seanzzxx

Yeah sorry, forgot about that. There’s a pretty decent inexpensive Freewell variable ND on there! That was never an option with the pocket because you’ll get awful IR pollution in that camera if you don’t use IR-cut NDs. 

Thanks. Shot 4k log, Dehancer did most of the heavy lifting. Lens was a Sigma 18-35 with a 1/8 promist, mostly at 35mm. That lens actually ‘covers’ 16:9 full frame from around 25mm onwards, I really like the little abberations and falloff you get around the edges. So you basically end up with a nice, very sharp 25-35 1.8 with a lot of character.

On 7/10/2023 at 11:00 AM, PPNS said:

this project ended up not being graded and ended up discarding some of my favorite parts. Here are some of my favorite screengrabs from that though.

 

Looks beautiful! What's the project? Always looking out for good makers in the Netherlands.

Just to share a little personal story - the S5 II really restored my fun in shooting little personal video's. I shoot almost daily for work and I always swore by large cinema camera's. I'm one of those crazy people that thinks an Ursa mini is the perfect body shape. (part of this is copied from a Reddit comment I made earlier but I thought it would be interesting to share here).

For the longest time I was really torn up between having a kit that is able to capture what I consider to be professional quality and something that I actually would WANT to bring with me on a walk or a day out. I carried a little Pocket 4k (GREAT camera) with me, but by the time you rig that out to shoot comfortably with a monitor/filter holder/NDs/mic, you’re still carrying something that takes up most of your bag and it just sucked the fun out of it for me. On a job, no problem, for home video’s it just wasn’t worth it for me. I was really looking for something I could just pull out of a bag pack and shoot.

So then I bought a Canon R6, and honestly that camera’s video quality was such a massive step back from even the Pocket 4k that it just wasn’t worth it for me (esp. dynamic range but also the out of camera colors). Also just awful awful video assist tools on that camera.

The S5 II kinda hits all the marks for me: very small, good enough dynamic range, good colors, good monitoring tools and good AF (better than the R6 in my opinion) on my EF lenses. That last thing (combined with it being newer, so longer firmware support) pushed me over the edge when compared to the S1H by the way. I don’t mind pulling manual focus at all, but if I’m shooting on a 3 inch screen, the AF is really nice to have. Never felt like I could really trust it with the R6 but the S5 II has really really good autofocus.

Here's somethign small I shot with it:

I can't recall when a Blackmagic camera ever leaked before. 

For the record, I know Panasonic makes great cinema cameras. None of them except one box camera are within the L mount ecosystem. The lens ecosystem is in my opinion way more important to a buying decision than the the type of log it shoots, especially when Blackmagic and current Panasonic color science are super similar, especially if you use Resolve CSTs.

Oh too late to edit but I think the BS1HE is the only camera that currently fits the bill but even Panasonic does not seem to know what to do with that camera as I bet most people will not have even heard of it.

Why lose 2,5 stops of highlight detail when exposing properly (not on auto, as the S5 II exposes way too conservatively whenever there's highlights in the frame) looks absolutely fine in 99% of cases? The other 1% is dealt with a tiny bit of NR.

Yeah which one of those has an L mount?

On 6/23/2023 at 9:14 AM, Django said:

This makes total sense.. L-mount is an alliance so adding a new partner only makes them stronger. 

BMD make cine cams with no AF, IBIS, h26x or photo specs. They are not a competitor to Leica, Panny or Sigma.

BMD finally goes FF which will open up their market. L-mount finally gives them a large sensor mount with adaptability.

EF lenses are easily adapted and well supported by L-mount so the transition would be easy for existing EF BMD users.

This seems like a win-win for everyone. I do hope they manage to keep the built-in ND system. 

I think one very important bonus of this alliance would be the fact that it gives Panasonic a very important missing piece in their ecosystem: a truly professional cinema/ENG camera with 12-bit, XLRs, docu-style body etc. If you're buying into an ecosystem for the first time Sony offers such a great upgrade path for starting one-man bands with the A7-IV, FX3, 6, 9, Venice. No matter what level you start at you can always upgrade while keeping your lenses. Same goes for Canon. Panasonic really misses that at the moment.

Panasonic currently offers some of the best hybrid camera's on the market and then after that there's nothing.

We shoot mostly with Ursa Pro 4.6k's (gen1) at work, with a 6k Pro for pick-up and gimbal shots. I still use my Pocket 4K for personal use, looking at a S5 II for home video's and personal photography. We're currently waiting to see what Blackmagic is doing with their new mount before upgrading anything.

Does anyone know what ProRes resolutions and aspect ratios the 5iix will be able to shoot internally? 1080p open gate in 422 10 bit would be awesome. 

If this is true that’s a RED competitor, I wonder if this will ever see the light of day.

Maybe the global shutter Ursa/Production Camera 4k cameras. Relatively limited dynamic range but I always thought the color and look and feel of that camera was exceptional.

You should not need it. If you’re getting an error it’s likely your adapter: https://www.dpreview.com/forums/thread/4542718

Hey Folks!

I am currently saving up for a 12K. I got offered a really good deal on a secondhand 4.6k G2 with viewfinder, cards, etc. I would get the camera for roughly the price of a 6k pro and pay the rest in on set labor. I am however doubting with the 4.6k G2 no longer being supported through firmware etc... What do you guys think, am I a fool to turn this down or am I a moron for buying an older (2019 year) unsupported camera while there might be new stuff on the horizon?

Kye just one question and please don’t take this personal. How much have you

1. Tried to actually create a specific ‘aesthetic’ (let’s focus on that for a second and ignore all other considerations to a production, some of which might be more important than that aesthetic) in a real world scenario by:

- Conceiving a type of look you want up front, often in coordination with clients and collaborators that may have wishes or needs that differ slightly or massively from your own taste or initial instinct, 

- going about selecting the tools that you need for achieving this. Keep in mind that you will need to test this equipment because some ideas that you had up front that seemed great or that you’ve heard about as performing X might not actually create the effect that you thought they would in practice. Sometimes locations or the camera/lenses that you preferred will not be available due to whatever reason. You will still be expected to achieve the previously agreed upon look. Quitting because you couldn’t get an Alexa will never get you another job again.

- actually creating  the look on set and MAINTAINING it across different shots that may be shot days apart. Remember that you might have less time in the schedule than you thought or that conditions changed beyond your control, you will still be expected to come close to your initial idea otherwise your look won’t match.

- gone into a grading suite with a colorist and perhaps even a client and graded a large project in a very limited amount of time. Keep in mind that you will not be able to try fifty different experiments just for giggles because you will get fired.

vs. 
 

2. Downloaded some clips off the internet and played around -however skillfully or elaborately- with the footage on your pc.

Because everything I’ve seen from you  around here -and I might be wrong- indicates to me that you fall squarely into the second category. There’s nothing wrong with that and I do not mean to gatekeep or to shit on the enthusiasm for the craft that you regularly display on here (which is AWESOME!), but I am a little astounded by the confidence and boldness at which you make some claims.

Please reflect upon your skill and experience and consider displaying some humility (know what you DON’T know), especially when looking at your experience (enthusiastic amateur filming their family on vacation) versus that of Django (working professional that has actually used some of the equipment that you make such confident assertions about). 

We use the r6 and r5 as b cams for video at work. If you’d shot with them for any amount of time you know the ibis is not up to the task for professional work. The amount of times we got back to see weird warps on our footage is simply too high to trust it.

The yield of full frame sensors is lower. With the 12k already coming in at 10k initially (which a lot of people thought was way too expensive for a Blackmagic camera and which Blackmagic blamed on the sensor being designed in-house) I’m pretty sure the sensor would simply get too expensive for Blackmagic’s market range.

I switched from Sony back to Canon due to owning a lot of EF glass, but there's NO WAY they're releasing a 30p only 4k camera in 2021, right?

21 hours ago, Alexis Fontana said:

So - there’s a few things going on here. 
 

I suggest you try to google “what is a 3dlut” and watch some of many good videos that explains the concept. 
 

Always try to avoid thin pinstripes in talents clothes, as they will often create moire as in your shot. 
 

Also - try to point the microphone towards the talents mouth instead of pointing down. 

Those mics are omnidirectional so what are you on about. Pointing the mic down is a common technique to avoid popping sounds from the person speaking, as pointed out by OP.

It’s a shame because if I read CineD’s test correctly the G2 is still the leader of the pack in dynamic range. In this tense the 12K has felt like a step back from the beginning.

Works flawlessly on adapted lenses. Focus pulls are a bit more aggressively and in some cases are a bit more jittery and less reliable on lenses with motors that weren’t really designed for video autofocus (I’m thinking of the Sigma Art 85 specifically) but it’s still totally acceptable and usable in my experience. 

Every camera needs proper lighting. If you’re only lighting stuff to get your exposure then maybe the 12k is in fact not the camera for you. I’m excited about the Ursa because the company I’m working at is currently moving to get a step above one man band types of shoots (which hey, if that’s your thing more power to you) to always control lighting, have a more narrative focussed approach, and to not show up handholding a S1h because the image is ‘basically good enough’.

6 hours ago, herein2020 said:

Regardless of what it is meant for, it doesn't change the fact that the support system needed to get quality footage out of this camera costs many times more than the camera itself.

I watched the CVP video on my 4K video editing monitor and I think my problem is the subject material that they filmed just wasn't the right material to really showcase this camera. Nature, water, fire, dim lighting, etc all are things that nearly any modern camera can handle.  A videographer friend showed me a video a few months ago filmed with the 12K (I don't know the link to it) that literally blew my mind.  It was more of a corporate setting with many different shapes, colors, etc. and razor sharp detail shots like nothing I've ever seen. 

I agree with you; I am not a fan of any Sony products, older or newer including the A7S3; but I do think for the specific scenes they showed in the CVP video, even the A7S3 could have produced the same quality.

How is it more expensive than on the 1295 Pocket 4K? Please explain.