kye

Or shutter-shitting an S5ii

 
 
 
 
 
Welcome back btw

OG BMPCC - costs less to buy outright than renting a C70.....  in 2022!
 

I think this is the fate of many cameras.  
The camera market seems to be oriented around camera size being a prerequisite for image quality, despite the fact it doesn't have to be (as evidenced by BMMCC and OG BMPCC which were affordable a decade ago).  This means that there is little support in-post for the lighter cameras and less reputation.
This creates a feedback loop where people who want to shoot light don't make good-looking videos because the expectation isn't there, and people who have the expectation of great images shoot with larger cameras, reinforcing the concept that small and budget friendly isn't the way to go.  
In response to this completely made up size=quality concept, BM decided to make the BMPCC 4K literally 3x the total size of the OG BMPCC and abandoned the delightful S16 sensor for one that looks like any other camera, and almost all evidence that small could be great was swept under the rug.  
Those who shoot small typically shoot in uncontrolled conditions where the lighting is mixed colour temperature and lighting ratios are difficult to deal with, leaving those who shoot in the most difficult conditions and have the least ability in post production to shoot with the cameras least able to handle those conditions, and unaware that it could have been any different.

Here's a video showing some ARRI Alexa Classic footage upscaled to 8K with Topaz.  It's in bits throughout the second half of the video.
https://youtu.be/YJpQCSFZMTM
(link won't expand, not sure why)
TBH I thought the results looked quite mixed - some shots looked much higher resolution but other shots just looked the same (had the same 2K film-like rendering and noise) so I guess it depends on your tastes and input footage.
This might be a better real-world test as it doesn't seem to be only the cherry-picked footage that gives great results.

In addition to my previous post above, I think the optimum amount of processing is having more NR/sharpening than RAW has, and less than the GH5 has.  If the FX30 is closer to that mid-point then that's another plus for the camera.
Despite not liking Sony all that much (both their company behaviour as well as the design of their cameras) and not wanting to move from MFT to anything but FF, the FX30 has an appeal that I can't understand.
Is there some sort of X-factor for this camera? or is it just me?

To me, all cameras give with one hand and take with the other.  Those that have some great features pay with other features, and if they have a lot of great features then you pay with your wallet and probably with the size of it. 
In many ways the best camera is the one that is 7.5/10 in every category because then it doesn't have some 'fatal flaw'.  In that sense, the RS is fine - middle of the pack perhaps.  How I read something like that is that it's not going to be a problem, unlike if it was notably bad.

Just remember, there are two attributes that define how well IBIS works, and this is the one that doesn't matter.

This is hilarious. I intended this to be about how the C100/C300 codec holds up in 2022. We are talking about something SO DIFFERENT now

@kyedoes a lot of travel so I can definitely see how a GH5 with vari ND and a small lens is a better setup for that usage. You could probably pocket that if you have the right Jacket where as you'll never be able to pocket a C100. 

Also for situations where you want to film and not be noticed a GH5 or other camera just looks more like you are doing casual photography. C100 not as much. But if you rig out a DSLR it stops looking like a stills camera and you stop looking like a hobbyist. 


I did a video using the ARRI Alexa, C100, and GH5. The C100 was my favorite out of the box look. It was a lower dynamic range scene but the colors were just really pretty. 

 

Using color space transform and the ARRI lut gets them to match contrast wise. The color still looks vastly different. I feel they look quite close after adjusting WB/tint around, but my color blind eyes aren't a great judge. 
I use 100 iso to see my highlights and then push from there between 400-800 to see what I have in the shadows. I used this method on the last feature I did and was happy with the results. 

640 iso does looks underexposed after changing the color space. However after boosting the exposure to match both cameras it actually seems similar to the Alexa in terms of noise performance. So in that sense it actually works out. I could have lit it bright and got a cleaner image but I wanted to see both cameras in a dim situation. The Sigma FP could have been cleaner if I bumped it up to 3200 iso but I wanted to see them at the same ISO. 
 

You'll find the shadows do not hold up as well in 8 bit or 10 bit. But if you expose reasonably you'll be fine. 

I've seen this a lot on camera comparisons.  Two images look like they have a different WB, but when you compare them the neutral greys are both neutral but there will be different tints with the highlights/shadows or on hues that are beyond a certain level of saturation.
It makes looking and comparing images very confusing - they look different but sensible adjustments don't seem to be effective in making them match.  The good thing with the FP is (I assume) you can CST back to a neutral point and then apply whatever colour science you want, side-stepping any oddities from a particular colour science or other.

That vlog life tho...

Sony's breathing compensation, at least for now, only works with some of their more expensive G and G Master lenses–no third party lens support as of yet. That could be a deal breaker for some. 

Seems an irresistible tool easy to fall in love, well, I can't wait to put my hands on these small handy beasts when street photography comes like that:
 

Hey, everybody, I've been researching different anamorphic options for a project and while I really love my SLR Magic 2X and Rangefinder combo setup, I can't really use that on my Rokinon Cine DS lenses or other lens options I'm looking at which are simply too large for a 62mm thread adapter. Going with some of the indie anamorphics like Sirui and Great Joy could be an option if more of the lines are available by the time we get ready to film but I have some ideas for certain special optics so I looked at the adapters landscape of 2022. Out of all of them which are typically 1.33x or 1.5x, the closest alternative to my SLR Magic 2x seems to be the Letus Anamorphx 1.8x Pro.
Looking around online I can't really get much of a consistent use case example from the lens and even the 2021 indie film "First Date" didn't seem to use the lens to its best abilities. There are reviews of the 1.33x and 1.33x Pro which kind of give an idea of what to look for but even with that, I have no idea how the 1.8x Pro compares or even if it might be inferior to the 1.33x Pro. So, does anybody have any experience with the 1.8x Pro Anamorphx? Anyone using a different flare model than the usual medium flare style? Any help or advice would be appreciated!

No go right ahead 
 
The white balance was set the same on both cameras but yes they are a lot different in how they interpret it. The exposure looks a lot the same in REC709 but when switched to a log profile it looks a lot darker on the FP. 

Feel free to share stills of your grades!!

You're right, it is. I probably should have gone that route before I got a $200+ V90 card. It's nice having 8bit raw internally but only 20 minutes of record time always makes me nervous, haha.
Yes, you can get multiple enclosures and they have different colors too. Different style racks too, one a bit bigger with a cold shoe on top, another made to use with the Sigma evf. All use the same enclosures though.

It's definitely the more expensive option all said and done.. Rack plus m.2 enclosure was $128, shipping was $49, and the sabrent 1TB drive was $130.

I've gone through a lot of experimentation with my fp L to find the right configurations. It's actually been one of the biggest things I enjoy with the camera is just finding new setups for different use cases. I don't really like rigs or things with cables everywhere so here is my cleanest setup with a samsung T5. I can screw in a rod extension with a coldshoe for mic/top handle when needed.
I recently picked up the DPL ssd rack and thumbgrip and it is even smaller and lighter. I recommend it if you want to go a small as possible.
 

Today I decided to just rubber band the drive to the top of the camera... definitely not ideal but better than the L-Bracket I was using.
I must admit... it's a damn nice image. I love shooting at dusk at 3200 ISO with a VND...

Oh yeah, with the actual EVF this wouldn't work at all.. Althought the same idea with a M42 ssd might. There's also this option, which is by far the neatest way to go.
 

At the moment it seems a huge list 🙂: https://cam.start.canon/en/H001/supplement_0160.html 
 

My FZ1000 arrived. Good news - everything is working beside the problema that the previous owner said. The EVF looks a little hazy (or I forgot how are the EVFs from the past) but very workable, the lamination of the LCD is kinda bad - but only when the camera is off, with the LCD on it dissapears. Did not test the HDMI, conector looks ok, probably a bad solder. The rest of the camera is in excellent shape - and came with 2 batteries and a 64Gb Sandisk Extreme card.

Not so good - the "dust in the lens" is not in the lens, is in the sensor. Since I will almost always use it wide open at concerts, probably will go unnoticed. Will try the "bottle with vaccum cleaner" technique that people use with the LX100, but I do not have very high hopes. If the dust bothers me, probably will use the iFixit guide to get to the sensor - as last resort, the procedure looks easier than most cameras, but the sensor assembly is mounted on springs and probably is very easy to lose the sensor calbration.

But for $270 (the prices here of the FZ1000 used are around double than that), I'm happy.