EthanAlexander

9 hours ago, SteveV4D said:

6 years ago many would say they neither needed or wanted 4K, or 10 bit... 

I'm pretty sure everyone six years ago was wanting 10 bit codecs in every camera. But then this got hijacked by people demanding raw.

9 hours ago, SteveV4D said:

A Professional Cinema camera should look to have at least one codec that wasn't a deliverable codec.  H264 and H265 are what you use to deliver video files to YouTube.  Its not ideal for editing, whatever spin is given on it. 

The thing about the comparison to stills photography you're making is that there was only ever jpeg and raw, so obviously raw was the way to go. But now there are high efficiency compressed stills formats that are changing things.

Plus, storage costs are a huge factor in maintaining profitability. I for one love having robust 10 bit compressed codecs so I can maximize margin.

At least you can add an EVF with a 3rd party. Can't add 10 bit codecs on the C200, for instance.

18 minutes ago, Xavier Plágaro Mussard said:

For those who talk about this camera for doc work, it wouldn't be better to buy 2x Panasonic S5?? Unless of course if you are full of Canon lenses. 

We're talking two unreleased cameras, but the internal NDs, mini XLRs, higher framerate 4K, and superior autofocus would make the Canon a clear winner over the S5 for docs.

Unless you literally have to have two cameras for $4000, in which case there's no point comparing them.

All I know is that after the Black Pro Mist had been hyped to the point of legendary (in my head, at least) I bought one and found the results quite unpleasing. I'd rather have a nice neutral, high resolution starting point (using a log curve and recording to a robust codec) and then add the character in post. I can't believe I'm saying that. Maybe with less strength it would have its use but it was only a 1/4.

This is turning into one of the most illuminating threads on this forum. Learning a lot.

I moved on from Canon a long time ago (team Sony and ZCam now) but this has me interested - 

The one thing that really keeps this from matching, for instance, the A7III isn't the camera specs but the lack of third party mirrorless lenses!

The Tamron 2.8 zooms (and now Sigma's 24-70) are what really make the Sony's a great value and size/weight! Tamron is half of Canon's, both in price and weight.

3 hours ago, zerocool22 said:

Lets see what Zcam will do now with the F6.

What do you mean? ZCam prices are still well below any of the Kinefinity prices.

MFT 4K - Kine: $3500 / ZCam: $2000

S35 6K - Kine: $5000 / ZCam: $3000

FF 6K - Kine $8000 / ZCam: $5000

8:1 compressed raw now thanks to firmware update!
https://www.newsshooter.com/2020/01/23/z-cam-e2-firmware-0-94-released/

RED's reputation has been hurt recently, so it makes sense for them to try to grab lower end customers with a cheaper camera that uses non-proprietary accessories. People thinking "RED sucks it's so overpriced" will probably be ok with the Komodo since it's so much cheaper. People who own one will likely stick with RED and upgrade to something more expensive later. It's what Mercedes does with the CLA or A class, for example - They're grabbing younger people with less income and building brand loyalty for later in life when the same customers have better paying jobs.

Arri's reputation has been, and probably always will be, that it's just the best option for most situations. Part of that prestige is that the price makes it inaccessible by all but the highest budget productions.

Thought I'd share some grabs from some 4K60 I did last year. These are graded WITH added film grain. It was too clean without it ?

Don't mind the lack of sharpness - I was shooting wide open at T0.95 on an SLR magic

2 hours ago, ajay said:

No love for the Z Cam? I guess I'm weird.

Same! 

@Andrew Reid Can you add Z Cam E2? And also add my vote for it, cause I already submitted my others... ?

1 hour ago, IronFilm said:

https://www.bhphotovideo.com/c/product/1476987-REG/smallrig_hsn2270_smallrig_nato_handle_for.html/DFF/d10-v21-t1-x961387/SID/EZ

That is a very cool handle which Tom Antos is using!
 

Samsung T5s are known to have all kinds of problems with the ZCam. Seems the buffer is not big enough and the cable connections can be iffy. Z Cam themselves say to avoid it and get a Sandisk or Angelbird

1 hour ago, mercer said:

if the EF mount is going to die within Canon cameras, I don't see the point in investing too much into their lenses at this point. 

I had similar thinking as I moved from Canon to Sony: with all the traveling I do, I started buying native E mount lenses (for their size and weight advantage) and sold about half my EF lenses... Well, I recently bought a Z Cam and first thing I did was start buying EF lenses again! 

I love native mirrorless lenses, but the adaptability of EF (or others like Nikon F) really make them desirable simply to keep from being locked into a system. Plus, no focus by wire!

...And don't forget speed boosting...

Sony car: super fast, super range, all the tech, only ugly paint color options.

Nikon car: great tech, durable, promised features like "external batteries for extended range" never actually get released.

Panasonic car: best suspension, most efficient, doesn't let you look through the windshield when using the accelerator.

Canon car: super sexy, built like a tank, "dual focus" lane-keep assist, can't go faster than 10 mph. After firmware update it can go faster than 10mph but only if you never touch the steering wheel.

It's so-so optical quality but yes. If you're never planning to use auto lenses (viltrox compatibility is hit or miss) then this looks like a great option if you're not wanting to shell out for the metabones

Today I learned: Buying the "sharpest" lenses available according to, for instance, DXO Mark scores, doesn't necessarily mean I'll see any of that detail because there are different frequencies of sharpness.

"All of the fields I’ve shown you have been at 30 lp/mm frequency, which is a good ‘overall’ picture. It’s important to remember, though, that depth of field, as well as sharpness, varies with frequency. (For those who aren’t up on this, lower frequency is more about larger objects and lower resolution sensors. Higher frequencies are about small detail and higher resolution sensors. If you want a contrasty object on a 24 megapixel sensor, 20 lp/mm is good. If you want to look at leaves or blades of grass on a 50 megapixel sensor, you probably are interested in 60 lp/mm.)" 

(From the same lens rental link @noone posted https://www.lensrentals.com/blog/2019/11/practical-use-of-field-curvature-graphs-the-50mm-primes/)

33 minutes ago, RobertoSF said:

If I make a pilot for a show, with my own gear, and that show is picked-up by a platform, be it Netflix or others, then yes, Varicam and beyond is within budget, as is the whole crew surrounding it. Until then, exploring a look, professional workflow, and most of all story, all with my own gear, matters.

Netflix will buy anything if it's quality content - you don't have to use a camera on their list. That's only relevant to shows they produce, not to ones they distribute after the fact.

The Adidas are ok but these are the best by far of all the soles I've tried. Spent a week shooting in NY walking on all the concrete and had what I thought were comfy shoes but I was in pain within a day. Bought these and I'm never going back. I think they're multiple different styles with the same sole which is the "react" part you want.

@jpfilmz Thank you!!

This is a quick attempt at laying an accurate 16x9 1.33x crop on top. It's gonna be cutting it close but I think it could work

1 hour ago, eleison said:

Just like the Red phone, it's not going to work. 

You have literally no way of knowing this.

RED has forced users to use over-priced accessories, they have a patent that stifles competition, and they're of questionable moral character, their marketing is mostly hype, but that doesn't mean that the cameras aren't capable of great imagery.

Komodo directly addresses two of the biggest drawbacks - price and proprietary media, and they still hold the trump card of real compressed raw. Add on top of that PDAF and a mirrorless mount - there's no direct competition. Who are you to say that this won't grow their business?

1 hour ago, jpfilmz said:

The vignetting is horrible in FF photo/video mode.  Totally unusable and the only way around it is to set photo and video to crop.  Keep a standard canon adaptors for any full frame use.  DPAF seems fine but i need to test it more.  

Headed to a shoot, will post pics later!

I'm just trying to figure out how big the image circle is to see if it will work on the Komodo at 6K. I know it won't cover full frame. Are you able to test this?

@jpfilmz Thanks for sharing. Can you take FF stills with the speed booster on so we can see how big the image circle is? And have you been able to test DPAF performance?

30 minutes ago, currensheldon said:

Just check out Phil Holland's handy tools: http://phfx.com/tools/formatCompare/

For example, at 6k full sensor the Komodo is 1.33x crop from standard full-frame: http://phfx.com/tools/formatCompare/formatCompare.cgi?makeA=RED&modelA=Komodo+6K&formatA=6K+FF&makeB=Kodak&modelB=Film&formatB=FF35+Still+3%3A2&focalLengths=

And has a 1.6x crop at 5k full frame: http://phfx.com/tools/formatCompare/formatCompare.cgi?makeA=RED&modelA=Komodo+6K&formatA=5K+FF&makeB=Kodak&modelB=Film&formatB=FF35+Still+3%3A2&focalLengths=

So, if you used the speedbooster at 5k full sensor on the Komodo, it would get prettty darn close to a full-frame FOV. Pretty sweet. 

I'm not asking what the crop factor of the Komodo is, I'm asking to test the speed booster to see if it will cover the entire sensor.