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Yannick Willox

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About Yannick Willox

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  • My cameras and kit
    Panasonc Lumix L1 / Gx80

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  1. After reading the original article I bought a GX85, and an adapter for my Panaleica 14-50 fourthirds lens. It was my first cam that could do video. Years later, I have now shot several concert (live or production) video's, up to 10 cam (mainly P4K), 3 manned cams. I currently have 3 fourthirds lenses (adapted to m43) and 8 mft lenses and 14-15 Samsung T5 ... The GX85 still serves (mainly photographs, or as a fourth cam when I am in a pinch). So, a big THANK YOU to Andrew. Without getting into video for music, the last two years would have been a personal disaster ...
  2. Considering the ump12k is quite cheap these days, I would expect a new flagship in a few hours ?
  3. I honestly dont know if it is so different from centuries ago. We remember maybe 5% of painters, or composers. Or that one blacksmith that made a fantastic blade. The problem now is we see all of those wannabies and amateurs pretending to be something they aren’t - all on a big pile in just one place ! and they are getting paid for it… That should not withhold us from maintaining some kind of standard.
  4. What I meant was, the newer lcd looks better, but colors match. Contrast is better, red goes further, etc, the previous one did not cover srgb and rec709 100%. i use them side by side, the proart is better. The factory calibration report is better than what I got with my old dell with my old spiderpro. so, if you are not in a 100% controlled environment, and dont recalibrate often, imo there is no use if you have a decent factory calibrated item. of course, you could have had bad luck. And of course, this changes if you have to do critical, highend color grading. But then, I am not mastering audio on Soundblaster speakers in an untreated studio either.
  5. I have a proart PA248QV. It is also a lower cost type of this series, 24 inch. It comes "calibrated" out of the factory. Side-by-side to my much more expensive Dell 24", which has been calibrated with a Spider, it looks better/more accurate. Getting into the hassle of recalibrating, more expenses for a (used?) calibration device etc. is only worth it if you are in a VERY controlled environment, with a fixed lighting setting. I think for REC709 these kind of displays should be quite reliable - although certainly not reference grade ... Benq has a very interesting photo/video series, which can switch between photographic and video modes easily, but at 4x the cost (which is still quite cheap). The Asus proart series easily goes to 5K euro, but I think there is not 1 model able to do 24p (natively). If you need that, you need to look at the Benq video series.
  6. Except that, in 2022, one can actually buy a truly highend system for exactly the same money (inflation included) you could buy an entry level system for 30 years ago. In that regard, maybe Mr. Huff is perpetuating his own sin. Audiophile hifi is complete nonsense once you see what you actually have to buy. At the very least video buyers don't use their cams immersed in a big pot of white paint, which is the visual equivalent of putting a 100.000 dollar "highend" audio system in an untreated living room. Way better to spend 75K on a good listening room, and then putting in a 10K system.
  7. I am no expert, but isn't the entire point that sensor size at least matters & makes a (significant) difference because: a. for the same resolution, the pixels are much bigger b. different lenses, even if equivalent c. and even if you put the SAME lens on different sensor sizes, it effectively becomes another lens. Over the years I have found some lovely lenses for MFT, as the Kamlan 50mm f1.1, and the DZOfilm 20-70 T2.9 parfocal zoom (and an old 43 Samyang 85mm f1.4). Those lenses on MFT sensors just work. No point in discussing equivalency.
  8. The newest MBP have WIfi 6, which should be quick enough. The problem would then be upgrading your NAS so it would actually get that speed and connect to a wifi6 access point.
  9. The question is, how big are all your active projects ? I have an internal U2 8tb drive, and two 2tb M2, and sometimes (rarely) it is not enough for all active projects. Then I move stuff around during the night. I can, because everything is on my NAS, and has double offline copies. I can edit off my NAS with a standard 1 GB ethernet connection, but that is not something I want to do regularly, and certainly not with +3 multicam projects. 10 GB ethernet would probably work fine. So, if your NAS is quick enough and has a 2,5 GB ethernet option, you could try that ? However, a Samsung T5 2 TB is only 220 euro... Another option could be a Qnap TB-464 with M2 drives, but that would still not be wireless. IMO that is the biggest flaw of the new MBP - 8 TB is 2500 euro extra ! I bought my internal U2 drive for 850 euro. If Apple's pricing strategy wasn't based on gluttony, I would probably buy a MBP.
  10. I would archive to multiple conventional HDD. SSD won't keep its data for 20+ years, neither will writeable blueray discs if you're out of luck (I had boxes full of CD-ROM becoming totally transparant around 2003-2005 !). My HDD from around 1995-2000 still spin and read perfectly ... For the moment I am buying Exos X16 12 or 16 TB harddrives. Much more reliable than consumer HD, and only 25 euro/TB if you can find them.
  11. Can anyone comment on the non-corrected distortion ? My DZOFILM 10-24 almost has none, but is sometimes a bit too soft towards the edges.
  12. 5 cam in 4K with previews running, plus programme ? Which PC do you have then ? I cannot do that in my Ryzen 5950X machine ... Not at smooth 25 fps. I can do that zith braw. braw is more compact than prores at same quality levels. If I have a multicam shoot, and there is a GH5s running, it is like 200 GB for the GH5s (on 150mbit, not on 400 mbit codec !), and about 300 GB for braw Q5, same resolutions. So, braw is more performant and actually more compact, because for the gh5s I need to create proxies.
  13. Try editing and color correcting 8 cam live shoots with compressed codecs ... yes, archival is a problem, but highquality h264 is not that much more compact than braw.
  14. What if Panasonic are planning the GH6 ? What if the GH5 still is a viable camera, but due to older parts, difficult to assemble & sell. Hence the GH5 Mk II with a few small improvements ? Then the bulk of this thread is moot.
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