KnightsFan

Looks promising!
https://tascam.com//us/product/fr-av2
https://www.bhphotovideo.com/c/product/1852610-REG/tascam_fr_av2_32_bit_float_recorder_timecode_generator.html
 

Even worse: a manager used ChatGPT instead of hiring an intern to do it.

Even worse: a manager used ChatGPT instead of hiring an intern to do it.

Even worse: a manager used ChatGPT instead of hiring an intern to do it.

These cameras seem more marketed and designed for sports or industrial uses, than for cinema or content creation. They are obviously the same design as the previous box cameras, but Panasonic went so far as to rename them to market them even farther away from the GH and S lines. That's my take anyway.

Even worse: a manager used ChatGPT instead of hiring an intern to do it.

Announced today for IBC and available "shortly after" the show.

It has two to seven stops of ND and integral clear filter.
Its not particularly cheap at $599 (compared to Meike's take on the EF to E with variable ND) but it has the advantage of not having to swap out to a clear filter like the Meike does.
I'm guessing that this should be able to stack with the Megadap E to Z adapter so its an option for Nikon shooters too.

@Ninpo33 What exactly is your point? Is it that the DJI Ronin 4D is a good camera for me, individually (responding to my 2nd post here)? Or are you saying that DJI should market and sell a hybrid primarily on image quality instead of their cool focus and wireless tech (responding to my first post)?
Because all I'm saying is that I consider as many options as I can with the info I have, and that the Ronin 4D is not among the top viable choices that I have for the projects that I am writing. My group and I discuss every option, from renting an Alexa 35, to buying a 4D, to getting a ton of mirrorless cameras and saving time by shooting multicam. Hybrids are on the table, but generally lower than a Ronin 4D in terms of pros/cons. I'm only saying what makes sense for my wallet and projects, which I don't think is being unnecessarily skeptical nor am I disrespecting people who use DJI cameras.
Outside of my personal purchasing, I don't believe that the wider film community currently flocks to DJI as a leader in "color science" in the numbers that rally to "Canon color" or "Nikon color." So my opinion is that a DJI-brand photo camera will gain more traction if they include and advertise innovative accessories, rather than their image quality.
 
Specifically regarding the video that you shared, I do find it a bit monotone and flat colored for my taste, which can obviously be grading. But like I said, the nuance is not whether the image is "good" its "how good" vs. the competition vs. ease of use (in many scenarios) vs. cost vs. upgradeability.
 
My comparisons are all over the place because I try to consider every angle, and I don't have the money to do all of them! It's like deciding whether to hire a CGI artist, or a craftsman to build a miniature, or plane tickets to shoot on location. Totally different options with almost incomparable pros and cons, but ultimately they have to be compared.

@Ninpo33 What exactly is your point? Is it that the DJI Ronin 4D is a good camera for me, individually (responding to my 2nd post here)? Or are you saying that DJI should market and sell a hybrid primarily on image quality instead of their cool focus and wireless tech (responding to my first post)?
Because all I'm saying is that I consider as many options as I can with the info I have, and that the Ronin 4D is not among the top viable choices that I have for the projects that I am writing. My group and I discuss every option, from renting an Alexa 35, to buying a 4D, to getting a ton of mirrorless cameras and saving time by shooting multicam. Hybrids are on the table, but generally lower than a Ronin 4D in terms of pros/cons. I'm only saying what makes sense for my wallet and projects, which I don't think is being unnecessarily skeptical nor am I disrespecting people who use DJI cameras.
Outside of my personal purchasing, I don't believe that the wider film community currently flocks to DJI as a leader in "color science" in the numbers that rally to "Canon color" or "Nikon color." So my opinion is that a DJI-brand photo camera will gain more traction if they include and advertise innovative accessories, rather than their image quality.
 
Specifically regarding the video that you shared, I do find it a bit monotone and flat colored for my taste, which can obviously be grading. But like I said, the nuance is not whether the image is "good" its "how good" vs. the competition vs. ease of use (in many scenarios) vs. cost vs. upgradeability.
 
My comparisons are all over the place because I try to consider every angle, and I don't have the money to do all of them! It's like deciding whether to hire a CGI artist, or a craftsman to build a miniature, or plane tickets to shoot on location. Totally different options with almost incomparable pros and cons, but ultimately they have to be compared.

I had an E2 which I traded for an M4 when the flagship came out. Unfortunately my film group fell apart shortly after, so I didn't get to use it much. I always wanted an f6 but I just haven't shot much the last few years. I'm getting back into it this year though!
Absolutely, and I've watched a couple sell used for under $1800. Wild value.
My next few projects are very action and vfx heavy. A global shutter would make our virtual sets a little easier. Maybe if used komodo prices drop a bit more I'll get that. But I'm in no hurry, no big projects are imminent yet unfortunately.

I had an E2 which I traded for an M4 when the flagship came out. Unfortunately my film group fell apart shortly after, so I didn't get to use it much. I always wanted an f6 but I just haven't shot much the last few years. I'm getting back into it this year though!
Absolutely, and I've watched a couple sell used for under $1800. Wild value.
My next few projects are very action and vfx heavy. A global shutter would make our virtual sets a little easier. Maybe if used komodo prices drop a bit more I'll get that. But I'm in no hurry, no big projects are imminent yet unfortunately.

Not surprising. It's hard to sell cameras at long-term-investment prices when no one knows what the new owners will do with that product and there are so many other brands on the horizon. As much as I would love a global shutter box camera, I don't know that I would spend half those prices on Red cameras, unless Nikon releases a product or two that proves their commitment to those lines.
Also, I made a mental note early this year that 2024 would be a uniquely poor time to buy a camera. At that time we knew Nikon had bought Red, and there were rumors of a new Canon C-camera. Here we are a few months later, and on top of both of those, Blackmagic announced a truckload of cameras, Z Cam has presumably cancelled the M5G, and rumors are swirling about successors to the FX6 and S1H. It's quite the year for low-to-mid cinema cams.

From what I've heard, the M5G isn't so much fully cancelled as it is searching for a new/different sensor.  Apparently the sensor that they tried to use before had non-correctable color/profiling issues.
https://www.facebook.com/groups/zcame2/posts/1637789306952008/
The person commenting on it in that thread (Yaroslav) runs their service department in the US so I'd take his statements as credible.
 

I started researching the 4D camera a little closer and I have to say it rally hits a lot of the points I want in a camera. I can't see how they are possibly breaking even on this stuff, but I really hope they continue to make more of those.
I'd have to assume that if they enter the hybrid market, their angle will be these cool accessories, like wireless video and Lidar autofocus. Because the one thing they don't really have is a great image. I mean there's nothing wrong with their image, there's just nothing special about it.

I started researching the 4D camera a little closer and I have to say it rally hits a lot of the points I want in a camera. I can't see how they are possibly breaking even on this stuff, but I really hope they continue to make more of those.
I'd have to assume that if they enter the hybrid market, their angle will be these cool accessories, like wireless video and Lidar autofocus. Because the one thing they don't really have is a great image. I mean there's nothing wrong with their image, there's just nothing special about it.

Imo we've plateaued in what a camera can deliver, and I would prefer companies start looking at ecosystems instead of specs. There are so many ways we can creatively apply modern technology. And I'm not talking about AI or any of that crap, I just mean quality of life improvements.
Look at Samyang's Cine AF lenses. I haven't used them so I don't know about their image or build quality (they are suspiciously cheap...), but the innovation of switching between normal fly-by-wire AF in a tiny form factor, and then popping a front piece on and having proper hard stops and a 300 degree throw is amazing. Imagine putting a wireless receiver in a front piece for a follow focus without a gear or rails or rigging. There's no reason that approach can't be used for expensive, high quality lenses. There's also no reason that can't be done completely in body either by companies that create both bodies and lenses.
Panasonic has my respect for putting 32 bit into an XLR adapter for sure. They should make one that also has a wireless receiver and digital transmission of that recording from an XLR or lav module. Synced, clipless, wireless audio directly in the video file would be amazing.
Obviously everyone talks about NDs. I don' think there's room in a FF hybrid to fit an ND module with a clear option.
One thing that was an eye opener when I owned a Z Cam was how good their app was and how much I relied on it. Wireless low latency monitoring and control with no extra boxes or batteries. It's sort of unbelievable that they are the only camera company that nailed their app.
 
None of those suggestions are all that difficult. None require any technological innovation. But I would personally find those much more useful than incremental AF or dynamic range improvements past the excellent offerings we already have.

Imo we've plateaued in what a camera can deliver, and I would prefer companies start looking at ecosystems instead of specs. There are so many ways we can creatively apply modern technology. And I'm not talking about AI or any of that crap, I just mean quality of life improvements.
Look at Samyang's Cine AF lenses. I haven't used them so I don't know about their image or build quality (they are suspiciously cheap...), but the innovation of switching between normal fly-by-wire AF in a tiny form factor, and then popping a front piece on and having proper hard stops and a 300 degree throw is amazing. Imagine putting a wireless receiver in a front piece for a follow focus without a gear or rails or rigging. There's no reason that approach can't be used for expensive, high quality lenses. There's also no reason that can't be done completely in body either by companies that create both bodies and lenses.
Panasonic has my respect for putting 32 bit into an XLR adapter for sure. They should make one that also has a wireless receiver and digital transmission of that recording from an XLR or lav module. Synced, clipless, wireless audio directly in the video file would be amazing.
Obviously everyone talks about NDs. I don' think there's room in a FF hybrid to fit an ND module with a clear option.
One thing that was an eye opener when I owned a Z Cam was how good their app was and how much I relied on it. Wireless low latency monitoring and control with no extra boxes or batteries. It's sort of unbelievable that they are the only camera company that nailed their app.
 
None of those suggestions are all that difficult. None require any technological innovation. But I would personally find those much more useful than incremental AF or dynamic range improvements past the excellent offerings we already have.

Imo we've plateaued in what a camera can deliver, and I would prefer companies start looking at ecosystems instead of specs. There are so many ways we can creatively apply modern technology. And I'm not talking about AI or any of that crap, I just mean quality of life improvements.
Look at Samyang's Cine AF lenses. I haven't used them so I don't know about their image or build quality (they are suspiciously cheap...), but the innovation of switching between normal fly-by-wire AF in a tiny form factor, and then popping a front piece on and having proper hard stops and a 300 degree throw is amazing. Imagine putting a wireless receiver in a front piece for a follow focus without a gear or rails or rigging. There's no reason that approach can't be used for expensive, high quality lenses. There's also no reason that can't be done completely in body either by companies that create both bodies and lenses.
Panasonic has my respect for putting 32 bit into an XLR adapter for sure. They should make one that also has a wireless receiver and digital transmission of that recording from an XLR or lav module. Synced, clipless, wireless audio directly in the video file would be amazing.
Obviously everyone talks about NDs. I don' think there's room in a FF hybrid to fit an ND module with a clear option.
One thing that was an eye opener when I owned a Z Cam was how good their app was and how much I relied on it. Wireless low latency monitoring and control with no extra boxes or batteries. It's sort of unbelievable that they are the only camera company that nailed their app.
 
None of those suggestions are all that difficult. None require any technological innovation. But I would personally find those much more useful than incremental AF or dynamic range improvements past the excellent offerings we already have.

Delivering in 4K isn't very important to me but there's no real reason not to shoot in 4K even if you are delivering in 1080p.
That's not to say that you can't get great results with a good 1080p image (the og Pocket gave me my favorite image out of every camera I've ever owned) and can even deliver in 4K with most people not even noticing (i know people who do it with their C100s), but there really isn't an argument for 1080p actually being better than 4K. People that say that are just being contrarians.
 
 

Fair. On narrative sets, swapping front filters isn't much more trouble than swapping rear filters imo. Most (all?) adapter-based options either have artifact-prone polarization-based ND adjustments, or require the physical filter to be swapped to change levels. So I don't think that gives me much benefit.
I've lived without internal NDs for so long that it's not a huge deal to me. But it would be convenient to have them. On the other hand, every other project, I have bad rolling shutter artifacts in 1-2 shots...so not particularly common, but common enough that the Z6III's sensor looks pretty good to me right now.

Went to tea cafe / tea museum.  Very formal in a handmade sort of traditional way.
Barely graded stills:







 

A few frames from yesterday..  Almost no grading done.

It really looks like Panasonic is getting some momentum with improved AF. Hopefully their extended time between releases just means they don't want to bang out incremental upgrades. From my admittedly distant view, the S1->S5->S5II releases each brought a substantial upgrade, more so than many other product lines. With the new XLR2 module and 32 bit float, they entered a whole new realm of camera feature, and it would be odd if they didn't bring that to their FF L-mount line.
I hope Panasonic adds 3 things to a new S1H or BS1H model.
1. Faster readout--this is the only image recording upgrade I care for, compared to the S5
2. Compatible with their 32 bit float XLR module. I assume any flagship cameras will support it going forward.
3. Internal NDs. I guess at this point I'm fine living without them, but we can always hope, right?

It really looks like Panasonic is getting some momentum with improved AF. Hopefully their extended time between releases just means they don't want to bang out incremental upgrades. From my admittedly distant view, the S1->S5->S5II releases each brought a substantial upgrade, more so than many other product lines. With the new XLR2 module and 32 bit float, they entered a whole new realm of camera feature, and it would be odd if they didn't bring that to their FF L-mount line.
I hope Panasonic adds 3 things to a new S1H or BS1H model.
1. Faster readout--this is the only image recording upgrade I care for, compared to the S5
2. Compatible with their 32 bit float XLR module. I assume any flagship cameras will support it going forward.
3. Internal NDs. I guess at this point I'm fine living without them, but we can always hope, right?

It is accurate that everything is just a look. Narrative film is about evoking an emotion by manipulating light and sound. I like to think of everything as a thread on a tapestry of interwoven emotional effects. Every choice we make -- spherical vs anamorphic lenses, levels and types of diffusion filters, lighting ratios, EQ profiles for dialog, etc -- is both a point on a gradient rather than a binary choice between extremes, and also works with all of the other choices to craft a specific look and sound. And every thread is interpreted by the audience based on their prior experiences.
So yes, anamorphic is a look that carries both its denotative properties such as oval bokeh, flares, and distortions, and also its connotative properties that, depending on the audience, might evoke the feeling of big Hollywood action movies. Or for a different audience and in a different context, it might parody big Hollywood action movies.
Haha I agree, I typically dislike lens flares in video. Sometimes I take photos with a cool flare because it was interesting at the time.
 
I love the footage! And that's interesting about the cliffs falling into the sea. I've definitely thought about getting some of those Sirui anamorphics. I'd say that most shots in this test don't specifically highlight the anamorphic qualities, so for this particular content, I would be just as happy cropping a spherical lens. In that sense I agree that it's not specifically about resolution, and the choice of lenses is highly dependent on the type of shots in that particular project.