billdoubleu

2 hours ago, Video Hummus said:

A7SIII is the closet FF camera that has come to pulling me out of MFT land as a primary camera. The 12MP sensor kinda kills it for me. I wish it was closer to 20MP for photography. 15MP might have been doable...

For me, I'm loving the colors coming out of the S1/ S1H. I just wish the S1 was dual base ISO like the S1H. The #1 problem I run into with my G85 & GX85 is image quality beyond ISO 800. I need a camera that allows me to stop down for some depth in low light.

2 hours ago, Video Hummus said:

MFT still has steam in it for at least one more round of GH and GX cameras. I honestly think they are waiting for a more compelling MFT sensor from Sony. That, or they are experimenting with doing something funky with S35 or preparing a FF S L-mount camera that will replace the MFT GH cameras.

I definitely think that's the issue. It seems Sony are barely innovating in sensor technology period, let alone MFT. Look at all of these companies using not only the same sensor as their competition, but, the same sensor in multiple model iterations. The only spec that seems to move forward lately is resolution.

2 hours ago, Video Hummus said:

So I wait for news on GH6 camera while still happily enjoying my 5S.

Cool camera, but I need IBIS.

2 hours ago, Video Hummus said:

BTW, since this thread hasn’t been derailed enough already. Here is a shot from my first outing out with the 7Artisans 60mm macro. I sipped coffee with my hand on the shutter for about 45 mins off and on until one lucky bee came along.

 

Very nice!

10 minutes ago, kye said:

Can MFT be adapted to L-Mount?

It's possible, just not ideal. I grabbed a couple 3D models last year and played around with a design. I'm not sure it would be worth it. As much as I love MFT cameras, I've been considering a FF move myself.

7 minutes ago, Nezza said:

The Netflix thing was a gimmick. Marketing tool. The vast majority of Netflix productions won't use something at this level. 

I'm confused as to why people think this. If you're shooting VariCam I imagine you would have an S1H on set for many reasons.

6 hours ago, androidlad said:

Regarding the so-called "16bit linear RAW" 4264 x 2408 60FPS HDMI output, it's actually derived from 12bit ADC sensor readout, then dithered(upscaled) by the DSP to 16bit.

Are there any benefits to having the "fake" information derived from the original readout? Or is this simply a useful marketing tool for Sony?

1 hour ago, rawshooter said:

Didn't he originally accuse his former business partner and Meike of stealing the Veydra lens designs?!?

Regardless, he seems happy with the situation as it stands. If anyone had any ethical hang-up before, they can breath easy now.

Everyone pronounces it uniquely, it's bonkers!

2 minutes ago, Matt James Smith ? said:

Can you give an example? 

You already gave one. The Panasonic S1H is both actively cooled and weather sealed.

1 hour ago, Matt James Smith ? said:

Active cooling removes weather sealing.

Untrue; active cooling and weather sealing are not mutually exclusive.

11 hours ago, Anaconda_ said:

The codec is built individually for each sensor, so Braw for the Pocket 4k will be different to Braw for the Pocket 6k and every other camera that currently records it. I would imagine BMD will keep that development part behind closed doors.

I do recall reading that, and wondered how much of that statement was marketing spin. In the case of the EVA1, I wonder if BM worked with Panasonic to bring BRAW to that camera? Or was it possible for BM to figure out what they needed to know of the sensor independently? It would be interesting to know what specs they need to make things work.

It's also unclear to me in these cases which company's "color science" is favored. Or does that just come into play in one's color suite? I understand BRAW as not a true raw signal, so I imagine some influence on color is baked in.

7 hours ago, Anaconda_ said:

I've been wondering that. BMD have already built the profile for the EVA1 to record Braw on the new Video Assists. 

I would imagine if it ever does become internal, Panasonic will charge for it. Like that paying extra for Vlog bullshit.

I'm almost certain I recall Blackmagic RAW is free to license. I'm not so sure they could specifically charge for it. Of course that wouldn't stop them from simply charging more for the camera.

I've played around with the codec and really like it. I would love for it to be in a Panasonic camera. This would definitely drive me to purchase a GH6 and finally a copy of Davinci Resolve Studio.

5 hours ago, androidlad said:

Just dropping this here with all the R5 buzz:

RED Komodo sensor was co-designed with and manufactured by Canon, it's literally an APS-Cish crop of the full frame sensor on R5.

1 hour ago, Yannick Willox said:

why not braw on a Panasonic then ?

BRAW is available on the EVA1 via BM's monitor.

5 minutes ago, androidlad said:

Can confirm, and I may get in trouble for saying this but it will be officially announced on April 1st.

It's very difficult to tell if this is a sincere statement or a genius joke.

On 2/15/2020 at 6:23 AM, Cinegain said:

Actually really quite interesting, e.g. how they combat focus breathing and T-stop measurement conditions.

Sticking to cinema lenses... Vazen now as well with MFT 28mm T2.2 1.8x anamorphic. Almost looks Veydra-sized.

• https://***URL not allowed***/vazen-28mm-t22-18x-anamorphic-lens-launched/
• https://vzlens.com/product/vz28/ , also: get both 28 & 40mm, get $400 off

It looks more than just Veydra size; it looks exactly like a Veydra. The Veydra engineer mentioned the potential release of anamorphic designs at some point. I wonder if he sold the designs or made a deal with the Vazen folks?

Looks like a new Voightlander MFT is coming. And for a seemingly steep price. I wish they would make cinema versions of the Voightlanders already.

It looks like the m43 Vazen 40mm might cover FF or S35. Interesting times.

Amazing work! This guy has a big hairy pair hanging low on him.

This video looks horrendous on my 4k screen with fast Ethernet and video quality set to 8k. Does anyone else see better quality or is this a YouTube quality issue? I can't imagine Qualcomm holding this up as a shining example of their tech as is.

@Benjamin Hilton, this looks great! What lenses and/ or filters did you use?

I haven't seen 1917 yet. The Lighthouse looked absolutely incredible though. There was definitely so very much time and effort put forth in crafting that look. I think it really paid off in serving the story.

@IronFilm, you're right. It looks like he has footage up already. There is some slight vignetting but, he doesn't specify whether he's seeing it throughout the entire focal range or not.

This fella is soon to post a review of the DZOFilm 20-70 (MFT mount) on a Nikon Z50. I think this could be a very versatile lens if it covers that sensor well. The MFT would cheaply adapt to E-Mount as well as @BTM_Pix has pointed out in previous threads.

5 minutes ago, BTM_Pix said:

Yep, they do seem to be holding up very well both in terms of price and interest.

Meanwhile, the thread about the 6K one here has been relatively dormant over the past four months.

I absolutely love the images the 6k is capable of producing. Other than the fact I only own MFT lenses, it just doesn't suit my needs/ desires currently. Neither does the 4k model, but I want a DR Studio license and it seems too cheap not to buy the camera as well!

I occasionally watch this channel. His wife often comments on the lack of funds available to afford their own home due to his purchases.

1 hour ago, BTM_Pix said:

I wonder whether the deluge of used/and or discounted P4Ks that many (not including me by the way  ) thought would happen as people "upgraded" to the P6K ever materialised?

I've hardly seen a deal worth pursuing on eBay. At least, not if you're looking for the DR license as am I. I'm not swimming in cash, but I'm not risking $100 in savings on a used camera.