thebrothersthre3

12 hours ago, Ak Ns said:

I have shot this video using GFX100. Autofocus in video and lack of slowmotion in 4k are drawbacks. but  image and handling are better in GFX100 than Xt-3. I wish they really add better Phase-detecting system and add full frame 4k 60fps. 

Better highlight retention or low light?

2 hours ago, kye said:

I was going to say that the reviews I saw of the a73 said it had as good low light performance as the a7s2, but I guess if you're going external then they're not equivalent.

Both internal and external on the A7s2 are better than the A73. NR is just way heavier.

29 minutes ago, deezid said:

Both the S1 and S1H basically produce the same image with the same native ISO values of 640 and 4000. The S1H looks great till ISO12800 with proper exposure and good enough after some denoising at ISO25600.

It blows both the A73 and A7sII out of the water doing that because it's basically free of noise reduction artifacts, while especially the A73 is a mess.

Good point. I am guessing the A7S2 with an external recorder would probably win though. 

17 minutes ago, Andrew Reid said:

S1H is the best, since it's dual native ISO. It is extremely clean. ISO 3200 looks like 200. Goes past 12,800 easy. Put an F0.95 lens on there and there's nothing it can't do. You even get a boost by downsampling the 6K to 2.8K in post. Reduces the noise even further.

Z6 and S1 are good but S1H better.

Interesting,

I had seen some people saying they believing the S1 had a dual ISO sensor as it seems to get cleaner when you bump from a lower ISO to a higher one (like 3200 cleaner than 1600 or something like that).

Did the A6500 improve over the A6300? The A6300 was unbearably bad in 4k.

5 hours ago, Andrew Reid said:

I am pretty shocked by the rolling shutter behaviour reported by Slashcam.

16ms in 4K/60p

32ms in 4K/24p

What a mess Canon!

32ms is completely unacceptable. It's worse than an A6500.

The a6500 is like 39ms right?

I'd go with a Z6 or S1 for low light performance if you want a more modern camera. 

The A7S2 is the best performing camera at high ISO's though. Probably 1-2 stops better than the Z6 or S1. 

7 hours ago, Xavier Plágaro Mussard said:

I dreamt it or Fuji opened their system to third party lenses, allowing AF lenses from other vendors? Any new in this front? 

I love the kit lens and have a 23mm f2 and 50mm f2. I am very happy with them, but would love more choices! 

Viltrox 23mm 1.4 and 33mm 1.4

Yes EF!!! I’d prefer EF usually or something like it as it can be speedboosted or used with EF only cameras. 

Probably won’t have EF versions 😢

5 hours ago, Patrick B. said:

Ah ok right.  I had heard Alexa’s was a log raw and also the Ursa.  So I guess it’s Pockets, Canons, lower end Sonys, and ProRes RAW that are 12-bit linear.  I was surprised to hear the FX9 will shoot 16-bit, but I guess you need that bulky add-on module?

But the Komodo won’t do internal ProRes will it?  So it’s raw or nothing I guess.  I kind of like how the Pockets will let you shoot ProRes and bake in a LUT if you want avoid grading.

The nice thing about redcode is all the different compression rates you can choose. That said I am sure Prores is easier on most CPUs. Plus shooting in HD or anything other than full res crops the sensor. 

The RED helium does seem to be on par with the Alexa from tests I've seen. Like it has been said more in the shadows less in the highlights. 

8 hours ago, Patrick B. said:

Another thing with Red is their Redcode raw is always 16-bit I believe (as opposed to most camera’s 12-bit raw), so I wonder if that allows you to dig a little deeper into the shadows.  In the audio world there is enough of a difference in the noise floor between 16-bit and 24-bit that it helps me to get cleaner recordings when I have a very quiet source.  I guess that same principle must carry over in the digital video to some degree: very quiet source = very low exposure.

I've been unclear on this. The RED raw is 16 bit linear. While the Alexa is taking the 16 bit color information and mapping it into 12 bit 444 log or Arri Raw Log. When you open it up in resolve it maps it as 16 bit linear. From what I understand 12 bit log is equal to 16 bit linear. 

The Blackmagic URSA or actually all of the BM cameras with a Fairchild sensor do the same thing(other than the Pocket 4k/6k which have a sony sensor). 

9 hours ago, zerocool22 said:

Probably but what specs is the komodo missing that you want from a epic dragon?

I’d rather have the Komodo, but I’d the dragon is cheaper I’d get that 

38 minutes ago, IronFilm said:

 

That's true too. Back in day it took a certain level of minimal technical competency to get a good image with a analogue camera, so if you had that skill that often might be sufficient to get your work (might be just basic run of the mill, bread & butter, work. But, it was still work!). Of course that isn't applicable now, a higher standard is expected!

  

That's true I was talking more photography than video in terms of being able to buy yourself in(shooting without a lot of talent). You are right expectations may be higher today than 10 or 20 years ago, due to how many people have access to pretty damn good gear, if used semi properly.

5 hours ago, Kisaha said:

Don't make this a wedding thread please. Make a new one if you need info about it.

@thebrothersthre3 it is pretty simple, if you have to do something really important, it doesn't have to be an opera, even a traditional dance group can be important, then you have to watch a rehearsal of the show/live performance or better, the prova generale, maybe you have to keep notes as well.

Pre production is part of the job description!

Definitely if that is available. I tend to work low end stuff where a ton of effort isn't just expected. But if you can show value above your paygrade hopefully one can transition to higher end work. I honestly love preproduction. Having to completely improvise everything the day of sucks, but that is a skill unto itself I suppose.

I don't have the equipment or resources to shoot something at the Detroit Opera House like the video production company I work for does though I suppose you can always rent out equipment. 

Some footage I took tonight with the Ursa in 2k 444. Really doesn't perform bad in low light. 1600 iso would actually be nice if it didn't have that damn fixed noise pattern. 

Switched to Arri color space, threw on the Log C REC709 lut in Resolve, and tweaked skintones slightly. 

Dammit !

43 minutes ago, FranciscoB said:

Only the ursa models had and have the prores 444 so it doesn't surprise me and it seems totally coherent with bm record. On the lower models you have prores 422 flavors and raw. On the higher models you have several versions of prores and raw. 

That's true, my only other though that maybe its a heating issue on the smaller cameras? The Pocket 4k and 6k don't have dual gain readout like the older cameras and the Ursa's either. 

You may be right though, could be just the cripple hammer.

22 minutes ago, deezid said:

It is, no more banding as it seems, will do a blue sky test tomorrow. 
Also HDMI monitoring works now with 6K recording. 

Loving the aspect ratio as well. 😄

Let us know how 6k is working, big reason to buy the camera IMHO especially if it gets a legit 12.8 stops in 6k. 

51 minutes ago, FranciscoB said:

Probably a distinction between models. Better versions of prores exclusive for higher models. 

probably but seems unlike BM. 

46 minutes ago, Geoff CB said:

Yeah the complete lack of 4:4:4 is frustrating. Even if it was just in 1080p. I adore the 4:4:4 from the Ursa.

Yeah I am just realizing it. Probably gonna shoot most stuff on 1080 or 2k 444 tbh

Lord I hate RED, so gimmicky. That said there is nothing gimmicky about 16 stops(actually like 13.5/14) and a global shutter. Will it have usable 1600/3200 iso too? 

The great thing about this is it will drive the price of the EPIC dragon and all RED models down. 

9 minutes ago, kye said:

Of course it exists.  Maybe it doesn't do exactly what you want it to do at the levels of performance that you deem to be a minimum standard, but they do exist.

You can pick up a GoPro or DJI Osmo Action and just go shoot, and with their stabilisation you don't even need any rigging or even a handle. Many people do exactly that.  If you want a more serious image then many of the cameras mentioned are suitable.  There are many times I have just picked up my GH5 and apart from adding a lens and putting on a wrist-strap I haven't added anything.  Oh, a memory card.  ...and a battery.  Oops!  So many additional things required!!

Of course, if you deem that you absolutely need directional audio then no camera will ever be without needing additional stuff because the idea that a manufacturer is going to make a camera with a shotgun microphone built in is just silly.

Wanting a camera that can shoot a Hollywood movie that comes complete out of the box is like wanting a car that can 4wd on the weekends, beat a Lamborghini at the lights, bring home a boot full of building supplies from the hardware store, fit in all your mates to go to the game but park in a small space when you get there, and get 50 miles per gallon.  The only way anything could do all those things is to be modular, and thus, would require "additional stuff to use".

Not really, camera manufactures like Blackmagic are very close to making something that really doesn't need anything additional besides like you said maybe a mic. One of Fuji's lower end cameras had a 1000 nit LCD, hopefully we'll see it in the XH2. The GH5 is nice of course, I've owned one twice before. No dual ISO though. The S1H is really close to being pretty much perfect. Once Panasonic gets internal RAW they will be on top in terms of usability, other than AF. 

But yeah I get it, no excuses, every option is pretty great nowadays. 

Curious does anyone know why none of Blackmagic's cameras besides the URSA can do Prores 444

Would be nice to have on the P6K to shoot in HD 444 and get an image that is similar to RAW without shooting cropped HD RAW. I am also aware how counterproductive it sounds to get a 6k camera and shoot in HD 😅 but what can I say 6k and even 4k is overkill for most of the stuff I do.

David Sandberg is awesome, a huge inspiration for me. I also agree its better to stick to gear you know, or at least do a ton of testing on new gear prior to using on paid gigs. I've found out the hard way. Funny enough I just got the URSA he mentioned in the vid. No more updates suck but its a great camera. CDNG is better than BRAW in many ways (imho) and if I need something a bit less data heavy I can shoot HD 444. 

4 minutes ago, deezid said:

Also the image - especially after the update - blows the competition out of the water.
Codecs are improved now - so is the color gamut/mapping and (temporal) NR can be turned off now.

Will this be your camera of choice now?