Mmmbeats

Look into plantar fasciitis.  It's a very common condition and could be a culprit (though like everyone else has said - you really should see a health care specialist).

Calf Raises on the edge of a step with held weights is an excellent treatment for this.  I have all but eradicated it using this method.

Always seems like a compromise of both designs to me.  Given that a monopod minus head weighs so little, I find it better just to pack both and share a head between them.  That has it's own compromises - no quick release swap for example, but seems to work best for me.

2 minutes ago, BTM_Pix said:

There's no doubt that that combo did a more than decent job in matching up to the 18-35mm and you'll get full mileage out of it if you go full frame as no one ever got fired for buying a 24-70mm f2.8!

 

Thanks! Great point about the future-proofing.

6 minutes ago, BTM_Pix said:

And you hired the 24-70mm as well ?

So the purchase you're considering would be both the 24-70mm and the XL ?

Yes, exactly.  Plus I'd need a new vari-ND as it has an 82mm filter size.

3 hours ago, BTM_Pix said:

I wasn't clear about which lenses and speed boosters you own and which ones you rented ?

 

I own the Metabones Speedbooster S, which is the precursor to the Ultra (and identical besides improved optics in the Ultra), and the Metabones T smart adaptor.

I rented the Metabones Speedbooster XL.

The S has been really planted on the front of my camera for years (first GH4, now GH5S).  I do occasionally use native lenses, but not often. 

The T I got, really as a result of this thread, though I don't like using it with my 18-35 as much as I thought I would.  For some reason (to do with geometry, DoF, whatever) the lens just doesn't draw so well with it, and loses some of it's magic.  Fortunately it has been great using it with my Samyang 85mm.  Turns it into a real telephoto beast - compact and lightweight with equivalent 170mm reach!

On 12/1/2018 at 6:48 PM, Mmmbeats said:

I'm going to do some tests on this at some point. I'll post them up here.

So, it's only taken me a year, but I finally did do some tests.

These were done in a slight hurry as I had hired the lens for a job later that day.  I actually missed focus a couple of times (which is not so smart seeing as focus is central to the purpose of the tests ?).

Just a reminder, I'm testing if a f/2.8 zoom on a 0.64x adaptor can give me suitable shallow DoF options for event work and similar.  I'll be comparing it to my current setup, an f/1.8 zoom on a 0.71x adaptor. 

These are cropped and resized for sharing:

That's (from left to right) - Sigma 18-35 on Metabones S adaptor (x 0.71) at 8 feet - f/1.2 (I'm going by the reported aperture from the adaptor, which is different from the actual lens aperture);  then Sigma 18-35 (same settings) - f/1.8; then Sigma 24-70 A on Metabones XL adaptor (x 0.64) still at 8 feet, but with the focal length adjusted to match up the composition - reported aperture f/1.8 (the lens was wide open at f/2.8).

I was trying to see if I could replicate the kind of shot my clients typically like - two people chatting at an event, shot from a fairly unobtrusive distance, fairly wide, and with some background separation via DoF.

Next I tested the various adaptors wide open:

All shot on the Sigma 24 - 70  A  from 8 feet with focal length adjusted to match up composition (left to right) - XL adaptor (x 0.64) - f/1.8, then S adaptor (x 0.71) - f/2, then T smart adaptor (no crop) - f/2.8.

So my conclusions - the 24-70 matched very well with the shallow DoF provision of the 18-35.  Obviously the 18-35 could open up even more (to reported f/1.2 I believe), but around f/1.8 is as far as I tend to go anyway.

The question is whether it is worth a further outlay of £600 or so (in addition to the cost of the lens!) for the additional adaptor.  That would be 3 Metabones adaptors to MFT I would own.

There's definitely a bit to be gained between the XL and the S (which is similar to the Ultra), and I'm definitely tempted.  As the rest of the thread outlines, there aren't too many alternatives.  

13 hours ago, Video Hummus said:

LCD is not as high resolution / color accurate.

No C4K.

No 400Mbps All-I

No Cine 24.00 Hz

No anamorphic

No shutter angle / synchro scan

No focus transition feature

No XLR-1 support

No timecode

No HDMI LUT display / record trigger

No video property display layout

No unlimited recording

You just put me back on track towards the GH5.  A couple of those are deal - breakers. 

I was thinking about getting a GH5 to pair with my GH5S as a backup body, and for IBIS situations.

Now I'm considering the G9.

What are the disadvantages compared to the GH5?  Any potential image quality / codec / bitrate issues, even at 10-bit?

I also own a GX80 (GX85) if that is a useful thing to mention.

1 hour ago, newfoundmass said:

I'm guessing the recording limit is still necessary to prevent overheating?

More likely to be to do with tax laws I would have thought.

1 hour ago, IronFilm said:

2ndhand tungsten lights

So many people are getting rid of excellent film lights which used to be staples workhorses of the industry, because people are moving over to newer tech 

This in spades.  Super high quality - very cheap deals out there.   Just learn a bit about using them if you haven't before.

On 10/7/2019 at 2:16 PM, helium said:

Try substantially over-exposing BMPCC 4K footage (but shy of clipping), since that camera is party to this discussion.  Observe color and contrast-- as well as highlight roll-off, and the lack of adjustability of highlights.  How you concluded that it's "a non-destructive shifting of data" I don't know.  Sensors don't work that way.

I wondered how @helium 's comment on the S1H thread would fit in with this discussion.  I'm not trying to call them out by quoting this, just value the breadth of opinion (I'm still making mine up!). @helium

7 hours ago, User said:

 More spacial relationships. 

Kindly elaborate...

14 hours ago, deezid said:

Workflow Premiere

• Put GH5/S1H footage into Premiere
• Apply curve or lut or whatever you like in Lumetri

footage breaks apart, macro blocking and banding

Workflow Resolve

• Put GH5/S1H footage into Resolve
• Apply curve or lut or whatever you like

footage looks fantastic

• Apply even more corrections

footage still looks fantastic

 

All the complaints that have been made about the GH5 or S1H having banding issues were made by Premiere users like Wolfcrow or Cinema5D in the past. It is not a camera issue. Panasonic (and Fuji, Z-Cam and probably others using H264 and H265 in 10 bit) really should start putting out warnings about Premiere.

I appreciate the additional detail.  Do you have any links for the Cinema5D claims?  I couldn't find anything myself.

I think you @deezid should link to support your claim that Cinema5D identified the same problem as you.  All I can see is stuff about how native 10-bit GH5 files were not supported on release, nothing about the general processing environment.

Unless there's been a wider discussion of this, then there's not much to support your claim except your say so.  In which case you should elaborate on your workflow and methodology (perhaps in another thread as it's a bit of a derail).

I don't see how ETTR would affect highlight roll-off.  It's just a non-destructive shifting of data towards a different part of the curve. 

The Voigtlander MFT lenses are very popular, but I never hear anyone talk about their other lenses.

Which of their range can be adapted to EF mount cameras, and are they worthwhile lenses?  I'm looking for a characterful and elegant rendering.  

7 hours ago, Django said:

@Mmmbeats why is this thread titled FS7 when it's visibly about FS5?

Because I made a mistake with the title ?.  Though in my defence, you seem to be the only person (including myself up till now), who has spotted it. 

I've been sizing up a bunch of cinema cameras for a possible future purchase (all the usual suspects), including the FS7, but, yes, this query was about the FS5. 

I'm being lighthearted!  It's whatever gets the job done, eh? ?

This is like one of those back and forward fashion things, where everyone would once be eager to show how big and complex their rig was, now everyone wants to show how simple and barebones their setup is ?.

7 hours ago, thebrothersthre3 said:

Ah yeah you do need SDI, shogun Inferno will do 120fps 4k prores RAW

Yeah, but it's 7-inch.  This is the problem.  Those monitors (all of the compatible Atomos and Convergent Design products) are huge compared to the FS5 body and look like they will make handling a little awkward too.

Here's the camera with the Shogun Flame and the sun hood:

?

I'm leaning towards thinking that the Ninja V cannot process the RAW signal from the FS5 ii, even with the SDI module unfortunately.

Quick question, probably not worthy of a thread, but I couldn't find a home for it.

I know that the Ninja V can't record RAW from the FS5, but can it record a 4K 10-bit signal at all from the camera?  Either via HDMI or the SDI adaptor.

Is there any 5-inch recorder that would enable 4K 10-bit?  I know that for RAW you would have to step up to the larger recorders.

Cheers.

The new mark 2 Mix Pre's also have floating point I believe.  Any useful comparison between the two?

1 hour ago, nathlas said:

Has anyone notfied Panasonic for this ? 

If they haven't had an Apollo 13 operation running on this for the past 96 (or however many) hours, then they may as well start selling taffy (whatever taffy is).

2 minutes ago, OliKMIA said:

Yes, I can potentially try them all and return to amazon but It's always helpful to benefit from the community experience. No need to waste time on a specific model if everybody says it's bad. From my research and based and the previous recommendations, it looks like I can't really go wrong with these 3 mics: Audix SCX1/HC,  Audio-Technica AT4053b,  AKG CK93

The Audix seems to be a good option recommended by many. I'll probably compare the Audix and the AKG.

I was making a lame joke about 'feedback'.