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Vintage Jimothy

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  1. My thoughts exactly. I'd be happily surprised if The Lighthouse wins though!
  2. 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.
  3. 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.
  4. 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.
  5. Vintage Jimothy

    Lenses

    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.
  6. 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.
  7. Yeah, I really don't care for the grading on the 2nd video personally.
  8. 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.
  9. 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.
  10. 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.
  11. That is some truly gorgeous footage! And apparently he shot that all with a Lumix 12-35mm f2.8?
  12. 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.
  13. Personally I'm looking at the Tilta cage for when I'm able to pick up a Pocket 4K sometime next year (decided to go with this instead of a used A7s or saving up for a Nikon Z6), but the CAME-TV cage looks pretty sweet too. This camera is such a game changer for the low budget indie filmmaker community.
  14. I think the new Blackmagic Pocket Cinema Camera 4K goes a long way in keeping the MFT system as a relevant system for filmmakers for the foreseeable future. Maybe not for vloggers, but as far as narrative filmmakers and documentary filmmakers go, it's hard to argue against the BMPCC4K overall IMO.
  15. Hell, I'd even take a f2-f2.8 Zoom like the old Samsung 16-55mm for starters, just on a full frame level. But it's definitely high time we see more evolution in zoom lenses.
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