MurtlandPhoto

7 minutes ago, homestar_kevin said:

Pretty great episode if you're a side sitter 

I felt seen, haha. 

Spotted this last night on Curb Your Enthusiasm. A GH5s being used as a prop deposition camera. It’s in a cage which makes me think this is an actual production tool. Maybe a crash cam or second unit. Pretty cool. 

I used my P4K and OG Pocket together over the weekend. I used the Super Scale feature in Resolve to bring the OG's footage up to 4K. It's not quite as detailed, but can easily intercut with true 4K stuff in the eyes of the client. Very happy with the results.

I'll be using my OG Pocket for a big (for me) corporate shoot this weekend. It still consistently can deliver the goods.

12 hours ago, IronFilm said:

No way would a Panasonic L Mount FF mirrorless camera priced substantially under the S1 have all of the features that would be in a GH6. 

This is exactly why I think Panasonic with stay with MFT at least through the GH6. They have a massive group of users that want a full featured video camera for ~$2000. MFT lets them do that. It's impossible in FF at least in 2020.

Just now, eleison said:

If we even have Ironman rolling his eyes, we must have reached peak minutia ? slowly backing away...

Lol I probably jumped the gun with that GIF ? I know it seems like a s35 sensor behind a mft mount comes with lots of drawbacks, but honestly it doesn't. This is something many of us discovered at the release of the LS300. The implementation was honestly amazing. You saying you guess there would be significant drawbacks is sorta the point we're making - everyone dismissed the camera because it didn't seem possible, but it was! Just a sad missed opportunity for cameras that came afterwards.

3 minutes ago, eleison said:

Technically I said apsc, and not super 35.  ? From my quick google search the ls300 sensor size is 23.46*15.64 which is smaller than apsc.  However, I guess technically a MFT could fit an apsc sensor but with significant drawbacks.  Perhaps that is why the LS300 was not popular?

https://***URL removed***/forums/thread/4327452

5 minutes ago, eleison said:

Sensor size?  I'm not sure you can put an apsc sensor into a MFT mount; I'm pretty sure you can't put a full size sensor.  I think the MFT lenses would have to be redesigned.

It's been done - the JVC LS300. Fantastic implementation, too. It just wasn't popular enough of a camera to spark a movement.

Lightning in a bottle is my guess. Sigma released it very early on into their new Art line - maybe the first or second lens. I wouldn't be surprised if they priced it barely above cost in order to attract a ton of people. Then, they were able to keep their margins due to the massive scale. Everyone that wants this lens has one, so I don't know if it would be wise for another manufacturer to even try their own version. They probably wouldn't be able to match the price:quality value.

The past 10 years have been mostly MTF for me, mainly Panasonic GH cameras. My kit now is probably the most disjointed it's ever been: GH5, G9, Pocket 4K, OG Pocket, and a C100 m2 with both MTF and EF mount lenses. Any one of them could be an excellent go-to camera for basically anything (except probably the OG Pocket), but I've decided to compartmentalize when each is used. Amazing times we're in.

Potato Jet has access to all that gear through a variety of ways. He is an active video producer so he has access to rentals and other equipment used for that. He has many filmmaker friends that loan him stuff. He has many sponsors that send him items for review. And he is has a healthy case of G.A.S as well that leads to many of his own purchases. 

If you watch enough of his videos, he eventually tells you how/why he has basically every piece of kit. Sometimes he'll reference a RED he rented or borrowed for a video from months prior, for example.

TBH Potato Jet is my favorite Youtuber right now. He feels very genuine and I legitimately like watching his stuff.

29 minutes ago, Mr. Freeze said:

For me it´s the Blackmagic Cameras.

I startet with a Canon HV 20, recording HDV on miniDV-Tapes  and continued with a Canon 550D/Rebel T2i.

The first Blackmagic Camera I got was the Pocket Camera (during the summer sale) and bought the 2.5k Model a couple of months later. Even if there´s no extreme grading necessary, the pure and organic quality of the Raw- and ProRes-Files was (and still is) stunning and delivers beatiful footage. Having this much features accessable for a relatively low price was great and even though the BMC Cameras did and do have their downsides, they made it possible for me to create shots that looked just like I imagined them.

That fire sale summer was an amazing time. It was such a clear, wonderful message from Blackmagic, "Here, low-budget filmmakers. Go make something awesome." 

My gear of the decade is also the gear that started my career: the GH2. That camera came around at the precise moment I started making the transition from photography to videography. It offered superb image quality with the hacks, but it wasn't magic. You still had to work hard for it to deliver the goods. It sucked in low light and had sub-par audio. I was a poor college student so I had to learn how to light with work lights and shower curtain diffusers and sync audio from a handy recorder. The GH2 made it all worth it though. 

I've always said that I couldn't have gotten my start at any other time in history. Any earlier and I wouldn't have been able to commit to the time and energy of cutting together DV clips. Any later and things would be too easy and I wouldn't be at the level I am today. The GH2 was the catalyst to everything for me.

2 hours ago, Adam Kuźniar said:

Yeah he should've done that but relied too much on the RAW thing and that was the result.. 

On the other hand why is BRAW settings not working on this clip? Can't select anything

Up at the top, click "Sync * A005_12070220_C002.braw"

22 minutes ago, ntblowz said:

EOS R super cheap at B&H atm

I can't see it at $1299. Only $1499 for me  

As I was reading your post, I immediately thought of the Tenba Cineluxe. Then I saw that you already have the small one and you potentially need to fly with it. Your best bet is the Pelican 1510. It completely meets all FAA regulations for carry-on. 

Something to think about is how you'll be using the bag/case because these two things are often mutually exclusive:

1) Ability to drop camera(s) in fully assembled with lenses, monitors, etc.

2) Bag/case is compact and sturdy enough for safe carry-on air travel.

On 10/30/2019 at 11:40 AM, EthanAlexander said:

aaaand FINALLY got a black pro mist! 

Same here! I can't believe it's taken me so long to get one (now two!). Completely revolutionized my entire lens lineup - breathed new life into my most used and even least used lenses. Almost feels like I've doubled my collection.

For me it’s a balancing act amongst all the different aspects of the camera: ergonomics, weight, size, battery life, AF (or lack of), IBIS (or lack of), codecs, frame rates, ISO performance  recording media, lens mount, weather sealing, affordability, etc. I literally charted out all my needs for a camera based on this list and tried to find the perfect camera to fit it all. Obviously no such camera exists so I took the necessary compromises and weighed what was most important to me. The camera that accomplishes the majority of my goals is the Panasonic GH5. 
 

Everything is a compromise though no matter what. For me, ease of operation and ease of workflow trump all. Hence the GH5 is my favorite camera even over my BMPCC4K. 
 

Jobs vary though. Sometimes the Pocket 4K is my A cam and the GH5 is B cam. Sometimes it’s the opposite.

20 hours ago, Mokara said:

It was not included to cut costs. Every function on a camera has development cost associated with it as well as increased manufacturing costs from the associated hardware. The people who buy consumer cameras don't use 24p to any significant extent, so leaving it out made sense. You would include stuff like that in products where those functions would be used (high end cameras for example), but not where they are rarely being used. It is the same reason you don't see basic beginner modes in professional cameras. It costs money to implement and are highly unlikely to be used by the people who buy the product.

24p is not extra strain on the processor (Digic 8 is quite capable of handling 24p, however the processor is not the only electronics needed), but those cameras will have basic stripped down image signal processors (in other words cheaper to make) that don't have a 24p mode in them, so it is irrelevant what the processor can or can't do. The function simply is not there to start with.

I have never claimed that 24p was left out because of processing. Stop making stuff up. The cameras in question use Digic 8, which very clearly CAN do 24p. 24p was left out to reduce costs in consumer cameras.  In fact, new models that use older hardware, such as the M200, still have 24p in them, so your argument is complete nonsense. There is no conspiracy.

You were saying? 
 

https://www.canonrumors.com/canon-to-add-24p-recording-to-the-canon-eos-90d-canon-eos-rp-canon-eos-m6-mark-ii/

5 hours ago, Mokara said:

It is all about processor capability and how hot they get doing it. Crippling has nothing to do with it, rather it is what the processor can do and what sort of compromises to hardware have to be made to fit into a manufacturing cost model. Manufacturers are not competing against their own products, they are competing against competitors products, so crippling for no reason other than crippling would be the equivalent to shooting yourself in the foot.

You were making a good case until this statement. Canon removing 24p from current and probably future cameras is absolutely purposefully crippling them. There is no extra strain on the processor for 24p/25p versus 30p. It's predatory behavior from a company that is trying to push its customers around - not cool.

14 minutes ago, drm said:

I frequently use the Oly 12-100 on my GH5s, where I use it most of the time and really like this combo. I put it on one of my P4Ks with a shoulder rig today and was surprised at the difference. The Oly 12-100 shows visible distortion on straight lines (think door frames) both in the middle and on the edges of the lens. I will have to use this combo more to decide for sure, but at the moment, I am leaning toward saying this is not a good combination. 

Unfortunately, this is the case for more than a few m43 lenses. Pana/Oly both apply some hidden lens corrections even in raw. BM doesn't obviously.  

Hollywood does it on occasion. The Dark Knight had a few IMAX shots sprinkled in where the aspect ratio went from ~2.39:1 to ~1.85:1. The Grand Budapest Hotel goes from 4:3 to 16:9 for stylistic reasons to show whether scene is current day or a story by the narrator. 

So long as it serves a purpose, I think this is completely fine.

Tom Antos has posted his review of the 6K. He's definitely the Youtuber who's done the most work for a Pocket 6K review thus far. Pretty comprehensive.

7 minutes ago, Savannah Miller said:

That's not entirely true. The new pocket 4K speedbooster that just released is noticeably sharper when the lens is wide open due to the different thickness of the IR glass on BM cameras. Technically, with the old speedbooster and the pocket 4K, the wide open performance is soft.

But with something like the Lucadapter on the Pocket 6K you should see some good performance.

The new BMPCC4k speedbooster is indeed sharper, but the regular one is still very high performing. I've seen no credible complaints about the performance of the Ultra .71 on the BMPCC4k until the new one came out for people to compare it against. Again, my own experience is that every one of my lenses has become sharper with the MB on my cameras. YMMV.

1 hour ago, Parker said:

Technically, speedboosters actually add sharpness and detail while minimizing lens imperfections, the exact opposite (for the same optical reasons) that teleconverters degrade IQ by softening, enlarging the image, more pronounced CA, etc. 

Cheaper focal reducers can show soft corners, but Metabones are usually razor sharp edge-to-edge. 

Thank you. I've found that the two main detractors of speedboosters either have never used one or have used an inferior one. My Metabones improves every lens I put it on.