omega1978

25 minutes ago, Thpriest said:

That's 4 I count! (screen as well) Clearly sets it apart from all other cameras.

 

The red screen indicator Panasonic has ad with the last firmware on the S-series free of charge 😉

1 hour ago, crevice said:

looks great. i am contemplating the 24-70 2.8 or the 28-70 - how is the 28-70 with no IS or did you use it on a gimbal here?

Thank you !

28-70 is a very big and heavy lens. We use digital IS in this case. It was to big to balance on weebill s, so all handheld.

I think a 24-70 IS with speedbooster is a good option, altough AF is limted to 60% of sensorarea. We tested here Tamron G2 only with standard adapter an stablization and AF where fantastic( and very quite, on 28-70,35 1.4 you hear little clicking, but not significant )

2 hours ago, newfoundmass said:

I've seen the overheating tests but most of them have been in either a climate controlled room (70f or so) or in direct sunlight. While kind of helpful, the majority of my work is done indoors sometimes in really high temperatures but hardly ever in direct sunlight. 

If I'm using a couple of A6600's to film an indoor sporting event that lasts all day (with up to 2 hour takes) in 90-95+ degree temperatures (sometimes really humid too) is that going to be a problem? I'd ask about the A7siii too, but I don't know if many people have had the opportunity to test it out in those conditions. 

Any user experiences? 🙏🏻

In church 30 grad celcius with A6400 2 hours with no problem. Maybe with Ibis on A6600 is different ??

7 hours ago, pixelpreaching said:

?? That just directs back to this forum

2 hours ago, zerocool22 said:

What about AFC with metabones?

Depends on the lens, in advanced mode a small center area use PDAF and my EF 35 1.4 , EF 16-35 2.8 III is fast enough and reliable, EF 85 1.2 II quite slow on A6400 with Speedboster Ultra

1 hour ago, Mark Romero 2 said:

Using EF lenses on Gen 3 or Gen 4 sony bodies (a7 III, a7R III, a7R IV, a9 II, possibly original a9), many Canon EF lenses are rumored to focus better on the MC-1 on Sony bodies than on some of the Canon bodies (like 5D, 5D II, 5D III). At least, that is what some sony users who switched over from canon claim.

But only for photography, AFC for video is very limited on Sony with MC11

Some rumors say 3795 €

I use Leeming LUT and skintones are nice.

With Sima MC-21 and adapted Canon lenses there is no AF-C on the S-series

This are some of this screenshots in cam processed with Lightroom mobil.

4k50p 1/100 natural profil only 8bit

5 hours ago, MrSMW said:

Are we now there?

The new Sony has got me thinking.

Not only is it the most capable all round hybrid ever made, but are we now at the point where we could simply extract the stills from the video?

I am thinking as someone who provides hybrid capture at weddings without strobes.

Shoot 4K 120p clips throughout the day (as I do but at 60p at present) and 1/240th of a second.

I don’t shoot log but try to get the best SOOC image for minimal post editing. With the Sony, probably the S-Cinetone.

What am I missing/overlooking?

If I could do this, I could reduce my kit down to a single camera and single (zoom) lens instead of my current 2 bodies + 4 primes.

I dismissed the Sony A1 as being above my needs and budget, but actually as a ‘one and done’...

I would still need/have another body for static full length ceremony & speeches. No way round that, but for the more ‘artistic’ wedding film and the photography?

Interesting (to me anyway) at the very least...

I’m thinking body + battery grip + Tamron 24-75mm f2.8 indoors and Tamron 70-180mm f2.8 outdoors, my focal length needs being typically in the 50-150mm range.

Comfortable with my Sony ZV1 as back up in my bag.

I do this for the shooting with the couple, in 4K50p 1/100 and export direct from the cam screenshots.

But it on Lightroom mobil and next day they have a couple of pics as gift, that i can post on FB..

When you go faster with the shutter, you lose the the motion blur for the film.

Maybe 4K100p with 1/100 is an option, but at the end of day this are big files to storage and overheating is problematic.

Had a discussion with my buddy weeding filmaker recently about photo(from film) and film, but we think that a photographer frames and use focal lengths differently as a filmmaker and pics indoors without flash from dance etc. are not nice.

A friend own the canon c70 with Rf 28-70 2.0 and we have made some testshots with other Canon lenses. He is waiting the Canon Speedbooster..

Nice camera, little heavy, very big on a gimbal..

4K h265 4.2.0 10 bit Clog2 50 & 100p all handheld 

What do you think ?

4 hours ago, IronFilm said:

Those are US$199, are you using another currency? 

You can't use an Ultrasync BLUE to keep the Panasonic S1 in sync. 
You'll need a TCS Ltd Ultrasync ONE (or a Tentacle Sync E....).

Doesn't matter what camera on earth we're discussing, it is preferable to keep a timecode box on it, yes. 

In italy 169 €

https://www.fotoema.it/accessori-foto-e-video/cuffie-speaker-microfoni-registratori-audio/zoom-f2-bt-registratore-digitale-bluetooth-con-microfono-lavalier.html

or even

https://www.cittadellamusica.org/home-26-studio-recording/registratori-e-player-professionali/zoom-f2-bt-field-recorder-bluetooth-2B-microfono-laval.html

you mean 

https://www.vuetec.de/SW53/timecode/tc-generatoren/generatoren/614/ultrasync-one-timecode-fuer-kameras?c=1675

connect to the S1 and then sync with the F2s ?

4 hours ago, IronFilm said:

When you compare the price of a Tentacle Track E to a Zoom F2-BT (which is a closer competitor than the non-bluetooth version) + cost of an Ultrasync BLUE (which is necessary for the F2-BT to work properly, unless you've already got a compatible bluetooth timecode machine such as for instance the F8n) then the Tentacle Track E is in reality very well priced indeed.

Ok, but to have timecode on the S1 with the coming update you need the Tentacle Sync ?

Tentacle Track 319+Sync 199+Cable 10= 529 for Zoom BT 169+149 Blue = 318 you can buy another Zoom..

24 minutes ago, MrSMW said:

Hmm, OK this one is going to need some more research...

May need to look at the alternative octopus thingy...

Sad, cancelled my order.

Tentacel Track E is expensive, but maybe a better solution in combination with the new S1 Firmware and timecode 

3 hours ago, Happy Daze said:

This is my experience with the Zoom F2. Please understand that I tried so hard to love it.

This video was meant to be a full review of the F2 but frustratingly I gave up and published my babble up to the point where I conceded. I call it the unfinished review.

I don't think Zoom will be sending me products for free any time soon. But, if they solve the issues then I'm happy to revisit the review.

https://youtu.be/86K8xH3MfCM

 

I hope my experience is not that bad 😏

12 minutes ago, MrSMW said:

I encourage all of my weddings to have a central speaking point whether that is a lectern or a mic stand.

I use it there.

In some circumstances (indoors, but most of my weddings are outdoors) it can be the main/sole audio source, but more likely, I use it as the baseline and overlay & sync the individual lav mic recordings and then chop out the lesser quality baseline where I can.

I think these F2's will provide an even better option as they should reduce any screeching etc that the crowd can sometimes make during speeches!

But having said that, my 2021 clients are dropping like flies with either postponements or cancellations and my best case prediction is I'm going to end up with at best, 50% workload this year (following on from just 4% last year, ie, I lost 96% of my booked jobs) and worst case, all 100% will go.

It's not looking great and I'm not sure if I can survive 2 years with no work. It's that bad.

Ok, i´m sorry for your situation, but maybe with the vaccination in the summer we can start our work again. I am in the happy situation to are involved in a big film project for a supercharger system, so i have work for the next months.

Have ordered yesterday the F2-BT and i had the same idea. Rode go to the speaker ( maybe later a second F2) and a F2 on the groom ( fix a F2, a white one to the bride is very delicate, and don´t think that is accepted here ), a Zoom H5 for musicans and a Rode Mic to 1 channel, and the Rode Go to the other channel on A-camera.

On the B-Cam a NTG4 for Backup.

I thing is stupid, that you can start the F2 wireless only once and not synced...

On 11/15/2020 at 8:12 AM, MrSMW said:

All I am interested in really is the non-clipping, locking lav, size and price.

Easy to stick the results from each (3 for me) on a timeline based on master Rode Wireless Go and auto-sync even if the latter has drop outs. Then delete the ‘master’.

That’s how I’m planning to work in 2021 with these F2’s.

It’s cheap and efficient and will deliver the results.

Anyone want to buy 3 Sony recorders and 3 Rode lav mics? 😘

You but the 3 F2’s on bride, groom and speaker and the rode goes where ?

12 hours ago, herein2020 said:

Thanks, I guess I wasn't waiting long enough, I tend to hit Enter the second I post a link.

 

Here are two recent videos shot with the S5. The images in the videos are taken with a Canon 5DIV. All natural light only for the video portions.  The audio is using the XLR module via the lav mic. I have found that the XLR adapter seems to be a bit more problematic with the S5 than it was with the GH5 especially getting it to work with the Sennheiser wireless kit. I once had to restart the camera to get the audio to start working after turning on the Sennheisers and I had to disable ALC in the camera because it kept shutting off the XLR input even though the audio was not peaking.

As far as film look vs looking too digital, I don't really focus on things like that, I feel like on a cell phone which is where most of my videos get watched, the audience just couldn't care less so I can't let myself try to achieve things that my audience won't pay more for. I do miss my GH5 MFT Voigtlanders though, they had this look that was way more pleasing to me than I've been able to get out of the Canon and Sigma lenses. I just picked up some ProMist filters that I'm going to try out on my next daytime shoot; if Voigtlander made L mount or EF mount lenses I definitely would consider getting a set. Which does bring me to my last point which is I don't think it is the sensors which make the image look too "digital", I think the lenses have a lot to do with it as well and no matter how much post processing you do, if you start with a difficult sensor/lens combination it's never going to look as good as if you had a lens that got you 90% of the way there in camera.

 

 

 

 

Nice work, never made a shoot with models, but maybe we are too little people in South Tyrol, that need a lot of models 😉

Thank all for the positiv feedback.

In this clip i made a try to get away from the digital look..

28 minutes ago, Mark Romero 2 said:

Can you post a screen grab of the flare???

I had one issue when shooting in V LOG with the 24-105 and underexposed. I didn't have direct flare though, but I was getting green and magenta rings in the shot. (Saturation is turned up a bit to better show off the rings.)

3 minutes ago, Mark Romero 2 said:

Looks good. 

Shot at 60p??? Were you shooting in 4K or 1080p?

I like the look of (older) Canon EF lenses on the S1. don't get me wrong, I like the look of the 24-105 f/4 but I think that is best for maybe product photography where it is ok to have a "clinical" look.

Thank you. 4k 50p. Yes the 35 1.4 II is not so old, but has a good 3D Pop, the 85 1.2 II is a bokeh beast ...

This is the trailer for a new wedding website. I have to reframe some shot, was made in rush 😁.

what do you think ?

All shot S1 with Canon 35 1.4, 85 1.2 on MC21 4k50p natural profil 

1 hour ago, Mark Romero 2 said:

Thank you for the compliment.

Yes, I do / did use IBIS on the Weebill S, but it is a bit complicated.

The first video (34 Vista Real), I used the full BODY IBIS, where all of the Axis are controlled by the IBIS of the S1. 

In the second video (38 Thunderbird) I instead used the Lens IS for the majority of the stabilization (I think it is three axis from the lens) and the body is handling the other Axis. 

Note that I am using the Canon 16-35 f/4 L which has lens stabilization, so you can set the S1 to let the lens do the majority of the stabilization. 

I did this for the second video (38 Thunderbird) because I noticed a lot more corner warping in the first video (34 Vista Real). I was told on facebook or some such place that by switching to lens IBIS I could reduce corner warping when shooting at 16mm on a gimbal.

So what I have found is using lens stabilization (primarily) with IBIS and then using stabilization in Resolve helps to get the smoothest motion for me.

I have tried using the Weebill S with IBIS turned off completely and it just isn't smooth enough, even with stabilization in Resolve.

Warping with Ibis on wide angle lens is a problem. on the Jerusalema video i avoid this with zooming in to 20 mm.

without ibis the stabilisation on weebill s is very bad ( my crane 2 was much better )

1 hour ago, MrSMW said:

Well I don’t have the 24-105mm f4 but it is a consideration and going back to one dedicated video unit plus two dedicated stills cameras vs 3x hybrids.

If I did go to the f4 zoom, I think I’d be more inclined to go log and manually shoot 640 outdoor and 4000 indoor.

With the f1.8 primes being just over 2 stops faster, 100-1600 works pretty well for me but I think log has maybe another couple of stops of DR over a standard profile?

On the other hand, log is not so good with the AF on the S5 due to the lack of contrast? So I understand though not tested that theory myself. Yet...

The 24-105 is a very sharp and contrasty allround lens ( If you like that ).

I have filmed a entire wedding with it

One thing that disturb me is a violett flare when you shot against the sun or any light..