinese lens.

    OP already has a fast lens: Zeiss 50mm F1.4. Paired with a A7S / A7S2 it would do wonders in low light, I know, I had that exact combo. For AF lens, the Sony 50mm F1.8 would only add an extra $200.. another reason why I'd go FF Sony rather then Fuji on such a tight budget.

  12. 1 hour ago, IronFilm said:

    What was bad for you about the Canon C200?

    The 8-bit codec was plain weak. And the RAW had massive files. The 4K was also very soft and not in that good soft but detailed cine way. EF so almost no adapting or focal reducer. The body itself was very nice but I just ended up still using the FS7 9.5 times out of 10.

    Got almost no use of it, bought it right before the price drop and lost so much selling it virtually new. Worst investment ever for me basically. 

    Crazy to think my R6 absolutely destroys it IQ wise. 

    The FS7 still holds its own. I've bought it twice now. Such a workhorse. 

    This of course kinda makes me doubt going C70 (even though I'm leaning towards it) over FX6.

  13. smartphones are still terrible at low light. all that AI stuff is horrible. shooting manual is cumbersome.

    I mean I get it, they're great point & shoots for daytime snapshots posted on social media. We use them for that every day.

    But if you're actually a fan of photography as an art and character lenses I'd still recommend even the most cheap oldest DSLR/MILC.

  14. Everybody's got a decent smartphone these days. I can understand wanting something superior even if your an amateur shooting family & travel. He's got a Contax Zeiss 50mm F1.4 that's one of my favourite lenses in the world, lets cut the guy some slack. I maintain that a Sony A7III is probably the best suited choice. It's not a camera I would ever buy but within that budget and his requirements it totally makes sense.

    As for IBIS, its totally unnecessary for your regular point & shoot photography needs. That said, for video it can really help for locked handheld shots. The tiny XT3 will produce shaky handheld footage. I'd recommend an XH1 over it for the IBIS alone if going the Fuji route. Cheaper too. 

  15. 2 hours ago, herein2020 said:

    Very fair points, and if that is your situation then going for absolute top quality makes sense. I definitely did not mean to imply that everyone here is only shooting content for social media I was simply stating that the crowded sub $10K mirrorless field is mainly targeted at social media content producers and for those that fit into that category any one of them is good enough for any social media platform. Its actually impressive that you are able to be competitive and deliver the quality your customers demand using these cameras.

    Thanks but its really not that impressive given the capabilities of these cameras. I can't agree with you that the sub $10K mirrorless field is mainly targeted at social media content. Flagship mirrorless models like R3/Z9/R5C/A7S3/FX3/GH6/S1H/XH2S and BMD 6K Pro are oriented towards a bunch of other pro video applications including corporate, documentary, news, sports, events, behind the scenes, indie cinema, music videos etc. It's been like that for a couple years really (5D3, A7S2 and BMD really changed the game). Of course the cameras are always rigged to fit such demands, which is why I said the camera body alone isn't the whole picture. And that's also when cameras like the FS7/FX6/C70 etc can also make better sense than rigged up mirrorless. 

    2 hours ago, herein2020 said:

    I still think the R5 mainly overheats because of that 8K sensor; not saying 45MP isn't nice for photography, I shoot a lot of content that needs to be vertical for social media and landscape for other platforms; with 45MP I can just crop to get either orientation, but Canon definitely could have controlled the heat better with a lower resolution sensor. Speaking of lower resolution sensors, my S5 had IBIS and never overheated while shooting 4K30FPS or 4K60FPS (cropped). Of course even the S5 probably would have overheated after a few hrs in direct sunlight or with uncropped 4K60FPS, but then so would most cameras even with a fan.

    The R5 overheating was debunked as artificial timers. That's not to say the camera doesn't heat up in 8K/4K120 and oversampled 4K60/30 but the issue was exaggerated by these artificial timers. R6 doesn't have an 8K sensor by the way and overheats as well. Clearly the thermal management on that generation of Canons isn't the best (wether its conservative artificial limitations or not). So in FF you're pretty much left with R5C & R3 only as your non overheating options. One lacks IBIS and the other costs $6K. This is indeed where the R7 may be tempting. Or wait for the next FF R series.. Canon seem like they're on a release roll. They really wanna grab users to sell their RF lenses now that EF is phased out.

    2 hours ago, herein2020 said:

    Marketing is definitely by far the most stressful, getting found and getting booked is by far more stressful than the project itself. The word of mouth and repeat clients are the best, attracting new clients is much harder. 

    I use an agency these days for new clients. They call/email and I say yes or no. Of course this type of service takes a hefty commission but I hate marketing/prospecting especially post-COVID as the competition is hungry and fierce in my scene. Clients do bids and all kinds of shenanigans which can be a huge stress and colossal waste of time when deals don't go through. Still not earning near what I used to so times are hard which is another hurdle towards upgrade path. I use what I have for now and rent/hire extra when I can. I made some poor purchase decisions in the recent past (C200) so I'm really being careful and observing where the market is going.

  16. 50 minutes ago, IronFilm said:

    But then AF doesn't matter at all 

    Not for that particular lens but he also specified: 

    Sony A7 III + 28-70mm f/3.5-5.6 OSS

    AF in video: keeping in focus a 3-year-old kid.

    53 minutes ago, IronFilm said:

    Focal reducers exist.  

    They do but his budget seems super limited and focal reducers are often three to four times the price of an adapter.

    49 minutes ago, ade towell said:

    I much prefer the image from the Fuji but I've got to agree with Django, if you're following a 3 year old around the Sony's AF will definitely be better

    Just to be clear, I much prefer the image of Fuji also as well as the camera interface itself but yeah the Sony AF & IBIS will surely be more useful in this user case.

  17. 22 minutes ago, PannySVHS said:

    What, ML Raw for the 5d3 is not reliable? I thought @Django you never had a problem with moderate settings?

    I'm not sure why you're quoting me, as I haven't used ML RAW since so many years ago. 

    @mercer is the right person to ask.

    Also I have to agree with the others, it is a hack and hence rather convoluted to use.

    You have to find the right settings to not brick it and then you only have a couple seconds of shooting time really.

    I guess at some point I got the whole thing down and could shoot somewhat reliably with it but that was many many builds ago. No clue what the current situation is. 

    The 14-bit output is phenomenal of course but you need to know how to unpack the footage etc.

    No way would I recommend going that route for "amateur use - family & travel".

    Not sure I'd recommend the XT3 either. For a 3-year old you're going to want robust AF & IBIS can't hurt.

    Plus he wants to adapt his Contax Zeiss 50mm. So FF is the better option.

    A7III seems like indeed the right choice for those particular requirements.

  18. 10 hours ago, herein2020 said:

    We were talking (or at least I was talking) about the R5C specifically and with the R5C the common working theory is that the only way they got it to not overheat even with a fan was to remove IBIS. The 8K affects IBIS because if it wasn't an 8K sensor they probably could have cooled it down properly without removing IBIS (hence the R7 and R3 both have IBIS and don't overheat).  

    R7 is a smaller APS-C sensor and R3 is a 2.5x bigger body so both have better thermal management. 

    But ok I was not aware of the theory of IBIS being removed for heat protection. If so that's kinda lame but R5C is after all just a tweaked R5 not an entire redesign.

    R3 & R7 do overheat in certain modes by the way, just nowhere as bad as R5/R6.

    10 hours ago, herein2020 said:

    @Kisaha @Django @ade towell @ntblowz  8K, 10bit, 4:2:2, RAW, line skipping, ISO performance etc. etc. I will admit I sometimes just have to smile as I read about fellow videographers dismissing a camera in these price ranges due to lacking or gaining these features.  

    Maybe I am a bit jaded, probably because my little corner of the industry is littered with mediocre footage and so my customer's expectations aren't much above mediocre as well, but IMO any camera released in the last 5yrs can create amazing footage. At the end of the day it is the content that matters and if the camera fits into your workflow and has features that helps vs hinders your creativity then that is the camera for you more so than paper specs.

    I think it is safe to say that the plethora of cameras released in the sub $10K USD range are aimed at online/social media content creators and I am not ashamed to say that that is exactly where 90%+ of my content ends up. Once this footage is online it is most likely to be viewed on a tiny cell phone screen at 480P resolution. I say all of that to say that I think the R7 is probably going to be an incredible little camera that is more than good enough to shoot most of the online content that their owners choose to create.

    I understand your point of view however you shouldn't assume all of us are doing social media content that ends up viewed on smartphones. I do a lot of high-end corporate work that ends up proofed by clients on 5K iMacs and often viewed on big screens & projectors in conferences, trade shows and what not. The clients have really high standards and my competition here in Paris delivers super high quality. I also do a lot of chroma keying, 3D integration, heavy grading & the occasional TV broadcast all of which benefit if not require 10-bit 4:2:2. +4K high resolution is also more & more useful for cropping, my editors always embrace it.

    The good news is that most mirrorless cameras now deliver high-resolution, pro codecs, RAW etc. Its now possible to get cine cam results out of prosumer cameras. So while all this may be marketing and overkill for some, it isn't for everyone.

    That being said, I'm not slaved to upgrade path. My 2014 FS7 still serves me good and the R6 is a mid-level camera.

    I do have access to a BMD 6K Pro for anything more high-end and rent/hire cine cam/DPs if/when the budget allows.

    Of course there is so much more than just the camera body itself to ensure a successful project and that should also be reminded.

    7 hours ago, IronFilm said:

    I always found weddings less stressful than major budget film sets. But it is a different kind of stress, and I guess I'd done more years of wedding than major level films. Perhaps in a few more years I'll be more at ease. 

    Yeah its like anything. My former career was in music and performing in front of crowds was quite a hurdle at first but after some time became second nature. I actually believe that having some apprehension isn't necessarily a bad thing, it keeps you a bit on your toes. Once that's gone, you can become lazy/bored/jaded and not perform at your best. that's when for me its time to switch gears.

    7 hours ago, IronFilm said:

    Even the old Canon 5Dmk2 (let alone a much more capable camera such as the Nikon D750, which is still a very old camera itself!) is so capable I can understand if photographers are not necessarily upgrading (or perhaps only upgrading their main camera, but not their backup camera). As they're running a business and can't just waste money unnecessarily.

    I still have my 5D mk1 and love the output. D750 is a workhorse, it's the camera that got me to switch back to Nikon for a few years. Most pleasure I get these days is from my 2009 Leica M9. So yeah imo, stills cameras peaked a long time ago and the switch to mirrorless is not necessarily an upgrade hence why a lot of pros I know still stick to DSLRs. Optical viewfinder, the ruggedness, battery life, even the off-sensor AF confidence of crosspoints is superior. The only real benefit of mirrorless is weight.

  19. @MrSMW Looks like you've figured how to make the system work for you. For me shooting video at plus F8 is not a compromise that would work, especially under lowlight conditions. I shoot fast primes only so things like continuous eye-AF and tap to track are a god send when shooting wide open. But hey that's not to dog on other systems, we managed for years before DPAF and I still love shooting manual on Leica M. I just know that in a fast paced, unpredictable and exhausting +15 hour setting such as a wedding, I'd like the most flexible robust system there is but that's just me. I'm not a pro wedding shooter, only done it a handful of times and found it again rather stressing and exhausting, albeit very rewarding once you get through it!

    @Kisaha Yes I truly believe Canon are back with a very solid camera lineup. Within your budget may I also suggest taking a look at the new XH2S. It has excellent video features (6K open-gate, ProRes internal, IBIS, eye-AF, great DR & low RS) and excellent thermal management with an external fan option for extreme heat conditions such as yours.

  20. @MrSMW By the way this makes me wonder how do you deal with Panny's poor DFD AF both for stills & video on something as demanding as a wedding? Spray & pray? 

    If I was still shooting weddings on a daily grind I'd probably go 1DX3/R3 or Z9. Plus maybe a Fuji or Leica for candids.

  21. Sounds intense dealing with 5/6 camera bodies but wedding shooting is an intense field (in a way the most stressful for me considering the expectations and chaos ratio). It's also beautiful, emotional etc.

    Here in Paris, I still see Canon used by the majority of wedding photogs (a lot are still on 5D/7D/1DX2/3 DSLRs).

    Videography: Sony (A7S3/FX3/A9/A1).

    Hybrid is still kind of an unestablished domain with everyone choosing its own camp it seems.

    Pros are always a bit surprised/curious with my Canon mirrorless. It's still a very CaNikon DSLR/Sony dominated scene.

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