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currensheldon

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Everything posted by currensheldon

  1. Some interesting tidbits here. I don't think you'll see any of the usual three (Sony, Canon, Panasonic) doing things like SSD recording (like Sigma and BM), but I hope I'm wrong. For things like that and internal NDs, I do think Panasonic would be the first to do it in a mirrorless form factor, just like they were the first to do 10-bit 422 (GH5) and timecode (S1H). I think Panasonic has to come out with something big for their next cinema line. They have a dedicated fanbase for people who put IQ, functionality, video features (pros) above hype and specs (Sony). BUT, they still need to deliver high-end specs in order to stay alive. For the GH6 and S2H (or whatever), I think that means timecode, internal NDs of some sort, and some form of low-profile raw recording (like an SSD or some sort of attachment as @Andrew Reid mentioned to technically make it "external"). Even including CinemaDNG Raw internal would be fine because SlimRaw with the Sigma FP is actually a pretty amazing combo. But the FP just lacks so many professional and usability features that it's not quite worth the hassle. For the EVA-2, has to be full-frame, L-Mount, some form of 12-bit 444 or raw internally, high frame rates, and, stylistically, more than an FS5/FX6-copy. I'd still vote for a full-frame BGH1-style and surpass the Komodo where it falls short (full-frame sensor, high frame rates without a crop, dual XLRs). The screens on most cinema cameras are crap anyway (outside of C300/C500, which is at least usable), so just forego it altogether.
  2. Agree with all of this. A new $10-15k Varicam LT should compete with FX9/C300/C500, but they really should put out a $5-7k box style camera unlike anything else right now (what the S1H should have been, frankly). Agreed, They should also ditch the external recording monitors and just do it through USB-C like the Sigma FP. That’s a huuuuge difference to recording raw. definitely a space for a 6k full frame model with all the bells and whistles (NDs, XLR) in that space. Let’s hope they fill it.
  3. With the EVA-1 thread popping up, I thought it would be a good time to revisit this thread since I would think Panasonic would have some cinema cameras coming out this fall. All of the above comments remain true about needing a feature-packed EVA-2, but, as I mentioned in the other thread, I think Panasonic now should completely change their approach from a "more professional FS5" like they did with the EVA-1 and instead do something that none of the other major manufacturers are doing. They should replicate what they did with the BGH-1 but with a full-frame sensor and cutting edge tech and give us a full-frame modular camera. Z Cam and the Komodo have proved that people like this approach as it's easy to rig up, great for flying on gimbals and drones, and very, very versatile. But it has to include internal NDs and XLRs, which the other brands don't include. I've almost bought a BGH1 a few times because I just love the concept. But all my lenses are full-frame. Come on Panny.
  4. Panasonic is easily my favorite consumer video brand. They have my favorite image, favorite tools, and the best approach for video-creators, in my opinion. The EVA-1 had a beautiful image and I did own it for some time. I agree that it really needed an MFT mount. The FS7 was so successful not just because of its specs, but because almost EVERYONE loved being able to use a speedbooster and their EF lenses on it. Same with the FS5. I knew a lot of owners of these cameras and only recently have people really started using native glass on them. With an MFT mount and the same sensor, users could have done the exact same thing on the EVA-1, while also having the option of using a 1.5x (give or take) MFT crop to use their MFT lenses and keep it small and light. And it did have a 5.7k sensor, so that would have been plenty for pixel-to-pixel 4k with an MFT lens. -- At this point, I think Panasonic should really avoid going after the C300s and FS7/FX9s of the world and give us something completely different with the EVA-2 (don't even call it that). If they put out an EVA-2 with the normal "new" specs (120fps in 4k, HDMI raw, maaybe 8k in h265), then I don't think they'll pull many FX6/C300/C70 owners away. Instead, give us a full-frame BGH-2 with all of those great specs, internal NDs, XLRs, and shake it up a bit. Z-Cam and the Komodo has shown that people really like this form factor.
  5. Totally. I'm about to ditch Premiere for Resolve and want to use B-Raw for fluidity's sake. I can get that out of the S1H and recorder or BM Cameras (which I do not like), so hoping the next generation of Panasonic cameras have BRaw built in. that would be huge for them. If they add BRaw and internral NDs in the GH6 and S2H, they might just gain quite a few more adopters.
  6. If they are sticking with 4k (which is fine if it is downsampled from 6k), then they really need to soup it up in other ways: - Raw to SSD (hopefully BRaw or ProRes Raw) - Internal electronic ND (this would be huge) - Some nice internal codecs like ProRes - 180-240fps in 10-bit 4k - Best IBIS in the business (which the GH5 had) - Full V-Log, 13-14 stops of dynamic range - Timecode! (which I assume it will have like S1H) - Great video AF - either ToF or PDAF. Too many (not that much more expensive) full frame cameras can do 120fps in 4k, 8k, raw over HDMI, etc to just put out a solid update. Needs to be include some BIG upgrades (Raw and NDs would be very attention-grabbing). The GH5 was pretty revolutionary in its specs, but it faced no competition in the 10-bit, 4k, IBIS, XLR capture arenas when it was released. Now, not so much.
  7. Oh yea and the fan! Of course. I’m sure it will be even louder in 8k.
  8. Very strange they didn’t update the design a bit. The off centered battery causes tons of mounting problems, the screen isn’t that bright for $1600, and no SDI is very strange since these are basically raw recorders now (which wasn’t entirely the case when the first Ninja V came out). Pretty lazy upgrade.
  9. Being only electronic shutter, that's been my main concern with buying the FP (or FP-L) as a hybrid. The rolling shutter on the FP-L does look pretty awful and, since it doesn't have a mechanical shutter, that would translate to photos as well. Maybe not a big deal for landscapes or real estate, but definitely a problem for anything that is slightly moving - which is a lot of things. And I've always had bad luck with electronic shutter in mixed lighting or artificial lighting with banding and other issues. Any original FP users that can comment on RS performance? I love the concept of these cameras and would love to snag an FP sometime. Love that they are different, modular, industrial, and have features no other cameras have, but the 2-3 quirks (mainly RS, line-skipped HDMI raw, and ES in photo mode), makes me hesitant.
  10. Woah. I would sell a lot of things for something like this.
  11. Would love to hear your thoughts. I love the FP concept, body, design, internal raw, L-mount, etc, and have almost bought the FP a dozen times. Just looks like it would be fun to own and use with my Zeiss Contax lenses. But both the FP and now FP-L seem to have some strange quirks. Is the rolling shutter really as bad as some reviews have stated?
  12. Yes, the Youtube influencer machine is awful, but Gerald is the least offensive offender. He does all technical reviews, true, but at least he does a thorough and honest job. Only CVP is anywhere close to the usefulness of his reviews from a pure tech standpoint.
  13. Pretty surprised but I could play back the new 8k Raw codec in DaVinci Resolve on a three-year old iMac (souped up at the time however). I have always edited in Premiere but it's pretty insane how much smoother DaVinci is with everything. Need to make the full switch.
  14. That's what I was thinking - about an 8:1 compression. Whatever this compression ratio is, I'd LOVE it if they brought it to 4k in the the C300 III, C200, and any other future 4k raw cameras. 8:1 is sort of the sweet spot for quality and file sizes. For 4k, that would probably be closer o 400-600mbps, which is the same or a bit more than All-I.
  15. WOW. That's a pretty impressive update for the R5, especially C-Log3 and Raw Lite. I'd love to see whatever raw compression this is in 8k in their 4k raw cameras (C200, C300III, C500II). The 1gbps 4k still has massive file sizes, but if the 8k is 1.3gbps, then I'd assume 400-600mbps in 4k with the same compression is possible. Something like 8:1, perhaps?
  16. GH6 kinda has to have some giant features to compete in a full-frame world. PDAF and internal NDs seems to be the two big ones for sure, but timecode, high frame rates in 4K and 6k, and black magic and ProRes raw would all help.
  17. I think the Sigma "i" series or the Zeiss Loxia series are the perfect combination of size, build quality, and speed. f2 is my favorite aperture on full-frame and even if I get f1.4 lenses, I tend to stop them down to f2 for easier focusing and less of the blurred-to-oblivion look. But, most manufacturers neglect their f1.8, f2, and f2.8 lenses and make them cheap with plastic and are often loud-focusing and just aren't as well-made or as sharp as their f1.4 lenses. I get it - cheap lenses are great for budgets, but it's annoying how manufacturers neglect quality just because it's a slower aperture. Enter LOXIA. So beautiful. All metal. Solid. Small. Incredibly well-made. Just beautiful. But, no AF. Enter SIGMA i - these lenses are amazing. Metal, small, lightweight, great AF, and just beautiful. Wish the 24mm was at least an f2.8, but the 35mm and 65mm at f2 are pretty perfect.
  18. I love this. Dig the rangefinder style and love it for video as well because it keeps you from smashing your face into the back of the camera. Pretty darn excited for this camera. Will wait for specs, but hope they've beefed it up. Wish Sigma would make a streamlined battery grip that was just a big 50-60wh power bank (long enough for 6-8 hours of use). That'd be cool too.
  19. This is amazing. 470 grams! What a perfect gimbal lens for S5/S1/S1H or Sigma FP. Along with their new f2 primes, Sigma is making the L-Mount very enticing - and the S1H is still the best IQ camera under $10k outside of the Komodo perhaps (though I haven't tested it myself, just basing that off my old Reds).
  20. The S1H still has the best image of any camera under $10k, in my opinion. And I've used a lot of them. They need to put out an EVA-2 and S2H (or S5H) asap with update AF and they'll be good. I will probably use Panasonic cameras in the future for IQ alone, but AF, 120fps 4k, and a few other of the new bells and whistles are very useful in cameras like the C70, FX6, and this FX3. I'm still not sure Sony has fixed their color and IQ issues fully and their WB seems to be way off - but I'd like to test. FX3 would be excellent if the A7sIII didn't exist, and frankly, the A7sIII shouldn't exist, not the other way around.
  21. So, the A7sIII is getting S-Cinetone: https://www.sonyalpharumors.com/rumor-sony-a1-cine-colour-profile-will-come-for-the-a7siii-via-future-firmware-update/ The FX3 is getting more confusing (or, maybe why the A7sIII exists is the confusing part). Unless the FX3 has timecode and ND filters, not sure why you'd get it this if you already have the A7sIII. However, from the appearance of the body, buttons, ergonomics, top handle and XLR integration, and flip-screen being able to tilt flush to body (hopefully), I'd get the FX3 over the A7sIII, even if it was $500-750 more. Looks much more rugged as well.
  22. Wow. This is really feature-packed for the price. Really nice. Don't love the form factor that much, but if battery life is closer to 90-minutes (rather than 27), and the screen is actually brighter than a Ninja V, with the addition of NDs, another XLR, tilting screen... shew - GREAT feature set for thee price.
  23. That's true. But it does seem those higher end models are less inclined to be a part of the spec race. Venice, C700, Arris, etc often can't match some of the spec-race cameras (8k, 6k, raw out, 120fps! ,etc), but just have superior IQ (which they do), so maybe the Varicam doesn't need to be updated in the same way as the EVA-1 does. But right now, the EVA-2 needs to get in the under $10k game with an L-Mount so Panasonic can start making money on lenses. And give S1/S1H owners more expansion options. With that said, I think the EVA-2 needs to be feature-packed. Though i don't need more than 4k at the moment, I think the solidly just 4k cameras FX6/FX9/C70/C300 gives Panasonic an opportunity to leapfrog them in some areas. We'll see but looking forward to seeing it.
  24. No news here, it seems. Canon and Sony have put out about a dozen cinema cameras since the EVA-1. Would love a full-frame, L-Mount EVA-2 to go with an S1H or S5. That's a nice combo.
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