thebrothersthre3

36 minutes ago, Super8 said:

How does the S1 compare to the other full-frame sensor cameras in image quality and DR? 

 

Seems to be the best on the market as far as at least in the hybrid category. 

The GH2 definitely had a nice image. I may even prefer it to the GH5 as long as the lighting conditions are decent. Definitely had some of the best HD IQ of its time, at least at that price factor. 

I think we are all hoping for a low price haha. Time will tell 

To be honest I don't think it means very much. The opinion of a colorist would be worth a lot more to me. 

That said for someone who shot most of his work on film its interesting to see he loved the image from the GH2. It definitely shows that the camera really doesn't matter that much if you light things well. People saying that they can spot the difference between 8 bit and 10 bit or 8 bit and 16 bit becomes irrelevant when 99% of the audience can't tell, especially considering 99% of the audience will undoubtable have less experience with film than Francis Ford Coppola. 

Of course on the other hand if you are dealing with tricky or natural lighting that's a completely different ballpark. I've noticed BTS from a lot of movies nowadays seem to be using much less lighting. I recall a scene from Tenent where all they had was a diffusion panel(or maybe it was a bounce, don't recall). 

3 minutes ago, majoraxis said:

 

I think this is equally true today if some were skilled with a pocket 6k or GH5, lighting and color grading vs someone less skilled with a RED.

 

Also because the actual IQ difference between a RED and a P6k is almost none, aside from resolution on the 8k REDs

Would be nice to see in 24p with sharpening turned down and a maybe a less aggressive color grade.That is log not HDR it seems. 

Seeing as I don't use the Xpro3 I'll probably be buying all of the Viltrox Primes. 

As long as it has Clog. It will be already ahead of the 1dx 2 as it’ll have 4k with manageable file sizes.

Not familiar with Sony as much but on the Fuji when face/eye is enabled you can also have it in multi area mode which gives you a box that you can place at any part of the field of view. That way if the eye/face detect loses you it defaults to where ever the AF box is. 

Otherwise maybe reframe so the mic is not as much in the shot. 

14 minutes ago, kye said:

On UMP the 20mm should be equivalent to a 28mm on FF?  If so then that's a more useful wide.  I prefer to have 15mm and 35mm equivalents as I love the 'wow' look of the 15mm but it's really what you're shooting that dictates what you need.  Plus I'm a bit over the 28mm FOV after shooting and watching a lot of stuff from smartphones over the years, but that's probably just me.

How long are you expecting the shipping to take?  I haven't bought anything since covid so have no idea what shipping is like..

 

Shipping has been hit or miss. Buying from overseas usually takes 2-4 weeks for me at least from China. Not sure about Russia. Super wides are nice like the 12mm I have for my Xt3. But not gonna happen with PL mount.

50 minutes ago, meudig said:

I hope you get decent copies! I hear they can differ alot from copy to copy (maybe because of prior usage, maybe because of manufacturing?).

I bought the 37, 58 and 85 last year but don't like them at all! The way that the iris work just doesn't do it for me. Although they give an interesting look to say the least.

Yeah they look nice from the pics and the seller had good feedback, so fingers crossed 

2 minutes ago, Mike Mgee said:

@thebrothersthre3 I don't know much about highlight rolloff nor color grading. I threw every LUT you can imagine at it, that promised "smoother highlight rolloff" but at the end of the day I think it was a dynamic range issue. 

I think RAW shooting is great, but I don't think it is the end all solution that everyone claims it to be. Yes, it is great if you fuck up white balance. And it is much easier to fix exposure, but it is something many of us don't really need. I initially shot with the A7III and Sony's busted 8bit codec. I felt BRAW was the final solution to my woes...and it was! It really solved all the issues I had before. But shooting in VLOG or any other proper codec...and exposing properly...and hitting your WB correctly as you should...eh...I can live without BRAW. 

 

 

You editing in resolve or premiere? I've found the colorspace transformation tool in resolve is great. Just switch the colorspace to Arri and apply the basic Arri 709 lut in resolve. 

19 minutes ago, Mike Mgee said:

IBIS + Highlight Rolloff is better on the S1H.  IBIS allows me to stabilize my Contax Zeiss lenses. Since there is more DR in the S1H the highlight rolloff is smoother. I think the default color is better on the S1H...but that can be matched to the BM cameras with ease. 

Isn't highlight rolloff more about the curve used. 

The Sigma FP is decent but there is no intermediate codec and the raw files in 4K are absolutely massive as there are no compressed RAW options. Plus the image on the FP doesn't seem as good as the S1H and no 4k 60p. The sigma FP also has those weird flickering issues. 

If full frame isn't needed or wanted I do agree its an overpriced option. But if you need full frame, its kind of the only thing I'd get at the price point. The S1 isn't a bad option over the S1H if you don't mind lower datarates and no 10 bit high speed options in 4k. 

But yeah for a RAW shooting camera I'd probably go with the P6K. I am not in love with full frame though and hate the idea of external recorders. Plus from what I've seen you can recover more highlight information with BRAW than Panasonic's 10 bit. 

16 minutes ago, Mike Mgee said:

I played with the S1H for a few days and loved it compared to my BlackMagic. That being said, does anyone foresee a price drop in the near future? It is overpriced for what it is, and will only face more competition the next couple months

I have a feeling it will get down to $3500 but that will take some time. You can find them for $3500 used easily though, not too bad. The GH5S is still at $1700-$2000 even though in my opinion there are a lot of better choices out there. 

Right now its still a unique camera at its price point. Sure the P6K is 2k but they are very different cameras. Its 6k Full Frame 10 bit with amazing stills capabilities. I guess the Sigma FP competes with it but they are very different cameras. 

7 hours ago, kye said:

I thought the Mir was an interesting lens.  Being apochromatic it has some of the optical qualities of vintage lenses but not all, so it's an interesting mix.  

The 25, 37, and 58 are a good lineup, but with S35 you might consider a wider lens?  Or are you using a SB?

I’ll probably get a 20mm down the line. The Zeiss 20 f4 is rather affordable and would do the trick. I’ve shot a feature where our widest was 28mm tho and another where it was 40mm (kind of cheating since it’s anamorphic so comes off as a bit wider).

Now I have to wait for all these lenses to come in the mail from Russia and Ukraine!! 

19 minutes ago, Andrew Reid said:

 

$6500 is a lot for a DSLR these days, even if it is indeed the best one ever made.

Mirrorless cameras are a much nicer shooting experience for video.

I agree, the lack of a flip/tilt screen is kind of a deal breaker for me. 

I really can't wrap my head around why they haven't fixed the exposure issue. Is it that difficult. 

7 minutes ago, FS670ES said:

I just don't get it why Fuji still didn't fix that horrible exposure stepping. It's not a deal breaker but when I want to shoot for fun during my holiday with family it would be useful to have good working auto iso without those steps in exposure. I also see some AF pulsing in some tests like in Panasonic system. Even with lens such as 16-55 f2.8 and I am wondering how is that possible.

Yeah auto focus has to be fine tuned to minimize pulsing. Fuji really needs to get a handle on it though, its not the lenses fault. 

11 hours ago, kye said:

The Sigma is a stunning quality lens for the price but it is that modern look, where there's no character.  It depends on what you're shooting and your tastes.  I have two Helios 58/2 lenses and couldn't even think about using that as my only option, considering how distracting the background blur is, especially on video where if you move the camera then the whole background blur makes it look like you're filming in a parallel universe where the rules of physics are broken.  

One trend I found when I binged the lenses forum at reduser.com was that people advocate using a modern set for projects that want a more neutral look and a vintage set for projects that can benefit from a look with more character.  Often that meant that the modern set was something like Zeiss CP.2s and the vintage set was the Russians, FD or Takumar glass, with the price difference meaning that they would rent the Zeiss set and own the vintage set so they could use it on personal projects and longer-form content like shooting documentaries over months/years.

Depending on your workflow it's pretty easy to make the modern lenses look a lot more vintage, but some don't like doing much in post.

Good perspectives. I do like getting as close to the image I want out of camera as possible though. One of the issues with old lenses is flaring when I don't want flaring. But there are workarounds and I can't complain for the price. The Bokeh on the Helios certainly won't work most of the time, though the exaggerated effect only shows up under some circumstances. I actually remember being disappointed when I got one a while back as I thought the crazy effect would be apparent in any shot with bokeh, but it wasn't. 

I just purchased a Mir-1 37mm 2.8 as well. That will give me 25mm , 37mm, and 58mm options. Not a bad line up. 

1 hour ago, TheBoogieKnight said:

Fascinating how different everyone is. I love the size/weight/shape of the S1 like no other camera I've ever owned. I change my mind sometimes when it's on a Ronin S with a monitor mind! 😄

 

Great for handheld not so much Gimbal. Thats one nice thing about the XT3, its pretty much the ideal gimbal size. 

Just purchased an older Zeiss 25mm f4 from Russia. The main reason is my Ursa Mini is PL mount and I've been looking for some inexpensive glass to put on it. It took me a while to find but the Zeiss 25mm and 20mm f4 lenses are one of the cheapest PL mountable lenses available. Very few photo lenses can be easily modded for PL mount. I wanted to get the 20mm but it was about twice as expensive. 25mm is wide enough for most situations though. 

I also got a helios 58mm, which is also adaptable to PL. I had a helios briefly years ago but never used it much. I wasn't aware that its a rather fabulous piece of glass all around, sometimes compared to much higher end cine glass. 

I was tempted to purchase a PL modded Sigma 18-35. There is a Chinese company on eBay that sells them for $1300(you can usually offer them down to $1200). That would probably have been the more professional looking option. However the Sigma despite its impressive image is on the sterile side. Plus it would have been $900 more than I spent on my Zeiss and Helios. 

The differences become pretty apparent in the harsh blue/red light situation. Alexa really pulls on top. That said the Pocket 6k is definitely the nicest high res camera package under 10,000, at least if we are talking about buying new. 

 

I was very tempted to purchase one of these recently. Just wish it didn't need an external recorder. Its definitely the most affordable Cine body with a decent image though. I'd say the OG Canon C300 is a nicer image out of the box. There is no ability to record external 10 bit or 444 though which really gimps it. From what I've seen the skin tones and color out of the F3 really trump the newer Sony cameras, much closer to the beautiful F35 colors. 

11 hours ago, Super8 said:

How much is the RED Dragon Epic?

The P6K is suppose to be a cine camera. Compare it to the 1DX III if you want a cheaper camera.

There is a used Epic Dragon on ebay for $4800 right now, with two red mags and a PL and Nikon mount. I guess you could compare the RED epic dragon to a 1DX MK3 price wise.

Price wise you'd compare a P6K to a RED One, those go for around $2000-$2500. You can find a RED scarlet for around 3k, but that is bare bones with no accessories. Way cheaper to kit out a P6K than a RED. Personally I wouldn't buy a RED One in this day and age.

This is an old ass thread lol.

Even now in 2020 only the fastest processors will be able to edit 4k H265 nicely. 1080p isn't nearly as taxing. GPU's don't really seem to help much in premiere so it really comes down the processor. Resolve on the other hand seems to utilize the GPU a lot more. H265 4k from my fuji played much nicer in Resolve. I was even able to add in a bunch of effects and grading before my CPU and GPU maxed out.

But yeah I wish the Fuji XT3 had internal Prores.