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currensheldon

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  1. Thanks
    currensheldon reacted to IronFilm in Where Is The MFT Cinema Camera? (Or Fuji X)   
    Arri Mini LF, Alexa LF, AMIRA, Sony PMW-F3/F5/F55, VENICE, Panasonic Varicam S35 / LT , etc etc etc would all like to disagree with you!
  2. Like
    currensheldon got a reaction from anonim in Where Is The MFT Cinema Camera? (Or Fuji X)   
    Yea it seems like a slam dunk if they can combine the GH5s low light with GH5 IBIS in there too. I think there’s a big user base who wants a stabilized mini cinema camera - but nobody will give it. 
     
     
  3. Like
    currensheldon got a reaction from Adam Kuźniar in Where Is The MFT Cinema Camera? (Or Fuji X)   
    Quite true. That’s why there are dozens of non IBIS cinema cameras to choose from. Don’t see why there can’t be one IBIS video camera though. 
    Lots of professionals use a GH5 and its IBIS - and know when to turn it off and on depending on the shooting situation. 
    I’m not asking for a cinema camera to shoot feature films on. I’m asking for a FS5/C100 workhorse MFT video camera (or Fuji X) with all the things video cameras have - and some tech transferred over from mirrorless cams. 
     
  4. Like
    currensheldon got a reaction from anonim in Where Is The MFT Cinema Camera? (Or Fuji X)   
    Quite true. That’s why there are dozens of non IBIS cinema cameras to choose from. Don’t see why there can’t be one IBIS video camera though. 
    Lots of professionals use a GH5 and its IBIS - and know when to turn it off and on depending on the shooting situation. 
    I’m not asking for a cinema camera to shoot feature films on. I’m asking for a FS5/C100 workhorse MFT video camera (or Fuji X) with all the things video cameras have - and some tech transferred over from mirrorless cams. 
     
  5. Like
    currensheldon got a reaction from IronFilm in Where Is The MFT Cinema Camera? (Or Fuji X)   
    Quite true. That’s why there are dozens of non IBIS cinema cameras to choose from. Don’t see why there can’t be one IBIS video camera though. 
    Lots of professionals use a GH5 and its IBIS - and know when to turn it off and on depending on the shooting situation. 
    I’m not asking for a cinema camera to shoot feature films on. I’m asking for a FS5/C100 workhorse MFT video camera (or Fuji X) with all the things video cameras have - and some tech transferred over from mirrorless cams. 
     
  6. Like
    currensheldon got a reaction from IronFilm in Where Is The MFT Cinema Camera? (Or Fuji X)   
    Yea it seems like a slam dunk if they can combine the GH5s low light with GH5 IBIS in there too. I think there’s a big user base who wants a stabilized mini cinema camera - but nobody will give it. 
     
     
  7. Like
    currensheldon reacted to Jordan Drake in Organic looking Panasonic S1 footage   
    I'm cutting an entire DPRTV episode shot on the S1 with 10 Bit 4:2:0 HLG. Not doing anything overly demanding, but I'm finding it has a really nice, organic look. You can all let me know what you think when it goes up this weekend.
  8. Like
    currensheldon got a reaction from webrunner5 in Organic looking Panasonic S1 footage   
    Yea, based on the FS5, I'd say they could (if they wanted to be) the first company to add in a variable ND in a mirrorless body. Would have to make the body slightly bigger. However, this would crush FS5 sales, so I'm not sure they'll do it. They'll have to differentiate some other way (my guess).
  9. Like
    currensheldon got a reaction from sanveer in Organic looking Panasonic S1 footage   
    Yea I think that's the ticket. The GH6 really does need to come out strong to have any hope in the new full-frame world:
    - 120-150fps in 10-bit 4K. 
    - Internal NDs (electronic or on-sensor ND). 
    - V-log (13-stops instead of 11.5 or whatever GH5s ended up being). 
    - Low light of GH5s with IBIS of GH5
    And with the 10-25mm f1.7 - honestly, that could keep me happy for a long time. A 25-75mm f1.7 or 35-100 f2 would also be great. 
    The GH5 was 2 years ahead of all other hybrid cameras and has only recently been matched by Pocket 4K (and to some degree the X-T3 and Panasonic's own S1) in codecs, specs - but still has upper hand in some regards with IBIS, photo capabilities, XLR adapter. 
    So, for MFT to stay strong, they need to continue to be 2-3 years ahead with video capabilities on the GH-line. 
     
  10. Thanks
    currensheldon got a reaction from ade towell in Organic looking Panasonic S1 footage   
    I'd say it's pretty on par with the GH5, which is excellent. I've found in other full-frame mirrorless cameras (Just Sony, since I haven't used Nikons), I found the IBIS to be pretty warpy, warbly, and only useable when standing still. But the GH5 has amazing IBIS and can be used in all situations. The S1 lives up to it, for sure - pretty amazing for a full-frame sensor. Might be why the body has some extra heft.
  11. Like
    currensheldon got a reaction from mercer in Organic looking Panasonic S1 footage   
    I do a lot of my own work, but have also been hired on quite a few jobs/episodes/pick-up shoots that are either in the Netflix/Amazon/HBO world (and require Netflix approved cameras) or some jobs that are hoping to be picked up by Netflix down the line. Obviously, Netflix buys documentaries that aren't necessarily shot in 10-bit 4K, but a lot of people want to shoot in that anyway just in case. 
  12. Like
    currensheldon got a reaction from PrometheusDM in Organic looking Panasonic S1 footage   
    Yea have to agree with Ade here and, when it comes to things that aren't acceptable in 2019, a 1.8x crop on a full frame camera and terrible RS are way higher deal breakers than autofocus for me. I've used autofocus a couple of times in a semi-professional environment (mostly just for fun) and have come to the conclusion that I still can't trust it. On jobs that truly matter or for a paying client (or my own work that I really care about), I'm manual focusing every single time. Even with the amazing Canon DPAF, it's easy for it to slip off the subject or to the background when the subject moves, moves quickly, or you are panning between subjects. And focus going from close to deep and back again during a pan is not acceptable. 
    I also don't have much trouble focusing manually.
    Yes, for gimbals it's nice, but the Ronin-S plugs right into the GH5 (haven't tested the S1 yet) and I can manually focus anyway. There are plenty of small, cheap, lightweight follow focuses for all the one-hand gimbals that I'd much rather use with a manual focusing prime (like Zeiss Contax, Vogitlanders, or Loxias) than trust AF. 
    --
    As for ergonomics, the little bit of extra body weight doesn't bother me much because once I put the lens on it, the difference is pretty minimal. No, it won't be my travel and for-fun camera, but for professional work, an extra 200-300 grams doesn't bother me. 
    I liked the EOS R, but there were just too many pain points and compromises. Same with the C200. I need a 10-bit 4K codec for my work. And the C300 is an ergonomic nightmare. Canon currently just has a strange lineup of cameras that are crippled in a variety of ways.
    So, Panasonic, at this moment, is really my only option for my needs. 
  13. Like
    currensheldon got a reaction from PrometheusDM in Organic looking Panasonic S1 footage   
    Yep! Purchased one and have had it for a week. Initial impressions are very positive. I have never written a review on a seller's website before but felt compelled to do so for the S1. Here is what I wrote:
    I have used a variety of mirrorless cameras, starting with Sony A7s and A7rII and then the GH5 and most recently the Canon EOS R. The only camera that Ive held on to long-term is the GH5, so I was very excited when I heard Panasonic was releasing a full-frame mirrorless camera. Now that it has arrived, it is truly the most professional, robust, and beautiful mirrorless camera Ive used. I bought and tested out the Canon EOS R, but found it frustrating ergonomically and with hindered video specs (big crops, no stabilization, etc), it required a lot of compromises. It took beautiful images, but for video (which is what I mostly do), the GH5 outperformed it in every way.

    Next to the EOS R (and definitely all the Sonys), the Panasonic S1 feels like a true professional camera. It's a bit heavier than the other mirrorless cameras, but since I mainly use Sigmas 24-70, 18-35, or 50-100mm, once you have the lenses on there, it's not a huge difference. Its actually more comfortable because the grip is so nicely designed.

    REALLY looking forward to the 10-bit, V-Log update in a couple of months as well as the Sigma EF L adapter in a few weeks. Will really help make this camera shine.

    --
    To expand on some of those points, it really does feel like a truly professional camera. While there are plenty of mirrorless cameras that get you great results, I often feel like I am fighting the camera (like the EOS R) to have it do what I want. You can do it, it's just not that much fun. Same with Sonys - they just don't feel good and I (personally) don't enjoy using them. I also really think the Sony mirrorless and 8-bit (FS) image is seriously flawed - and that's my #1 consideration for any filmmaking tool. 
    I'm in no way a Panasonic fanboy, but after trying for years to use Sony and Canon, the former with a compromise on image quality, the latter with a compromise on usability, specs, and performance, I'm finally satisfied in Panasonic world with the EVA-1, S1, and GH5. Great color, incredible image, great usability, incredible customization, all the tools and all the required specs and approved codecs. Their mount system is a mess, so looking forward to them hopefully streamlining that in the next year or two. 
    Highly recommend the S1. 
     
    If nothing else, this test really shows the pretty wide gap in color and image quality between Panasonic and Sony, in my opinion. S1 looks fantastic. 
  14. Like
    currensheldon got a reaction from ade towell in Organic looking Panasonic S1 footage   
    Yep! Purchased one and have had it for a week. Initial impressions are very positive. I have never written a review on a seller's website before but felt compelled to do so for the S1. Here is what I wrote:
    I have used a variety of mirrorless cameras, starting with Sony A7s and A7rII and then the GH5 and most recently the Canon EOS R. The only camera that Ive held on to long-term is the GH5, so I was very excited when I heard Panasonic was releasing a full-frame mirrorless camera. Now that it has arrived, it is truly the most professional, robust, and beautiful mirrorless camera Ive used. I bought and tested out the Canon EOS R, but found it frustrating ergonomically and with hindered video specs (big crops, no stabilization, etc), it required a lot of compromises. It took beautiful images, but for video (which is what I mostly do), the GH5 outperformed it in every way.

    Next to the EOS R (and definitely all the Sonys), the Panasonic S1 feels like a true professional camera. It's a bit heavier than the other mirrorless cameras, but since I mainly use Sigmas 24-70, 18-35, or 50-100mm, once you have the lenses on there, it's not a huge difference. Its actually more comfortable because the grip is so nicely designed.

    REALLY looking forward to the 10-bit, V-Log update in a couple of months as well as the Sigma EF L adapter in a few weeks. Will really help make this camera shine.

    --
    To expand on some of those points, it really does feel like a truly professional camera. While there are plenty of mirrorless cameras that get you great results, I often feel like I am fighting the camera (like the EOS R) to have it do what I want. You can do it, it's just not that much fun. Same with Sonys - they just don't feel good and I (personally) don't enjoy using them. I also really think the Sony mirrorless and 8-bit (FS) image is seriously flawed - and that's my #1 consideration for any filmmaking tool. 
    I'm in no way a Panasonic fanboy, but after trying for years to use Sony and Canon, the former with a compromise on image quality, the latter with a compromise on usability, specs, and performance, I'm finally satisfied in Panasonic world with the EVA-1, S1, and GH5. Great color, incredible image, great usability, incredible customization, all the tools and all the required specs and approved codecs. Their mount system is a mess, so looking forward to them hopefully streamlining that in the next year or two. 
    Highly recommend the S1. 
     
    If nothing else, this test really shows the pretty wide gap in color and image quality between Panasonic and Sony, in my opinion. S1 looks fantastic. 
  15. Like
    currensheldon got a reaction from webrunner5 in Canon RF 50mm F1.2L Review - If this is the future of Canon lenses then count me half-in, half-out   
    Agree that they need to optimize the Variable ND adapter. The drop-in filter does not seem to be super secure and I don't have a lot of trust that it's keeping any dust away from my sensor. With that said, having a variable ND filter in the adapter is brilliant and truly a game changer for quick changes. But, would much rather have it in the body and electronically controlled like the FS5 - all ND filters should be like this from now on.
    The EOS R is overall pretty disappointing, especially after playing around with the S1 for a few days. It really does feel like the first real professional mirrorless camera I've used that is not called a GH5. 
  16. Like
    currensheldon got a reaction from Rinad Amir in I voted for Raw recording on the R   
    Was holding out hope, but after using the S1 (vs the EOS R), I'm going full Panasonic for the foreseeable future (the S1 is AWESOME). The EVA-1 is approved by all, has amazing, wide variety of codecs, and is an all around stellar camera (will need to shell out $300-400 for a monitor of course). I'm even starting to prefer Panasonic's color science to Canon's.
    The EVA-1 + the S1 + the GH5 is a great three-camera lineup Panasonic has going. Excited to see them move their low-end cinema line over to L-Mount and, hopefully, an MFT mount camera too.
    It would be great to either have an EVA Mini MFT with the GH5/6 being the B-Cam, or an EVA-2 L-Mount with the S1 as a B-Cam. 
  17. Like
    currensheldon got a reaction from ade towell in I voted for Raw recording on the R   
    Was holding out hope, but after using the S1 (vs the EOS R), I'm going full Panasonic for the foreseeable future (the S1 is AWESOME). The EVA-1 is approved by all, has amazing, wide variety of codecs, and is an all around stellar camera (will need to shell out $300-400 for a monitor of course). I'm even starting to prefer Panasonic's color science to Canon's.
    The EVA-1 + the S1 + the GH5 is a great three-camera lineup Panasonic has going. Excited to see them move their low-end cinema line over to L-Mount and, hopefully, an MFT mount camera too.
    It would be great to either have an EVA Mini MFT with the GH5/6 being the B-Cam, or an EVA-2 L-Mount with the S1 as a B-Cam. 
  18. Like
    currensheldon got a reaction from Simon Young in Panasonic GH6 rumours   
    I'd definitely hold on to my MFT glass and cameras if the GH6 had 10 - 12 bit internal recording (BM Raw or ProRes Raw), 120fps in 4K, and internal NDs (the last one being the most important). As well as the IBIS of the GH5 and the low light capabilities of the GH5s.
    Throw on the 10-25mm f1.7 and I could use that camera for almost everything. Some f0.95 autofocus primes would also be great. 
  19. Like
    currensheldon got a reaction from Lux Shots in NAB 2019 predictions and major talking points - BMPCC 4K Pro anyone?!   
    Gotcha - so just the firmware update announced 2-months ago and a camcorder from a month ago. Bummer. 
  20. Like
    currensheldon got a reaction from Geoff CB in NAB 2019 predictions and major talking points - BMPCC 4K Pro anyone?!   
    Seems like it might be quiet, but still holding out hope for the predictions I made in the other thread I started. Namely, a C100 Mark III or some other small form factor camera from Canon or Panasonic (think FS5 sized or smaller) in their new mounts (RF or L). 
    a Black Magic BM Raw recorder would be great as well since I'm looking to switch to Da Vinci soon (also looking forward to that update).
    Some other updates that would be great:
    - An attachment to stick the DJI X5s on the Ronin-S would be great.
    - Pricing and availability of the Panasonic 10-25mm f1.7 (or a GH6 tease).
    - CFExpress official launch so we can update on XQD cameras and not be locked into Sony's cards. 
     
  21. Like
    currensheldon got a reaction from Ed_David in NAB 2019 predictions and major talking points - BMPCC 4K Pro anyone?!   
    Seems like it might be quiet, but still holding out hope for the predictions I made in the other thread I started. Namely, a C100 Mark III or some other small form factor camera from Canon or Panasonic (think FS5 sized or smaller) in their new mounts (RF or L). 
    a Black Magic BM Raw recorder would be great as well since I'm looking to switch to Da Vinci soon (also looking forward to that update).
    Some other updates that would be great:
    - An attachment to stick the DJI X5s on the Ronin-S would be great.
    - Pricing and availability of the Panasonic 10-25mm f1.7 (or a GH6 tease).
    - CFExpress official launch so we can update on XQD cameras and not be locked into Sony's cards. 
     
  22. Like
    currensheldon reacted to Kisaha in NAB 2019 predictions and major talking points - BMPCC 4K Pro anyone?!   
    I do not care at all about IBIS, but a more ergonomic design and NDs would be amazing for a P4K Pro!
    I seriously dislike the current form and desing. In my opinion is neither practical/interesting.
     
  23. Like
    currensheldon got a reaction from wyrlyn in Panasonic GH6 rumours   
    I'd definitely hold on to my MFT glass and cameras if the GH6 had 10 - 12 bit internal recording (BM Raw or ProRes Raw), 120fps in 4K, and internal NDs (the last one being the most important). As well as the IBIS of the GH5 and the low light capabilities of the GH5s.
    Throw on the 10-25mm f1.7 and I could use that camera for almost everything. Some f0.95 autofocus primes would also be great. 
  24. Like
    currensheldon reacted to DanielVranic in Davinci Resolve 16   
    Node based workflows are superior to layers and lumetri by a long shot. That feature is one of the biggest and best that DaVinci offers. I used to think otherwise when I was using Adobe alot, but I can not work any other way.
  25. Like
    currensheldon got a reaction from MonsterZero in Z-CAM quietly announce 8k and 6k FULL FRAME cameras - no joke!   
    Pretty crazy you will soon be able to shoot full-frame 8K for $6-7k. Currently, the cheapest way to do that is the Monstro for $50k+. And the cheapest 8K is the Red Helium sensor at $25k (but actually closer to $35k to actually shoot something).
    Seems as though the E2 is getting lots of great reviews and I actually like the idea of a modular brain (like Red) if you can get accessories that aren't $2-5k a pop. Snag a Shinobi monitor ($400) or Swit ($200) and some Sony NPF batteries ($100 for all-day power), and you're good to go. 
    The full-frame with EF Mount + something like the Sigma Art 24-70 or 24-105 would cover a ton of use cases. Definitely intrigued. 
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