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Vintage Jimothy

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  1. Yeah, I've been building a basic set of Minoltas for awhile now and I swear by them. They never let me down. Heck, one of the more memorable films I've seen this year (Identifying Features) was almost entirely shot on a set of vintage Minolta Rokkors! And if there's one thing that every review I've read has in common with this film, it's that the cinematography is gorgeous.
  2. Yeah, I spent the last two months prepping myself to buy a brand new S5, but wound up opting for a used S1 with the V-Log upgrade pack and Firmware 2.0 already installed. I would've been happy either way, I'm sure, but I think if you come across an S1 with all of its bells and whistles already in place, it's generally going to be the better value over the S5. For me, the biggest tradeoff is that I'm buying the S1 without any native L-mount lenses, its backscreen isn't a normal "flip-out" screen and I'll probably need to buy newer/faster SD cards and a CFExpress Type B card or two. Then ag
  3. Glad to hear that! I'm hoping Panasonic eventually bring BRAW to the S1 and S5 too, but in the meantime I'm sure I'll be satisfied with the internal codecs the S1 now has. It's a total quantum leap from my trusty G85 that I've been using for the last three years.
  4. Just bought a used S1 with V-Log and Firmware 2.0 already installed. And I gotta say... I am really looking forward to trying this monster out when it arrives!
  5. How's the manual focusing? Is it linear and if so, how long is the focus throw?
  6. Not to mention, as far as I can tell, there hasn't been much in the way of introducing and releasing new lenses for the M43 mount that are unique to the ecosystem either. Meanwhile, the full frame lens market is exploding with new glass. Obviously a lot of that is due to certain mounts (L, RF and Z mounts for instance) still being relatively new and their companies are trying to catch up to Sony and the E-mount to flesh out their lineups, but even the E-mount has a lot of new glass coming out these days from third party companies. Micro Four Thirds though? Not so much. Obviously th
  7. I had no idea until I saw this thread that Falcon Eyes had released an updated model on their RX-24TDX and RX-18TD flex lights. Have you ever been able to compare your Mark II model to the older original variants? I've been eyeing one of them for awhile now, so I'm curious if it'd be in my best interest to save up a bit more to get the new models. Also could you provide any more feedback on the Luxli Taiko? There's only a handful of videos on that light compared to the new Aputure P300c, and while it'll be quite awhile before I could afford buying either one, I'd love to hear input on wh
  8. Holy smokes, practically all of the sample footage in that video is stellar. Really hope a translation comes out for this review soon, as I'd love to hear this guy's thoughts in detail on the camera. Also, your argument about the advantages Sony has over the competition right now are, for better or worse, spot on. They're just flat-out further along than everyone else in the field when it comes to having an ecosystem of full frame mirrorless cameras and lenses to work with. Not to decry the value of other cameras (the RAW footage of the Sigma fp is genuinely beautiful, and if you're A-ok
  9. The problem there is that their existing L-mount lenses are designed for Contrast Focus, so there'd probably still be a growing pains period for Panasonic in transitioning over to Phase Detect. But yes, at this point, they really do need to start to that transition as soon as possible if they want to really seal the deal on the market.
  10. While this camera is certainly interesting and I can see certain advantages in pursuing 12K (though I think 6K and 8K are both already more than enough for most any production), I do kinda agree with people that it feels like the wrong camera for Blackmagic to make and put out there in this particular moment. A full frame 4K or 6K cinema camera would've probably been the smarter call, even if it is the more 'obvious' option.
  11. Went back in DaVinci and fiddled around with the Luminance and Saturation with the built-in ARRI Rec709 LUT. Holy moly, this looks gorgeous.
  12. Here's what I got after just putting DaVinci Resolve's built in ARRI Rec709 LUT on that footage. Looks pretty great to me, though I could maybe try to saturate it a bit more for warmer skintones.
  13. Not at all, I absolutely get that some videographers will need a camera that's recording one file for an extended period of time. Especially anyone working in wedding videography. And in that regard, the Canon R5 clearly isn't the right fit for that sort of workflow or niche of filmmaker, which I'd say is a big bummer for anyone in that field of work that was looking forward to this camera. That said, by the same coin, not every videographer or filmmaker needs to have a camera recording non-stop. Which is also fine! I've personally been using a Panasonic G85 for two years now and it's se
  14. I dunno, I feel like even if Sony redesigned the body, it'll still probably be too small. They seem very gung-ho about making sure that their mirrorless cameras are smaller, unlike Panasonic, Nikon or Canon who are pumping out cameras that are much closer in size to a DSLR. Though I'm no insider or scooper, so I could absolutely be wrong on the matter. I'd be impressed if Sony go for a bigger body. Personally I'm not sure what camera I'll wind up going for, be it Canon or no. Personally the overheating issues with the Canon R5 won't be much issue for my personal workflow most of the time.
  15. Really hope Fuji provide a similar update to the X-T4 (and maybe the X-T3 too) for it to be able to output ProRes RAW externally as they just did with the GFX100 sometime in the near future... assuming it's possible, of course. It sounds as though we're still aways off from getting an X-H2 where such a feature would seem immediately obvious, so it'd make sense to capitalize on the hype towards these two cameras in the meantime by providing them a means to output some sort of RAW video codec. Obviously it's not needed, as I've seen plenty of incredible results from the internal 10bit 4:2:
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