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currensheldon

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currensheldon last won the day on May 21

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  1. I've been thinking the same thing. The EF mount, though incredibly popular, just isn't a modern mount and therefore does not allow all of the awesome things that short flange distance mounts do (Variable NDs, Speedboosters, tons of adaptability, etc). If Canon's GIANT lens collection is lacking anywhere, it is definitely in the high-quality, APS-C/Super35 lens category. The 18-80mm t4.4 is an amazing lens, but slow and also $4500. The 17-55mm f2.8 is fine, but sort of cheap and the focus ring is very subpar. Canon has ZERO lightweight primes with equivalent full-frame FOV at any focal length. Yes, you can use all of their full-frame lenses, but I'd much rather have the size, performance, and focal lengths of the X-Mount Fuji series than anything in Canon's full-frame lens lineup for the Pocket 6k. The only great lens (Sigma 18-35mm f1.8) isn't made by Canon and doesn't have stabilization. Also, no BM Raw at 4k?! That's crazy too. So you have to deal with double the file sizes for 6K even when you only need 4k. I think the Pocket 4K is a way better option because: - it's half the cost - With a speedbooster, you can get a 1.2x crop rather than 1.6x crop - You can shoot BM Raw in 4K, which I think is still the best quality vs file size combo this side of RedCode. - You have the option to use small, lightweight MFT lenses on it if you wish - You can adapter pretty much any lens ever made - The Panasonic 10-25mm f1.7 may be the best stick-it-on and never take it off lens for either of these two cameras. If the Pocket 4K had the RF Mount, then that would be a different story as you could have a variable ND on there with the Canon adapter and that's very awesome. Red is definitely getting it right with Komodo with the RF Mount and battery solution - very smart and BM should take note (though the Red will be 2-3x the cost).
  2. Even in image capture, I didn’t see a huge difference between 4k and HD. However, 8k is a huge leap forward. It really does feel like the jump from SD to HD, which I remember being a bit mind boggling.
  3. Black Magic is doing so awesome things and I do love BM Raw. I find the EF mount disappointing and would have much preferred the RF Mount or L-Mount (if they even have access to those). Though, outside of BM Raw and a bit cheaper of price, there isn't much here that would tempt me over the S1H (which may have some form of raw). S1H will have a flip out screen, should have IBIS, wayyy better battery life, has the dual XLR adapter, better form factor, way better stills camera, better autofocus (assuming the Pocket 6K is a single point, single shot AF), easier to use on gimbal, more lenses available via adapters, full-frame sensor, probably better low light if the S1 is anything to go by, more dynamic range, and a couple of other advantages I'm sure I'm missing. Yes, you can save $1000+ by getting a Pocket 6K, but I think all of the above specifications are worth that and more. Black Magic should have used all of that EF-Mount real estate for an electronic ND filter - that would be game-changing. Still, Black Magic is doing an awesome job releasing some really cool cameras with a gorgeous image and really pushing raw - which is great.
  4. Oooooh external recorders that allow you to captures BM Raw on all the raw SDI and HDMI raw (Z6 and maaaaybe S1H) cameras would be awesome. Im going to switch to Da Vinci sometime soon anyway and I love BM Raw.
  5. The S1 lenses I’ve used (24-105 and 50mm) are both great for manual focus. The S1 has the option to change focus pulling into a linear style (rather than by wire/speed) so it works great.
  6. Yes that's true. I'm heavily anticipating some more lenses. Granted, with manual focus video (which is what I mostly do), I don't mind using the Sigma adapter + EF lenses. The three new Sigma lenses that weren't on the roadmap was a pleasant surprise, but for photography/AF, really looking forward to the release of a 24-70mm f2.8 and some reasonably sized primes in the f1.8-f2 range for gimbal and photos. The Sigma 45mm f2.8 looks great, but really wish it was f2 - my favorite f-stop for the best combo of image quality, light gathering, and size/weight - like the Zeiss Loxia or Batis or Sony or Nikon's f1.8 line. All of these modern lenses are so good, that I really don't need that extreme pro-level sharpness that the f1.4 and f1.2 MONSTER lenses are offering.
  7. It is pretty crazy to see Youtube and reviewers freak out when Sony releases any product (and Canon to a much smaller degree), even when Panasonic is releasing way more professional, capable tools with the most important attributes: - best image quality - best audio interface and audio quality - best ergonomics and general usability - best bit-depth, frame rates, etc - best IBIS in the business by far. Yet, it seems everyone just keeps harping on the AF - which, with native glass, is still pretty darn good. But which I almost never use. And if I use a gimbal, I have it connected to a small focus control motor, which are very cheap with the Ronin-S or Ronin-SC or really anything else. Hopefully people take notice soon. I am starting to wonder if Youtube reviewers are paid... definitely get a lot of free stuff for their "opinion"
  8. True - I’m leaning L Mount but if Red puts out a mini cinema camera and/or Canon does the same with RF Mount, it definitely is tempting. Canon is crushing it with lens creation and adapters, and I’m sure a couple higher end RF cameras are right around the corner. We will see...
  9. Pretty cryptic (in Red style), but it looks like Komodo has an RF Mount and is something of a Z-Cam-like camera in the $5-8k range. Pretty interesting. Under 2-pounds and less than 4-inches in every direction. https://www.newsshooter.com/2019/07/27/red-komodo-we-know-what-it-isnt-but-not-what-it-is/
  10. Agree that camera companies have gotten pretty stale. Panasonic excites me with the S1H and what else may be in that camera. I would say the Sigma FP is one of the more exciting cameras to be announced recently - at least it is different, interesting, super modular, and can be built out to your liking. Excited for the S1H + FP combo that I'll have soon enough.
  11. Weebil Lab was awesome at first because of its very portable size and being able to lock all axis. I had one around (along with my Ronin-S) for long-term travel work, but it is not nearly as strong and stable as the Ronin-S. Just tested the Ronin-SC and it seems much stronger. And it has the locking axis! Which, outside of the weight, was the main reason I loved the Weebil. Go with the SC.
  12. Exactly. A small C100 III like that would be great place for that line to go. Make it a doc/journalists workhorse that could also be an owner operator’s one man band camera. Just make sure to give it the RF Mount. More than anyone, I’d love to see this type of mini cinema camera from Fuji - they have the best lens lineup for Super35 sensor size by far. Or Panasonic with MFT Mount. - also I should say that if Panasonic could do it with the L Mount and full frame then by all means, please do.
  13. Nope - I meant the S1 is vastly superior compared to the other cameras it goes up against. Granted, it’s a bit more expensive so maybe it really is in a field by itself.
  14. We're not comparing the same thing here anymore. The Z7 and S1H are not in the same range because they are targeted to very different consumers. The S1H, as of now, has no Nikon counterpart. S1 = A7III, Z6, EOS R (but is vastly superior to all of those IMO, so is really playing in a field by itself). S1r = A7rIV, Nikon Z7. No Canon equivalent yet, but seemingly soon. S1H = A7sIII (if it is ever released). No Nikon and Canon equivalent. The S1H, when released, will really be one of a kind. It sits somewhere between the best mirrorless video cameras (S1, XT3) and the smaller cinema cameras (EVA-1, C200). Depending on what it has inside (things like raw or NDs), will dictate how much closer it is to a really inexpensive cinema camera or a more expensive mirrorless camera. From the looks of it, it looks like Panasonic is going for a (relatively) inexpensive cinema camera.
  15. Have both and yep! They work great together. The S1 has an ASP-C crop mode and when the Sigma 18-35mm f1.8 or 50-100mm f1.8 are attached, the S1 automatically detects them and punches into the 1.5x crop. The nice thing about this setup is that the field of view is the same on 24fps and 60fps (since the 4K 60fps has the same crop). Plus the Sigma 18-35mm is still just one of the best lenses ever. And with the S1's stabilization, it's a very versatile lens.
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