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currensheldon

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  1. 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. 
  2. Like
    currensheldon got a reaction from Kisaha 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. 
  3. Like
    currensheldon got a reaction from PrometheusDM in How Long Will I Be Waiting?   
    I've used the GH5 with its latest firmware update that was specifically focused on AF, and with the 12mm f1.4, 12-60mm, and 42.5mm f1.2, I thought the autofocus did great - didn't notice a huge difference from the EOS R. Granted, most of my AF stuff is pretty simple (pushing into a subject on glidetrack, interviews, and walk and talk gimbal shots), but still the type of shots that I would think most people use AF for. 90% of my AF usage is on a gimbal. 
  4. Like
    currensheldon reacted to PrometheusDM in How Long Will I Be Waiting?   
    For stills, DPAF, Sony, Nikon all use phase detection that cause banding issues under certain lighting environment or raise the shadow.
    This may or may not matter for video, but it's a concern for me since I primarily shoot stills. I've seen in various group and forum that show those artifacts make it unusable. This happens in EOS R, Sony A7/R, Nikon Z series camera. Sony A9 is the only one that doesn't exhibit this with the fast read out. It's rare occurrence but it does happens.
    The easy way is to follow the pack and adopt PDAF at the expense of image quality. They won't ridicule on the net anymore.
    I actually think it's bold of them to adopt a non compromise approach to image quality and go against standard practice. They are constantly attack for their choice in sticking with DFD. Despite all these ridicule, I found the latest version 1 FW AF to be usable. There is no pulsating and it's fast. It focus really fast in low light and track well enough for non sport activity. If you are using it for photo, it's a non issue while have no banding issues.
    Sure the AF may not be the best, but it's more than usable since it's combination of features is the closest to being a perfect camera for me. It's also one camera I've been the most excited for. I've been a Canon users only for 10 years that was interested in Sony A7III, A7RIII, A9 etc. All those camera has compromises in some way that goes beyond features.
    Panasonic S1:
    Class leading EVF 5.76 million dot 120 hz Dual IS (class leading IBIS FF 6 stops) Dual card slot (first dual XQD/CFE & SD card slot combo) 4K 60 30 cropped (1st FF to offer it) | unlimited 4K 30p EyeAF and animal tracking Ergonomic and weather sealing with button logically lay out Fully touch screen LCD Back lit buttons Focus bracketing  High resolution mode 96 mpx and 187 mpx for 47 mpx sensor.  Timelapse Fully touch screen LCD  Dynamic range beat Fuji medium format, Z6, A7III, A7RIII at low ISO with clean ISO 12,800. For a $2500 S1 camera with free battery and grip, Panasonic offer a lot of class leading features. I can forgive it for not having the best AF. I'm sure they are working on FW to get it even better. 
    This is their first FF mirrror less camera and it shows they really tried. I have no problem supporting a camera company that gave me such a bang for my money. There is no perfect camera, but what you are willing to compromise on. This come the closest perfect camera for me.
  5. Like
    currensheldon got a reaction from PrometheusDM in How Long Will I Be Waiting?   
    The Panasonic S1 does have all of that now.
    It's sort of weird how much people have been ripping on the S1 - No, it's not a full-frame GH5, but with the upcoming V-Log/10-bit update, it's pretty darn close. Every other manufacturer gives us internal 8-bit 420 (Sony, Nikon, Canon), big crops (Canon), no 60 fps (everyone), etc.
    Add on that Panasonic has the best ergonomics for video by far (in my opinion) and a great XLR adapter, and you have a very capable camera. 
     
  6. Like
    currensheldon got a reaction from webrunner5 in I voted for Raw recording on the R   
    After using the EOS R for three weeks straight on a shoot, I started to grow comfortable with it and ended up liking it (for the moist part). Granted, we shot in HD, so the crop wasn't an issue. Image definitely seems soft after shooting with the C200 and GH5 for a couple of years - but adding a bit of sharpening in post helps.. Also moving the focus point with the touchscreen sucks - I missed the joystick way more than I thought it would. The touch bar is terrible and I just ended up locking it. No stabilization was also a bummer as I had gotten used to the GH5 stabilization really helping in gimbal and handheld work. 
    By FAR, the best part of the EOS R is the new variable ND adapter. That is a true game-changer. (Sigma needs to make a drop-in variable ND for L-Mount).
    Other than that, however, I'm excited for my Panasonic S1 to come in so I can pair it up with my GH5. That's a combo I'm excited about. Also I shoot 90% of my work in 4K, so I'm sure the EOS R would start to drive me crazy with its crop - thought I do own the three good APS-C lenses for EF mount for my C200 (18-35mm, 50-100mm, 17-55mm).
    --
    Really looking forward to see what happens at NAB with the C200 and EOS R, but if things stay the same or just slight upgrades (like C200 gets 8-bit 422...), I may end my half-in, half-out middle ground of Canon & Panasonic and go full Panny. 
    But if Nikon Z6 and Canon EOS R both get raw out, then Panasonic needs to update the S1 faster than July (for V-Log and 10-bit internal) and also get raw out as well. 
  7. Like
    currensheldon got a reaction from Rinad Amir in How Long Will I Be Waiting?   
    The Panasonic S1 does have all of that now.
    It's sort of weird how much people have been ripping on the S1 - No, it's not a full-frame GH5, but with the upcoming V-Log/10-bit update, it's pretty darn close. Every other manufacturer gives us internal 8-bit 420 (Sony, Nikon, Canon), big crops (Canon), no 60 fps (everyone), etc.
    Add on that Panasonic has the best ergonomics for video by far (in my opinion) and a great XLR adapter, and you have a very capable camera. 
     
  8. Like
    currensheldon got a reaction from ade towell in How Long Will I Be Waiting?   
    The Panasonic S1 does have all of that now.
    It's sort of weird how much people have been ripping on the S1 - No, it's not a full-frame GH5, but with the upcoming V-Log/10-bit update, it's pretty darn close. Every other manufacturer gives us internal 8-bit 420 (Sony, Nikon, Canon), big crops (Canon), no 60 fps (everyone), etc.
    Add on that Panasonic has the best ergonomics for video by far (in my opinion) and a great XLR adapter, and you have a very capable camera. 
     
  9. 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. 
  10. 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. 
  11. Like
    currensheldon got a reaction from Thpriest 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. 
  12. Like
    currensheldon reacted to kye in Blackmagic Design Announces New URSA Mini Pro G2   
    I agree.  Having the tech just work and get out of the way is the ultimate situation.  We're making art after all, the last thing we need is to be trying to also deal with the technical stuff at the same time.
    I really think that BM are playing the long game and have set their vision to be really high and are making bold steps to get there.
    Some fun facts (via wikipedia?
    DaVinci had been making colour correction systems since 1985 Resolve was released in 2004 BM bought DaVinci in 2009, at which time Resolve was selling with dedicated hardware solutions for $200k-800k 2010 they released a software-only version for $995 and the hardware version dropped to $30k 2011 they introduced a free version 2013 version 10 introduced video editing 2014 version 11 introduced audio mixing to complete it as a stand-alone NLE 2016 BM buys Fairlight and version 14 includes an integrated version of it 2018 version 15 includes a version of Fusion That is a pretty spectacular timeline.  In a decade it went from being $200-800K with hardware and colour only to having free, software-only versions available, and integrating world-leading colour with editing, audio, and VFX functionality.
    Hardware is obviously more difficult to make those kinds of advances on, but the original BMPCC and now P4K kind of fit that description.  I remember Elon Musk talking about reducing the cost of things by 90% and that idea of radical change seems to also be occurring here.  Other vendors don't seem to really be dancing to the same tune.
  13. Like
    currensheldon got a reaction from Django in Blackmagic Design Announces New URSA Mini Pro G2   
    And I think it's a pretty good one. I still prefer other manufacturers' cameras, but the Ursa G2 + Pocket 4K is pretty close. For me, most of my headaches come in the form of workflow now, with different codecs, resolutions, bit-rates, etc being all over the map on other manufacturer's lineups. Black Magic is really streamlining things - I'd love to have those two cameras, shoot 8:1 or 12:1 BM Raw, which has amazingly smooth playback in Da Vinci on my Macbook Pro (tested it yesterday), and then hand off to a colorist or do a quick grade myself. Brilliant. And all in 12-bit raw capture and native editing. 
    Despite neither camera being my favorite form factor, it's almost worth it for the streamlined workflow alone. 
  14. Like
    currensheldon got a reaction from thebrothersthre3 in Blackmagic Pocket Cinema Camera 4K gets BRAW in extensive FFPGA hardware update delivered via software   
    Still lookin for a cinema camera A-Cam and a mirrorless-sized B-Cam that has the same codec, resolutions, color, etc. Black Magic seems to be pretty darn close with BM Raw and the Ursa Mini Pro G2 + Pocket 4K. Neither are my favorite form factor, but BM Raw, in my opinion, is the most modern and robust codec out there right now. Amazing you can get 12-bit raw files in file sizes way smaller than useful ProRes files. Black Magic's color is also great and both cameras can create a really nice image. 
    Would also love if both cameras had the same mount, but adapters work pretty well. 
    Interested to see what comes at NAB, as a Canon RF mount cinema camera (XC-20 or C100 III) would be great. 
  15. Like
    currensheldon reacted to leslie in Blackmagic Pocket 4K media & power thread -- the best alternatives   
    go big or go home i say ?
    actually bought it for a tractor but hey whatever works right ?

  16. Like
    currensheldon got a reaction from IronFilm in Atomos Shinobi (monitor only version of the Ninja V)   
    THIS is what is needed. I don't want a monitor, I just need the HDMI recording. And I definitely don't need a recorder that emits sound and draws 20 watts of power in an HOUR. Makes it more of a battery problem than the Pocket 4K.
    For my current EOS R setup, I'd love a Ninja Star. I use my old one for 10-bit HD, but would really like it for 4K. Atomos needs to get on it, as there are plenty of affordable monitor-only products out there, but ZERO 4K recorders without a massive monitor and power draw. 
    Hoping for NAB 2019.
    Or maybe Black Magic can deliver and give us BM Raw!
  17. Like
    currensheldon got a reaction from Kisaha in Canon EOS RP specs leaked, features 26MP sensor and 4K video   
    It should also be noted that many of these documentaries took 2-3 years to produce, shoot, edit, and release - and then another year or so to be nominated for an Oscar. So, this is not a reflection on what cameras documentaries are shot on in 2019, but rather what people wanted to shoot on in 2014 to 2016. That doesn't mean that three years from now, all docs will be shot on Sonys, but just a point that it's not really about what is released now.
    With that said, even in 2019, Canon has the nicest looking image and the most reliable products in the doc-budget space. I wouldn't be surprised if the next few years many doc films are still shot on Canon cameras.
    However, they need to be careful because many people in the doc space want to shoot on Netflix-approved cameras just in case Netflix wants their film - low budget or not. So crippling cameras to not have 10-bit 422 could cost them in a few years in the awards space. On my last 3-4 shoots, the client requested 422 10-bit 4K - which I use an EVA-1 for. All Canon has is the C300II and it's an amazingly lovely image, but the design is terrible and the general specifications are starting to get a bit old.
    Canon just needs to understand that the C300II should die, release a souped-up C300 III and charge as much as they want for it, while also simultaneously releasing a compact C100 III with the 4K 10-bit 24-30fps that documentaries want and sometimes are required to have - anywhere under $7k.
    I WANT to use Canon but have been using the EVA-1 and FS7 more on shoots because it's required. As a filmmaker/DP, it is frustrating to like a specific image (like Canon) and not be able to use it because it doesn't have the required specs. 
    --
    Canon's Lineup Should Be:
    C300 Mark III (THE BEAST) - 8K upgradeable sensor, 60-96fps in 4K, internal raw, 10-12 bit at all resolutions - $15,000
    For: Anyone who wants the highest quality Canon image. 
    C200 (THE RAW CAMERA) - An affordable internal raw camera. Great B-Cam to C300 productions that need a camera on gimbal at all times - $7500
    For: short docs, music videos, commercial producers. 
    C100 Mark III (THE DOC/BROADCAST CAMERA) - 4K 10-bit 422 in HD and 4K. 120fps 10-bit in HD. 30-60fps in 4K. - $5499
    For: One-man band crews, documentary filmmakers, owner-operators. 
    --
    Seems fairly obvious to me. Yes, the C300II will die, but if they don't let it die than I think they're going to lose out once Panasonic, Black Magic, and Sony release their next generation EVA, Ursa Mini, FS5, and FS7. ANY cinema/video camera released without 10-bit 4K from this point forward is a complete oversight. 
     
  18. Like
    currensheldon got a reaction from ade towell in Canon EOS RP specs leaked, features 26MP sensor and 4K video   
    It should also be noted that many of these documentaries took 2-3 years to produce, shoot, edit, and release - and then another year or so to be nominated for an Oscar. So, this is not a reflection on what cameras documentaries are shot on in 2019, but rather what people wanted to shoot on in 2014 to 2016. That doesn't mean that three years from now, all docs will be shot on Sonys, but just a point that it's not really about what is released now.
    With that said, even in 2019, Canon has the nicest looking image and the most reliable products in the doc-budget space. I wouldn't be surprised if the next few years many doc films are still shot on Canon cameras.
    However, they need to be careful because many people in the doc space want to shoot on Netflix-approved cameras just in case Netflix wants their film - low budget or not. So crippling cameras to not have 10-bit 422 could cost them in a few years in the awards space. On my last 3-4 shoots, the client requested 422 10-bit 4K - which I use an EVA-1 for. All Canon has is the C300II and it's an amazingly lovely image, but the design is terrible and the general specifications are starting to get a bit old.
    Canon just needs to understand that the C300II should die, release a souped-up C300 III and charge as much as they want for it, while also simultaneously releasing a compact C100 III with the 4K 10-bit 24-30fps that documentaries want and sometimes are required to have - anywhere under $7k.
    I WANT to use Canon but have been using the EVA-1 and FS7 more on shoots because it's required. As a filmmaker/DP, it is frustrating to like a specific image (like Canon) and not be able to use it because it doesn't have the required specs. 
    --
    Canon's Lineup Should Be:
    C300 Mark III (THE BEAST) - 8K upgradeable sensor, 60-96fps in 4K, internal raw, 10-12 bit at all resolutions - $15,000
    For: Anyone who wants the highest quality Canon image. 
    C200 (THE RAW CAMERA) - An affordable internal raw camera. Great B-Cam to C300 productions that need a camera on gimbal at all times - $7500
    For: short docs, music videos, commercial producers. 
    C100 Mark III (THE DOC/BROADCAST CAMERA) - 4K 10-bit 422 in HD and 4K. 120fps 10-bit in HD. 30-60fps in 4K. - $5499
    For: One-man band crews, documentary filmmakers, owner-operators. 
    --
    Seems fairly obvious to me. Yes, the C300II will die, but if they don't let it die than I think they're going to lose out once Panasonic, Black Magic, and Sony release their next generation EVA, Ursa Mini, FS5, and FS7. ANY cinema/video camera released without 10-bit 4K from this point forward is a complete oversight. 
     
  19. Thanks
    currensheldon got a reaction from IronFilm in NAB 2019 Predictions and Wishes   
    You might be right, but we haven't really had a major sub $20k video camera announcement since C200/EVA-1, so it's definitely been awhile.
    It seems like so much progress has been made in codecs (BM Raw, ProRes Raw, H265) and mirrorless tech (X-T3, S1) that it would be prime time to release some great sub $10k video cameras. 
     
     
     
  20. Like
    currensheldon got a reaction from Kisaha in NAB 2019 Predictions and Wishes   
    You might be right, but we haven't really had a major sub $20k video camera announcement since C200/EVA-1, so it's definitely been awhile.
    It seems like so much progress has been made in codecs (BM Raw, ProRes Raw, H265) and mirrorless tech (X-T3, S1) that it would be prime time to release some great sub $10k video cameras. 
     
     
     
  21. Like
    currensheldon got a reaction from webrunner5 in NAB 2019 Predictions and Wishes   
    You might be right, but we haven't really had a major sub $20k video camera announcement since C200/EVA-1, so it's definitely been awhile.
    It seems like so much progress has been made in codecs (BM Raw, ProRes Raw, H265) and mirrorless tech (X-T3, S1) that it would be prime time to release some great sub $10k video cameras. 
     
     
     
  22. Like
    currensheldon got a reaction from webrunner5 in Hey Panasonic: Super 35 + M43 mount = winner   
    Yea the DVX200 has always been appealing - and one with interchangeable lenses would be great. 
    As for Canon C100, I think you're probably right. 10-bit 422 in 4K is me just being hopeful. More likely it will have the same specs as the 4-year old FS5 (10-bit in HD, 8-bit in 4K) but without the SDI raw support. Granted, I'd take 8-bit Canon image over any 10-bit Sony image, but many clients or potential projects want to make sure they're filming in Netflix approved standards - just in case. 
    The only way that the C100 would get 10-bit 422 would be if the C300 Mark III came out soon with a massive spec jump, such as 6K-8k, 60-120fps in 4K, internal raw, etc - as of now, the C300 only sells because people love the Canon image (as I do) and it's the ONLY affordable-ish Canon camera that has the required 10-bit 422. If they want to keep selling that camera, a $6k 10-bit 4K C100 Mark III would eat all of its sales. 
     
     
     
  23. Thanks
    currensheldon got a reaction from IronFilm in Hey Panasonic: Super 35 + M43 mount = winner   
    If Panasonic is going to keep using the MFT mount for the foreseeable future, I think it would be crazy to not release an MFT mini cinema camera. I can't believe someone hasn't yet. 
    Basically stick the GH5s sensor (with G9 IBIS) and specs into a body the size of the FS5 with the MFT mount. With the forthcoming 10-25mm f1.7, that automatically becomes one of the most useable doc cameras. I like the idea of putting a Super35mm sensor in there as well (like the LS300) and then speedboosters would give you a full frame equivalent FOV/DoF.  But as long as they release some more f1.7 - f2 fast zooms, 4/3 sensor is fine too. 
    No matter how good they get, until mirrorless cameras have internal NDs and quality audio, they do not replace dedicated video cameras - no matter if the image is just as good or not better. 
    The hole in the $3-7k video camera market is huge. It's been 4 years (FS5) since anyone has released a new camera in this space (the II was basically a firmware update, so not sure that counts). Hoping Panasonic, Canon, or Fuji fill it soon.
  24. Like
    currensheldon got a reaction from tfraser in NAB 2019 Predictions and Wishes   
    I feel like Canon has made it clear that the C200 is a raw camera that also has other shooting options, so I wouldn't be too, too surprised (this is Canon after all) if they released a non-raw camera that does have a 4K 10-bit codec. It's definitely not a "better" codec than the C200's raw, but it is way more useful for most of my applications (and I would think most shooters in the sub $10k camera range). And yes, I guess they do have the C300II for 10-bit 4K, but it is 4 year old camera that is terribly designed. 
    The only hope for Canon is if they go all out on the C300 Mark III and stop worrying about Mark II sales. The existence of the C300 Mark II at $10k is a main reason the C200 doesn't have a good middle-ground codec and that no C100 Mark III exists. 
    My two main needs for a cinema camera are:
    - 10-bit 4K Codec and
    - Small, lightweight design (FS5-sized or smaller).

    How the main 4-5 manufacturers haven't released a camera like that by 2019 is a mystery to me. 
  25. Like
    currensheldon got a reaction from webrunner5 in Hey Panasonic: Super 35 + M43 mount = winner   
    If Panasonic is going to keep using the MFT mount for the foreseeable future, I think it would be crazy to not release an MFT mini cinema camera. I can't believe someone hasn't yet. 
    Basically stick the GH5s sensor (with G9 IBIS) and specs into a body the size of the FS5 with the MFT mount. With the forthcoming 10-25mm f1.7, that automatically becomes one of the most useable doc cameras. I like the idea of putting a Super35mm sensor in there as well (like the LS300) and then speedboosters would give you a full frame equivalent FOV/DoF.  But as long as they release some more f1.7 - f2 fast zooms, 4/3 sensor is fine too. 
    No matter how good they get, until mirrorless cameras have internal NDs and quality audio, they do not replace dedicated video cameras - no matter if the image is just as good or not better. 
    The hole in the $3-7k video camera market is huge. It's been 4 years (FS5) since anyone has released a new camera in this space (the II was basically a firmware update, so not sure that counts). Hoping Panasonic, Canon, or Fuji fill it soon.
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