Jump to content

Vintage Jimothy

  • Content Count

  • Joined

  • Last visited

Everything posted by Vintage Jimothy

  1. 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.
  2. 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.
  3. Vintage Jimothy


    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.
  4. 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.
  5. Yeah, I really don't care for the grading on the 2nd video personally.
  6. 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.
  7. 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.
  8. 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.
  9. That is some truly gorgeous footage! And apparently he shot that all with a Lumix 12-35mm f2.8?
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. I wouldn't call it sacrilege to say that. I think autofocus is likely bound to take over more and more of the videomaking/filmmaking world as that technology advances. But in the here and now, it's important to meet the manual focus standards for filmmaking with these lenses. Granted, based on the recent interview I saw @DaveAltizer do with Nikon from PhotoKina, it does seem like they're planning to incorporate linear focusing on these lenses soon via firmware update. Also that zoom looks great! Was that picture from Photokina or one of the other recent camera events?
  15. Where's the mockup of the F2.8 Nikkor zoom? Can't find a picture of that anywhere. As for the new Nikkor lenses being made with video in mind, I'd say most of that rings true. However there's a rather obvious elephant in the room with the lens design that needs to be adjusted before the new Z-mount lenses are top notch for video: linear focusing. The focus-by-wire design is still a hinderance for video shooters that prefer to use manual focus over autofocus.
  16. I have a feeling the Z6 will really shine once companies start making a bunch of adapters for vintage lens mounts to the Z-mount. Pretty sure @Andrew Reid said something similar about his Z7 awhile back when he adapted an older Leica to the camera, right?
  17. I might get another speedbooster down the line, but I already bought the Pixco for now. And again, I don't have much money- the thirty dollar difference between Pixco's usual $80 price tag and the $50 I spent for mine is what made me bother with getting a speedbooster at all right now.
  18. Oh trust me, I won't be getting rid of my G85 anytime soon. If I get the a7S, I'll be keeping my G85 too for when I need a backup camera or if a gig requires me to shoot in 4K for some reason. I got the Pixco Focal Reducer. Cheap and I have no expectations of it being the best, but someone was selling theirs for around $50, which was actually in my immediate price range as opposed to other speedboosters typically priced $80 or more. Between the focal reducer and the Minolta, I spent around $130 total. A bit pricey for me, but reasonable enough for the moment.
  19. True. And I've been thinking more and more about the a7S as an option moving forward... but that'd probably be at least a good six months or more away from now if I go that route. That was my thought initially too... Ultimately I went with a Minolta Rokkor PG 50mm f1.4. I also found a possibly affordable focal reducer adapter at a reasonable enough price for me to consider going that route, so that might end up being helpful too. While the Rokkor 50mm is not a very different focal length compared to my Helios 58mm f2, I really want to make sure I have a lens that can help with low light conditions at least a bit on my G85. I'll inevitably pick up a 35mm of some sort soon, as well as an 85mm and 135mm... but with the massive crop on my G85 and the nature of my current gigs, I think sticking around the 50mm focal length is a decent option right now since the crop will give me a telephoto reach, even if I get the focal reducer.
  20. I dig 4K a lot because even if I don't typically need it, that extra resolution helps result in cleaner 1080p footage when I downscale to that. BTW, I'm in the process of debating on what lens to get. Initially I was thinking of getting a native M43 lens, but after my Helios ended up single-handedly saving my first video project for my gig I've mentioned in here before, I think it'd probably be better for me to look at other (and faster) vintage lenses on eBay to adapt to my G85 instead. Still looking at options under that $150-200 price range, preferably underneath $100 too if at all possible. So far I've seen a ton of fast Nifty Fifties like the Canon FD, the Nikkor Non-AI, the Super Takumars and various Minolta Rokkors... but I'm not sure which option would be the best overall. Can anyone provide feedback for that? Since I don't have a speedbooster right now, I'm cool with getting another faster Fifty over my Helios so that I'll have a somewhat easier time shooting in low light for the upcoming videos.
  21. It is a bit of a shame, but IBIS is literally what the X-H line is for. All in all, I think the multitude of features that the X-T3 does have and its price outweigh its lack of IBIS.
  22. Definitely. Heck, one of my good friends from film school is still shooting with his old Canon T3i after all these years and another friend of mine is looking at getting the a6000 as his next camera. And admittedly I'm more the type to look at the latest cameras and what's coming out, so I probably don't think enough about older cameras as often as I should. For now, my camera is the G85. I don't plan on selling it anytime soon and even when the time comes that I do buy another camera (be it an old a7s, an NX1, a new X-T3 or Z6), I'll probably keep the G85 as a secondary/backup camera in case of emergencies. That said, whatever my next camera will be, I don't think I'll be sticking with M43 after this. The sensor/mount definitely have their advantages and all, but I think I'd probably be wiser to look for something that's either APS-C or full frame for better low light performance overall. Whatever M43 lenses I get will just be for the G85.
  23. Mhmm, no arguments there. As I said earlier, a lot of this comes down to "wants vs needs." I'd want a camera that can handle better in low light. I don't necessarily need it though.
  24. I mean, it's not like I'll be getting an a7s (or any new camera for that matter) by springtime anyway, unless I apply for another job to get more income faster. But ultimately I might opt to look into changing to a different camera so that I have something more geared to my needs as a filmmaker right now. We'll see. No arguments there. I love my G85 and I still think I made the right call in picking that as my first camera. But it's been a bit of an eye opener to get a feel for its weaknesses and how that impacts a lot of my personal needs as a filmmaker.
  25. Got back earlier from the first night of shooting for the first gig. Overall, I'd say it went quite well. It wasn't at a traditional theater, so the lighting was a lot better (albeit also probably plainer looking) than future videos will be. Having said that: Thank God I had my Helios on me, because that lens saved my life tonight! Unfortunately I couldn't get close enough to the actors and stage as often as I'd have liked (it's a bit of a weird stage in layout), so I mostly had my G85 placed on my tripod with the Helios and pulled focus manually as the actors rehearsed the play and I moved my tripod across the room from time to time to get a variety of shots from different angles. Seriously, never imagined that I'd (mostly) enjoy shooting at a 116mm (plus) focal length, but that extended reach helped immensely tonight. Just had issues from time to time with the tighter framing and messing up my focus pulls, though the latter is on me and not the lens. EDIT: That said, I'm starting to think more and more about @webrunner5's suggestion of picking up a used Sony a7s. It's hardly my dream camera and normally I'd flinch at the thought of buying an even older camera than the G85 to replace it as my main workhorse. But realistically, it does seem like an ideal option within a reachable price range: Higher dynamic range, vastly superior low light capabilities and shooting in 1080p isn't the worst thing in the world. Plus if I need to get back to shooting 4K footage again, I can pick up an Atomos Ninja V to get dat 4:2:2 4K footage externally. Either way, that's a transition I won't be able to move towards for awhile now anyway. There's other gear I need to pick up rather fast too and it'd take awhile to save up the $800-ish needed to buy a used a7s and whatever additional money needed to pick up one or two vintage lens adapters and a couple more vintage lenses.
  • Create New...