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currensheldon

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  1. Like
    currensheldon reacted to independent in Canon EOS R5 - 8K30p 4K120p   
    I think it would be a misstep to go back to 8-bit after showing the goods in the 1DX III.
     
  2. Like
    currensheldon got a reaction from rainbowmerlin in Fuji should make a $2000 full frame cam   
    That's a good idea as well. I like Fuji continuing to offering something different than the competition in those two fields, and video is one of the best ways to differentiate itself.
    Super35/APS-C: Packed full of features, high frame rates, IBIS, great AF, etc
    Fuji Cine LF: Medium format sensor for dreamy cinema. Basically the GFX100 specs in a compact (FS5-ish) cinema body. Or a EZ-Cam/Red Komodo like box.
    That'd be sweet. 
  3. Like
    currensheldon got a reaction from IronFilm in Fuji X-T4   
    I like to think that Sony has trained its customers into always needing the newest and latest tech, so they are constantly upgrading and selling every 6-12 months. Whereas Canon and Fuji users seem to use their cameras more specifically for the joy in using them. But, I'm not a Sony fan at all, so my bias is really showing through here. 
    ---
    As stated on another thread, all of these specs would be very welcome in a small FS5-ish style cinema camera from Fuji. 
    But as long as this has
    1. IBIS
    2. A much better battery - at least double the record time as the previous model
    3. AF improvements to bring it close to Canon and Sony
    I think it will be a big hit.
    I'd love to add in 10-bit 422 instead of 10-bit 420, 4k in 120fps, and ProRes Raw out via the HDMI. But those would all be icing. 
  4. Like
    currensheldon reacted to IronFilm in Fuji X-T4   
    Top used cameras is an interesting chart, as it both illustrates owners getting rid of cameras, and users wanting cameras!

    Not sure how to read anything into that??
  5. Like
    currensheldon reacted to BrooklynDan in Fuji should make a $2000 full frame cam   
    A medium format video camera from Fuji would shut the game down. Even though, it would be a pretty impractical format with limited lens choice compared to Super 35 or full frame, cinematographers think with their hearts as well as their brains, and getting the opportunity to shoot on a nearly IMAX-sized sensor would override a lot of other considerations.
    Do it, Fuji. DO IT.
  6. Like
    currensheldon got a reaction from Jerome Chiu in Fuji should make a $2000 full frame cam   
    That's a good idea as well. I like Fuji continuing to offering something different than the competition in those two fields, and video is one of the best ways to differentiate itself.
    Super35/APS-C: Packed full of features, high frame rates, IBIS, great AF, etc
    Fuji Cine LF: Medium format sensor for dreamy cinema. Basically the GFX100 specs in a compact (FS5-ish) cinema body. Or a EZ-Cam/Red Komodo like box.
    That'd be sweet. 
  7. Like
    currensheldon reacted to IronFilm in Fuji should make a $2000 full frame cam   
    Yeah, Fujifilm lacks a great vlogging camera. Just give us both a screen that you can see *and* a mic input at the same time. (bonus of course if it has IBIS and great AF! Dumb things like only 8bit and 15 minute limits won't even matter if it has everything else I just mentioned)

    As much as we might look down on vloggers, they do have a huge huge influence on future sales. (and those baby vloggers do later on grow up and buy a "real camera" for "real work", and who will they choose? The company they learned on, let's hope that is Fuji!)

     
    Exactly what I've been saying! S35 X Mount cinema camera.
     
  8. Like
    currensheldon got a reaction from IronFilm in Fuji should make a $2000 full frame cam   
    Yes, agreed that Fuji should fully embrace their APS-C/Super35 sensor size and go all in on the things that are harder for full-frame to do: make affordable cinema and video cameras that are compact and travel well that are packed full of features 2-3 years before they make it into full-frame cameras. The GH5 did this 2-3 years before the S1H came out. Still nobody has topped it for 10-bit 422 internal 4K outside of Panasonic itself and the $6500 1DX III. 
    I LOVE the Super35 sensor size as long as there are lenses that are made specifically for it. Fuji has tons of those.  The Canon EF mount is frustrating because if you want a stabilized 24-70mm f2.8 for doc work, the only lens that is close is their 17-55mm and it vignettes in DCI 4k and 2k. Sony has some, but underwhelming in general.
    Definitely think Fuji needs to get into the video game big time in some way. Why not a Canon XC-15-esque model with 2 mini-xlrs and inernal NDs and an X-Mount? Or a Fuji X-H2 that has all the features of the S1H but with great AF and internal NDs? And then an FS5-like video camera for doc-oriented projects with IBIS and 12-bit codecs.
    They definitely have an opportunity to continue to do what they are doing and offer something different, rather than just go full-frame like everyone else. 
  9. Like
    currensheldon reacted to BrooklynDan in Fuji should make a $2000 full frame cam   
    I'd prefer if they released a dedicated cinema camera instead. It's easy to forget that Fuji has over a half century of experience making motion picture stocks. They were Kodak's main competition. Their Vivida daylight stocks were gorgeous. Deep rich colors and solid velvety blacks with warm lovely skin tones. Sadly, they no longer produce film stock, but bringing that look and feel to a digital cinema camera would be an amazing coda to that legacy. 
    I also think that Fuji's ergonomic sense work translate very well to a video camera. They have a charming analog feel to all their cameras, which is something that is sorely missing from most low cost video cameras today.
  10. Like
    currensheldon got a reaction from Super8 in Oscar nominations Cinematography   
    I think 1917 did a great job of keeping the film exciting, but it is not "action-packed" like most action/war movies. It feels very realistic. It's more stressful and tense than high-flying action. And, like in real life, any fights are messy and realistic. I really think they toed the line very well of action and reality. 
  11. Like
    currensheldon got a reaction from IronFilm in Canon Cinema EOS failure to tap Netflix   
    I've used it quite a bit, yes, and totally agree with you. I even said that I think the C300 II produces a MUCH better image than the FS7. What I mean by "blew it" is really the price compared to what else it offered besides a beautiful image. That's my main concern, which is why after using a Sony for a bit, I went back to using Canon and/or Panasonic, but for a lot of people, the FS7 offered more (4k 60fps, 180fps in HD, ability to speedboost it, high bit rates, etc) for about half the price. I'd still take the tradeoffs for a better looking image at 24p (which is 85% of my work), but there are plenty of people who need all the other stuff the FS7 offered or wanted to save $8k.
    As an actual image-making device, it's a fantastic camera. Just released at a weird time at a pretty insane price.
  12. Like
    currensheldon got a reaction from IronFilm in Why is the Sigma 18-35 f1.8 still not surpassed?   
    Shooting with it yesterday on a C300 II and I had the same thought - really wanted it to be longer. It's just too limiting, but the f1.8 aperture is too good to pass up. 16-55 f2 would be amazing, but I'd take an 18-50mm f2 in a heartbeat. 
  13. Like
    currensheldon got a reaction from BenEricson in Canon Cinema EOS failure to tap Netflix   
    I've used it quite a bit, yes, and totally agree with you. I even said that I think the C300 II produces a MUCH better image than the FS7. What I mean by "blew it" is really the price compared to what else it offered besides a beautiful image. That's my main concern, which is why after using a Sony for a bit, I went back to using Canon and/or Panasonic, but for a lot of people, the FS7 offered more (4k 60fps, 180fps in HD, ability to speedboost it, high bit rates, etc) for about half the price. I'd still take the tradeoffs for a better looking image at 24p (which is 85% of my work), but there are plenty of people who need all the other stuff the FS7 offered or wanted to save $8k.
    As an actual image-making device, it's a fantastic camera. Just released at a weird time at a pretty insane price.
  14. Like
    currensheldon got a reaction from Super8 in Canon Cinema EOS failure to tap Netflix   
    American Factory is the doc of the year, yep. Great film. 
    I think Canon really blew it with the C300 Mark II. The original C300 was one of a kind and huge for all sorts of productions. By the time the Mark II came along, there were much cheaper and more specced out options (FS7 being the obvious one). I won't say better because I still like Canon's image considerably more, but hard to argue with 4k 60fps, 180fps in HD, more codec options - all for about half the price.
    With that said, I think Canon is moving in a very good direction with the C500 Mark II and 1DX Mark III. Everyone has been comparing the C500II and FX9, but I don't think that's going to be the real comparison because the C300 III will be in that same $11k price range when it is released (apparently very soon, probably NAB 2020). Here is how Canon should differentiate its lineup:
    C700 - nobody cares.
    C500 II - full frame, 6k raw, all 10-bit codecs - $16k
    C300 III - full frame, 4k only, 4k 120fps, 4k raw, all 10-bit codecs (basically a C500 II but without the 6k options and 6k raw) - $10-11k - THIS would the direct FX9 competitor. 
    C200 II - Just a C200 but with the 10-bit codec (Super35, 4k raw, 10-bit 422 4k, 60fps) - $7499
    C100 III - Super35 sensor, as small as possible, no raw, 10-bit 422 4k in 60fps - $5499 (and SMALL - for Ronin-S gimbals. Maybe 2/3 the size and weight of C200).
    If they did that (and soon), they would have a great range of products from journalism/broadcast/documentary up to feature film and narrative series - all Netflix approve with plenty to differentiate the costs. 
    The most important ones and the two they should release this year (since they are rumored to be releasing two this year) would definitely be the C300 III and C100 III. 
  15. Like
    currensheldon got a reaction from Django in Canon Cinema EOS failure to tap Netflix   
    American Factory is the doc of the year, yep. Great film. 
    I think Canon really blew it with the C300 Mark II. The original C300 was one of a kind and huge for all sorts of productions. By the time the Mark II came along, there were much cheaper and more specced out options (FS7 being the obvious one). I won't say better because I still like Canon's image considerably more, but hard to argue with 4k 60fps, 180fps in HD, more codec options - all for about half the price.
    With that said, I think Canon is moving in a very good direction with the C500 Mark II and 1DX Mark III. Everyone has been comparing the C500II and FX9, but I don't think that's going to be the real comparison because the C300 III will be in that same $11k price range when it is released (apparently very soon, probably NAB 2020). Here is how Canon should differentiate its lineup:
    C700 - nobody cares.
    C500 II - full frame, 6k raw, all 10-bit codecs - $16k
    C300 III - full frame, 4k only, 4k 120fps, 4k raw, all 10-bit codecs (basically a C500 II but without the 6k options and 6k raw) - $10-11k - THIS would the direct FX9 competitor. 
    C200 II - Just a C200 but with the 10-bit codec (Super35, 4k raw, 10-bit 422 4k, 60fps) - $7499
    C100 III - Super35 sensor, as small as possible, no raw, 10-bit 422 4k in 60fps - $5499 (and SMALL - for Ronin-S gimbals. Maybe 2/3 the size and weight of C200).
    If they did that (and soon), they would have a great range of products from journalism/broadcast/documentary up to feature film and narrative series - all Netflix approve with plenty to differentiate the costs. 
    The most important ones and the two they should release this year (since they are rumored to be releasing two this year) would definitely be the C300 III and C100 III. 
  16. Like
    currensheldon got a reaction from tweak in How is this funded? Mega rich YouTubers   
    I think we've seen this for the past 2-3 years. Instagram turned into a platform for selling you stuff a few years ago and now Youtube is exactly the same. This is rampant consumerism at an all-time high. And honestly, camera gear and electronics are one of the worst offenders. 
    There is a large selection of Youtubers who seem like fine people but are making a good chunk of money by promoting incredibly wasteful consumerism. I believe our current widespread depression and addiction epidemic is based on these false "social" channels and "relationships" that are actually more about envy, greed, and jealousy than actual real human connection.
    Maybe without knowing it (but some of them do), these Youtubers and Instagram "influencers" are contributing to people's increasing unhappiness. 
  17. Like
    currensheldon got a reaction from Kisaha in How is this funded? Mega rich YouTubers   
    I think we've seen this for the past 2-3 years. Instagram turned into a platform for selling you stuff a few years ago and now Youtube is exactly the same. This is rampant consumerism at an all-time high. And honestly, camera gear and electronics are one of the worst offenders. 
    There is a large selection of Youtubers who seem like fine people but are making a good chunk of money by promoting incredibly wasteful consumerism. I believe our current widespread depression and addiction epidemic is based on these false "social" channels and "relationships" that are actually more about envy, greed, and jealousy than actual real human connection.
    Maybe without knowing it (but some of them do), these Youtubers and Instagram "influencers" are contributing to people's increasing unhappiness. 
  18. Like
    currensheldon got a reaction from Gregormannschaft in Canon EOS 1D MKIII specs revealed   
    This camera is very tempting and I love Canon, though I find the EOS R a total pain to use (and the rolling shutter really is bad). Much rather use an S1H or Fuji, which are actually fun to use and hold. But, I have lots of EF glass, shoot with the C200 or C300 II quite a bit, so staying with Canon for awhile.
    While the 1DX III is very tempting, I don't see myself using the raw that much because the file sizes are huuuuuuge - though full-frame 4k in 10-bit 422 is awesome. C200 4K raw is my max and even that isn't something I can use on most projects. I think the Red Komodo could be a game changer for Canon. They are going to sell a lot of EF and RF lenses because of that camera, I believe. I've almost went in on a C500 II purchase, but didn't. I've almost pre-ordered this camera, but didn't. I've almost ditched Canon completely and ported everything over to Panasonic or Fuji, but haven't. 
    And the main reason is the promise of the Red Komodo and a Canon RF Cinema EOS body (NAB 2020?) and the potential that an RF mirrorless camera with 1DX III specs is very close to arriving. I hate this wait-and-see approach, but so much is changing right now in mounts and tech, that waiting another 6-months might be a good bet...
  19. Thanks
    currensheldon got a reaction from Andrew Reid in How is this funded? Mega rich YouTubers   
    I think we've seen this for the past 2-3 years. Instagram turned into a platform for selling you stuff a few years ago and now Youtube is exactly the same. This is rampant consumerism at an all-time high. And honestly, camera gear and electronics are one of the worst offenders. 
    There is a large selection of Youtubers who seem like fine people but are making a good chunk of money by promoting incredibly wasteful consumerism. I believe our current widespread depression and addiction epidemic is based on these false "social" channels and "relationships" that are actually more about envy, greed, and jealousy than actual real human connection.
    Maybe without knowing it (but some of them do), these Youtubers and Instagram "influencers" are contributing to people's increasing unhappiness. 
  20. Like
    currensheldon got a reaction from IronFilm in Canon EOS 1D MKIII specs revealed   
    Most curious about:
    - How is the rolling shutter? As bad a the EOS R or closer to C200/C500II?
    - Is there anyway to sync timecode through any of the ports? That's one of the best features of the S1H over the other mirrorless/dslr competition (and the reason it got Netflix approved, a long with the All-I 10-bit 422 4K).
     
  21. Like
    currensheldon got a reaction from thebrothersthre3 in RED Komodo   
    The RF Mount was a perfect choice, I think. That variable ND adapter alone is a huge boost to any RF-mount camera, not to mention the new Metabones speedbooster. EF mount is pretty frustrating after you've used the E-Mount or MFT mount, RF-Mount or L-Mount (really any mirrorless mount). So much easier to adapt lenses and all of the designs are more modern and the RF lenses in particular are vastly superior to their EF counterparts. 
    After 2020, I think Canon will have the finest lineup of mirrorless lenses available - at least with a couple revolutionary lenses like their 28-70mm f2 and their new 70-200mm f2.8.  But they really need to get a strong lineup of high-quality f1.8 and f2 lenses going (like the Zeiss Batis or Loxia). They definitely rolled out the PRO lenses first, so I'm guessing we'll see some more compact primes and zooms in 2020. 
  22. Like
    currensheldon got a reaction from Emanuel in RED Komodo   
    Raven was definitely a more introductory model, but it had a huge flaw compared to Komodo - namely, it was still a part of the DSMC2 system. Which means that even if you could get a cheaper Red camera in Raven, you still had to spend loads of money to get a working model: Red proprietary media ($2-3k), large and expensive V-Mount batteries and chargers ($500-900), Red modules to get any sort of audio ($2k), a Red monitor ($2k), and a few other needed accessories. So while Raven was fairly cheap ($6k), it costs close to $14k to get it rolling on an all day shoot. On top of that, it had an old sensor with a 1.8x crop and bad in low light. And then it was also just as heavy and intense to use as any other Red DSMC2 camera. 
    Whereas the Komodo may be just the price of a camera for a lot of people. Many users probably have a few CFast 2.0 cards, the Canon batteries can easily be found for $25-$40 a pop, lots of people have a good SmallHD or Atomos monitor (and if not, they are only $250-300) already, and the camera uses a brand new sensor that is supposed to be graet in low light and only has a 1.33x crop (or no crop with a speedbooster) - and you can get a variable ND with it with the Canon mount.
    So, the Komodo really may only be $6-7k to get a full working package up and running (price pending, of course). Big difference between that and the Raven's close to $13-15k. Plus the Komodo seems like it will be a much better, smaller, lighter camera. 
  23. Like
    currensheldon got a reaction from Geoff CB in RED Komodo   
    Raven was definitely a more introductory model, but it had a huge flaw compared to Komodo - namely, it was still a part of the DSMC2 system. Which means that even if you could get a cheaper Red camera in Raven, you still had to spend loads of money to get a working model: Red proprietary media ($2-3k), large and expensive V-Mount batteries and chargers ($500-900), Red modules to get any sort of audio ($2k), a Red monitor ($2k), and a few other needed accessories. So while Raven was fairly cheap ($6k), it costs close to $14k to get it rolling on an all day shoot. On top of that, it had an old sensor with a 1.8x crop and bad in low light. And then it was also just as heavy and intense to use as any other Red DSMC2 camera. 
    Whereas the Komodo may be just the price of a camera for a lot of people. Many users probably have a few CFast 2.0 cards, the Canon batteries can easily be found for $25-$40 a pop, lots of people have a good SmallHD or Atomos monitor (and if not, they are only $250-300) already, and the camera uses a brand new sensor that is supposed to be graet in low light and only has a 1.33x crop (or no crop with a speedbooster) - and you can get a variable ND with it with the Canon mount.
    So, the Komodo really may only be $6-7k to get a full working package up and running (price pending, of course). Big difference between that and the Raven's close to $13-15k. Plus the Komodo seems like it will be a much better, smaller, lighter camera. 
  24. Like
    currensheldon got a reaction from EthanAlexander in RED Komodo   
    Raven was definitely a more introductory model, but it had a huge flaw compared to Komodo - namely, it was still a part of the DSMC2 system. Which means that even if you could get a cheaper Red camera in Raven, you still had to spend loads of money to get a working model: Red proprietary media ($2-3k), large and expensive V-Mount batteries and chargers ($500-900), Red modules to get any sort of audio ($2k), a Red monitor ($2k), and a few other needed accessories. So while Raven was fairly cheap ($6k), it costs close to $14k to get it rolling on an all day shoot. On top of that, it had an old sensor with a 1.8x crop and bad in low light. And then it was also just as heavy and intense to use as any other Red DSMC2 camera. 
    Whereas the Komodo may be just the price of a camera for a lot of people. Many users probably have a few CFast 2.0 cards, the Canon batteries can easily be found for $25-$40 a pop, lots of people have a good SmallHD or Atomos monitor (and if not, they are only $250-300) already, and the camera uses a brand new sensor that is supposed to be graet in low light and only has a 1.33x crop (or no crop with a speedbooster) - and you can get a variable ND with it with the Canon mount.
    So, the Komodo really may only be $6-7k to get a full working package up and running (price pending, of course). Big difference between that and the Raven's close to $13-15k. Plus the Komodo seems like it will be a much better, smaller, lighter camera. 
  25. Like
    currensheldon got a reaction from kye in RED Komodo   
    It does seem that Red is aiming for a more introductory camera to hook users. No doubt that once I used Redcode, it's hard to go back to h264/h265. The C200's cinema raw lite is also amazing, but definitely costs a lot more to use than Redcode due to only 3:1 or 4:1 compression (Redcode 5k still looks incredible at 11:1 - 14:1) and is much more processor intensive on my Mac. 
    So, once you see the quality and flexibility you can get with a high-end raw codec, using something else is a bit disappointing. Makes sense to hook lower budget users. 
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