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Matt James Smith ?

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  1. Poll: Which manufacturer generally delivers the most pleasing images - focusing on sensor 'mojo', colour science, etc ... disregarding lens mount, usability, etc. Choose as many as you want. If I haven't listed a manufacturer you'd like to see, mention it in the comments. Might do a poll on specific models if this one is popular. Suggestions of favourite models welcomed (in the comments).
  2. If I had to guess I'd say this has a fixed DSLR style grip, but it's not clear. Would be great if it was a rotating grip. Much more appealing to me if so. Also, is this the first stills-form-factor camera with built-in ND's? Significant if so. Finally, I'd say that the speed booster rumour makes more sense now too. Keeps all that Canon FF EF glass relevant?
  3. No EVF by the look of it. I wonder if they'll go with the weird XC10 style clip-on loupe? It actually works OK and isn't actually any different to the FS7 approach to an EVF. Alternatively will there be a custom EVF that mounts to the hot shoe? Or will Zacuto become synonymous with Canon video once again? It's clearly a professional camera, so needs some kind of EVF solution. With no IBIS and the small size, it needs it. Canon is not Blackmagic - they make tools that are reliable for run and gun. Clearly they're segmenting the RF Cinema line so it runs alongside the EF Cinema line as a to
  4. Active cooling removes weather sealing. It’s a photo camera first and weather sealing is top priority for pros. Canon also make cinema cameras if a fan is what’s needed. S1H is a video camera first - hence fans. No perfect hybrid exists.
  5. No I own two cinema cameras and three hybrids. As I say it’s irrelevant. I use the tool that works best for the job. For interviews it needs to be something that doesn’t crash after 30 min. Did I make that point already?
  6. I think perhaps we’re missing the point. Just like their previous “hybrids” it’s a stills camera first and foremost. The difference now is that instead of video being an afterthought thrown on in case photographers *must* shoot a few clips, it is now “video for photographers.” What I mean by that is the 8K video mode is basically a 30fps burst mode to pull stills from. It’s the first stills camera in what is probably going to be the near future of photography - no distinction between stills and video. 8K RAW is the first video mode that can really claim the image quality of a frame is equ
  7. I’m currently very much enjoying using an Instax Wide 300. It’s not great for interviews but probably on par with an R5.
  8. My experience is that bitrate impacts motion artefacts in IPB footage (higher=better, obvs). 170mbps in h265 is pretty high. Almost up there with the C300mkII 10bit ALL-I 4K (about 400mbps in h264 I believe). I’d be quite hopeful it’s going to be decent IPB, and I’d choose IPB a lot anyway, if I had the choice, simply to keep file size down. A Ninja V can be used if Intra frame is really needed. Hell, the C200 can’t even do 10bit external 4K. It’s not a disaster for me. Rolling shutter and overhearing remain the big question marks.
  9. How is this a response to what I said? You're trying to talk yourself out of a nonsense position. I don't see any value in continuing this conversation for either of us.
  10. You literally have no idea what you're talking about! I've already answered all your questions but you keep flogging a dead horse. You must have very little experience of shooting interviews. I have used all sorts of cameras for all sorts of different jobs - from tiny client work to feature films to short docs for VICE - from crappy DSLR's to cinema cameras. Whatever the job calls for. That's why I know what is needed for interviews. If you are focussing on "what camera I use" and think that's what makes a filmmaker, that confirms your naivety. It's a problem with a lot of talk on th
  11. I always shoot interviews with 2 cameras. The exact issue remains. If you stop with one camera then you're reduced to one angle, which is no good. If you stop and start recording it makes it even more difficult, because when you're synching Multicam clips you have broken files to match up. Yes there are workarounds for hobbyists, but when you're turning over interviews day in, day out, these "little" workflow things are the difference between professionalism, happy clients, comfortable interviewees and stressful edits. I'd rather shoot a 1080p interview on a proper video camera than hav
  12. That’s why I want a clamp. Keep the wire from moving around in the port.
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