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Vintage Jimothy

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  1. One possible side-effect I'm really interested to look into with the arrival of an 8K RAW-shooting hybrid mirrorless camera on the market is how it impacts the prices of various popular vintage lenses. With Canon moving away from the EF mount to the RF mount, I have to imagine that opens up the possibility of video shooters adapting some terrific old glass that previously wasn't very useable for EF-mount cameras (such as Canon FD's or Minolta MC Rokkor's). Will that raise the prices of some great, less pricey alternatives to the Contax Zeiss and Leica R's of the world? Either way, I have to imagine that we'll see continued use of older SLR-era lenses being adapted to help 'soften' the image of these higher resolution cameras.
  2. To be fair to Panasonic, haven't there been rumblings that they're being locked out of use of PDAF by Sony as part of using their sensors? I know I've seen that rumor tossed around here before, but I have no clue how valid that information actually is. Either way, yes, we're definitely reaching a point where Panasonic will need to start working on developing a proper PDAF system for their cameras and lenses ASAP. I could totally see Fuji implementing some form of RAW in their future cameras, in order to keep up with the competition. Though seeing as how they're not even really participating in the world of Full Frame, I'm curious to see if they'll wait until either Canon or Sony bring this sort of R5 specs to an APS-C camera first or if they'll try to get there first to keep up with their efforts to appeal to video-centric customers. Actually, speaking of Fuji and their lack of interest in developing a FF camera, maybe the R5, S1H (and a possible Sony A7sIII I suppose) might lead them to try and develop a more budget friendly successor to their GFX100 camera as a Medium Format videography-centered option? Maybe develop a 5.5K Raw Medium Format camera to try and get ahead of the rest of the competition when MF becomes more affordable to sell commonly? Personally speaking, I've been debating between upgrading from my Panasonic G85 to a Fuji XT3/XT4 or a Panasonic S1H for awhile now- but the Canon R5 definitely feels like a big declaration of a shift on what to expect from hybrid mirrorless cameras as we move into the new decade. So now I'm left wondering if I should keep waiting to see how the rest of the companies respond to the R5? Hell, I'm sure I'll be keeping an eye on the R5 too in order see what issues that camera might have (i.e. overheating, bad rolling shutter).
  3. Honestly with the rise of mirrorless cameras and more modular cinema cameras, I personally don't think it's as imperative now as it was a few years ago to find ways to modify Minolta lenses to the EF mount. Speaking personally I'm very early into building my Rokkor lens set. Currently I own an early model 28mm f2 and a MC PG 50mm f1.4 and I adore both. The 28mm is a gem to use on my G85, especially with my Pixico speedbooster. Also, as an aside, I found out awhile back that almost an entire feature film (Identifying Features) that screened at this year's Sundance was shot on Minolta MC Rokkor's!
  4. My thoughts exactly. I'd be happily surprised if The Lighthouse wins though!
  5. Still currently filming with a Panasonic G85. Been having a hard time lately saving up money for an upgrade to a new camera, but hopefully that changes soon enough.
  6. My guess is that Panasonic opted to go with the dual SDXC UHS-II card slots on the S1H so that it'd be somewhat more cost-efficient and immediately useful for buyers in 2019 (as well as how Panasonic's already mentioned that they did dual card slots of the same memory cards to allow dual recording and what-not for filmmakers). XQDs are new and will likely continue to become more prominent in the coming decade, but with how pricey they are currently and less common they are compared to SD cards, Panasonic probably opted to wait for now. If this internal raw video takes off with the Nikons soon, I wouldn't be surprised if we see Panasonic begin to incorporate that into future camera models down the line.
  7. I'd say it also depends on the max resolution the A7sIII could shoot and how long it takes Panasonic and Atomos to get their "S1H can shoot some form of RAW out via external monitor" upgrade going. If that's already available to customers by the time Sony announces the A7sIII and the most that it has to offer is "Sony AF, Venice color, and 4K 60p no crop" with the same 8-bit limited codecs that they've been using this whole time, that might dissuade a number of customers from bothering with that camera. Especially if they don't include a flip-out screen.
  8. Honestly, I'm not entirely sure what my personal plan will be just yet, but the double whammy of this great breakdown video on the Contax Zeiss lenses and Panasonic's full reveal of the S1H are making me consider a transition over to that sort of camera-lens combo. Much too expensive to try and save for a Kinefinity Mavo LF for now.
  9. Not necessarily, I can see a particularly huge advantage for going 6K over 4K if you're a narrative filmmaker. After all, there's more to using 6K/8K than just the higher resolution. It gives a larger picture to play around with for re-framing and adjusting shots in post for a smoother look. That's a big part of why David Fincher's been relying on RED for so long now. Heck, plenty of indie RED filmmakers swear by vintage SLR glass like Contax Zeiss, Leica R or Minolta Rokkor to help soften up their footage and give a more filmic look while shooting in 6K/8K RAW to have the largest amount of room to play with in post that they can get. EDIT: That isn't to say that the modern FF/S35 glass made for the EF mount won't be super popular. Personally I'll probably mainly rely on a Sigma 18-35 (once I get one for myself), regardless of whether or not I get the Pocket 4K or 6K myself. Could even see the Canon EF L 24-105mm f4 being a popular match-up with the Pocket 6K too. My main point is that there's absolutely an argument to be made for going with the 6K model even if you primarily shoot with vintage SLR lenses.
  10. Yeah, I really don't care for the grading on the 2nd video personally.
  11. Been waiting for this review, but the guys over at The Film Look just posted their review for the Pocket 4K on YouTube. Way more efficient a review for filmmakers than most reviews I've seen to date. Love these guys and their videos.
  12. My G85 is a great camera. While I'm personally looking at upgrading to the Blackmagic Pocket 4K sometime next year, I'm definitely keeping my G85 around for a long time. It's a reliable workhorse. Yep. The results I get out of my Helios 44-2 and Minolta Rokkor PG 50mm f1.4 are really great with the G85. Gotta be sure you're able to deal with the significant crop factor, but the IBIS on the G85 really does help it pair well with those vintage lenses.
  13. I was reading about this at another forum. Considering how the Viltrox typically is just as sharp as the Metabones on other M43 cameras, the running theory there is that it’s something to do with the coating on the speed boosters and Blackmagic’s sensor in the Pocket 4K. Still, I think either would work well enough overall.
  14. That is some truly gorgeous footage! And apparently he shot that all with a Lumix 12-35mm f2.8?
  15. Thankfully that’s a predicament that’s somewhat manageable to handle for narrative filmmakers at least- just schedule all of the shots you plan to use the gimbal for in a particular scene/sequence/set together in one time block. That way you only have to set up the gimbal once and knock out the shots one by one. Granted, that isn’t as reliable a solution for other non-narrative types of filmmaking.
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