eatstoomuchjam

I watched that video and instantly didn't regret unsubscribing from the PetaPixel YouTube channel. I think I lost 3 IQ points watching the dumb infotainment of two adult humans whining about cameras that someone let them use for free, especially about some of the petty shit they cite as an example. That one Olympus was too big? Who cares? They also make/made smaller cameras if that's what you want. Plus they didn't even get creative when picking "worst designed" cameras - would have been more interesting to go with potentially revolutionary cameras that couldn't live up to the hype - throw out stuff like the Lytro and the Light L16. It'd still be a dumb video, but at least there's some interest in it.

The colors from DJI and/or Insta360 also look fantastic, I'm sure, after a professional colorist spends some quality time with them. It's still best to wait until the cameras are in the hands of normal users before starting to evaluate. Otherwise, if GP wants to release some footage that looks like that and they will certify that it's straight out of camera, I'll place a preorder right now.

Some PL lenses don't cover full frame. Most vintage ones were intended only for use on Super 35, but some have image circles big enough for vistavision/full frame.

If so, I'd strongly consider the 50/1.2L or the Sigma 50/1.4 Art. The Sigmas are, generally speaking, too clinical for me, but lots of people like them - it really depends on how clean you wanna go. The 50/1.2L has been around for a long time now. I got mine pretty close to when they released it - it might be old enough to vote, at this point. That's to say that it's been out long enough that you could probably find a copy with clean glass and some external dings for not too much money. Bokeh is completely a matter of taste thing, but I hated the bokeh on the EF 50/1.4. I remember it was ugly/busy enough that even non-photographers noticed it on some photos. Maybe I just had a bad copy? I liked the EF 50/1.8 more, even. There's also Otus, of course, but used prices on them have stayed surprisingly high. I think there was also a Zeiss ZE 50/1.4 which is probably more affordable. I never tried it. It's probably very good. If considering the Sigma f/1.8 zooms, you might want to double-check how the coverage is with the 0.64x SB. I remember the 18-35 had a pretty small image circle - the 50-100 is probably a bit better, being more telephoto.

The difference is not huge. When wide open on very fast lenses, you're more likely to see some speed booster artifacts with the 0.64x. Whether those artifacts are acceptable is personal taste. If the prices weren't similar, I'd just take the cheaper one. I was also surprised to find that the 0.64x covers the slightly small S35 sensor in my Z Cam E2-S6G. Anyway, as far as other brands, I think that Kipon's focal reducers are well-regarded. Otherwise, most of the third-party ones are skippable/don't seem to be too good. FWIW, you can also have your cake and eat it with a focal reducer, if you want. Pentax K, Nikon F, Leica R, Olympus OM, and M42 lenses (including your Takumar) can all be adapted to EF mount. I've also thought about building a recessed M39 adapter since it would be theoretically possible on any camera without a mirror assembly (M39 is 28.8mm and EF is 44mm, but I have several M39 lenses with controls near the front and that are skinny enough that they could just sit further back in the EF mount). Anyway, for EF lenses otherwise, do you know which you're considering?

I've used Luma Fusion on iPad. I edited some vlogs with it a while back before deciding I didn't like editing on the iPad, but the editor itself worked fine and was really simple/straightforward. They released a MacOS version a while back. I haven't tried it, but I'd guess it's also pretty simple/easy. Yes. 🤦‍♂️. I meant to type "3D lut creator." And yeah, it's a little expensive, but it's a lot of features to implement/compete with, especially if you want editing as well. How many hours of your time would you want to burn for $39/seat? Unless it's making editing decisions for me, a simpler editor wouldn't fix the thing that costs me the most time in Resolve. The other things which end up costing me time are things that I should just figure out the hotkey for at some point (like "shift everything on timeline after this point back enough to add this clip"). I take it that the cut page in Resolve is also too bloated for you? I think it's specifically intended for faster turnaround stuff like you describe. I've paid it almost no attention beyond that. The MacOS preview tool allows cropping and resizing. I use it all the time.

Indeed, though "Ursa Cine LF" would be a totally fine name. There's just no need to say "12K" on there. For the other? "Ursa Cine 65" since the 65mm sensor is going to be a whole lot more exciting to most people than telling them it has a 17k sensor that they will mostly use in 8K or 4K mode. Just about the only competition on the market, the rental-only Alexa 65, is a 6.5k camera. That is, of course, unless you're selling something to be used for projecting on The Sphere in Vegas. Then I guess there's a single camera that's competing - like literally just one body, as far as I know - that 18K thing with the 75x75mm or so sensor. I've been a bit tempted a few times now to try to rig up something with a medium format ground glass or a 4x5 GG, similar to an old DOF adapter for camcorders. I remember Gale had the Forbes70 which worked that way and there have been some 8x10 projects to do the same, like the FZero from Salazar and the one that Media Division put together. I should probably just go through my pile of project cameras to see if I have a pretty clean GG around and just do it...

I'm not sure what "a modern approach" is, but iMovie and Luma Fusion are both pretty straightforward and unbloated from what I remember - and they both run on Mac. I'm not sure if either one has a lut editor, but 3d lut editor has been pretty good for a while now, hasn't it?

I really wish BMD would stop putting the maximum resolution in the product name! I make these jokes too about my own UC 12K ("finally, something for you to play on your 12K TV!), but in reality, it's just a really nice 8K/4K camera which has a bonus 12K mode for... mostly VFX shots. 😅

Sure, slow zone focusing lenses are definitely a possibility. I used that exact lens for part of my YouTube review of the Z Cam E2c if I remember right, pushing the compact-ness of the body/setup. It's a potato, but it's alright in the context of "it's a body cap you can use to make photos." You could also go the route of MS Optics-style designs. I have their 21/4.5 triplet and there are most definitely compromises to get it as small as it is, but it's also a really fun lens with better quality than the Olympus cap (and full frame-ish coverage). A design like that one or their 24/4, but stopped down to f/8 could be interesting. Indeed - and I don't think they've said that the images are SOOC. It's hard to know how much editing was done with the moon shot. It's also not out of the question that an auxiliary lens was used to make it more telephoto. This is the importance of waiting until devices are in the hand of real consumers before getting too hyped. There aren't many things that I'll preorder and the number gets smaller every year, getting replaced by the number of things that I'll wait are available used for at least a 20-30% discount. X-M5 for $900? Shrug. X-M5 for $824-874 on mpb? Get bent, mpb. X-M5 for $781 on adorama? Starting to move in the right direction... Yes. And the close-up stuff could, theoretically, be done with some of the nicer existing action cameras with a diopter.

Oh yeah, they absolutely do. And as the article you linked said, they look like optical shallow DOF instead of simulated! Another possibility is that they release two versions, one with a small sensor for the traditional action sports use case - and one with a bigger sensor for the vlogger crowd. If they DID release something like the Z Cam E1, but with a modern SOC supporting 10-bit, a flat profile, and a decent H.265 implementation, I'd be excited for a GoPro for the first time in years.

If the sensor is getting that big, focus is going to be a problem. On 1" sensor action cameras with a fixed focus range, there's already a problem where manufacturers need to choose whether to optimize for the 2-4' range when someone is filming themselves or the 8'+ range matching traditional action camera usage. I think they all optimize for the longer range and sell you a diopter if you want to self-film. Users don't seem to love using diopters. So if they're bigger than MFT, they're going to need autofocus or a whole series of lenses with preset focus distance and (probably) slow apertures to keep DOF usable. Autofocus is problematic for a camera that has associated itself with action sports. The mechanism would need to be able to take a pretty gnarly crash at speed, but also even if the AF is great, people are accustomed to deep DOF from them - will they be unhappy when their footage of their buddy doing some crazy move is trashed because the camera decided to focus, instead, on a passer-by? Preset focus distance lenses are less of a concern for reliability since they're pretty similar to the diopters currently used, but they do have the problem that the user needs to start recording with a pretty good idea of their focal distance and they also need, necessarily, to be pretty slow lenses so that the user will stay in focus while moving/talking at a distance of 2-4'. If I were GoPro, I'd be way more likely to follow the approach of phones - use a second sensor to build a depth map and allow setting focus in post. That said, a camera that small with such a big sensor and, ideally, swappable lenses, would be a dream for me. 😅

I'm making films with it. I was recently offered enough for an upcoming feature that it would more than pay for the camera, but it would have also been like half their budget. I suggested a percentage instead - which will almost certainly yield less money, but allow that money to be spent to improve the parts of the film which are more important than my camera, which is most of them. 😅 Just footage in general? The most recent couple of shorts on my YouTube channel (https://youtube.com/eatstoomuchjam) were with the UC12K. Otherwise, most of what I've shot is in short films that are still in festival rotation. Between the UC12K and the GFX 100 II, I'm happy enough with both. If I'm on set, I'm most likely to bring the Ursa, Ronin 4D, R5, and Pocket 3. If I'm taking photos or traveling, the GFX or R5, maybe with the Pocket 3. If I need to travel lighter or be more inconspicuous, the Komodo-X and/or Komodo, probably with the Pocket 3. I'm thinking about taking the train to Chicago to do a 48 in a couple of weeks. If I do, I'll most likely bring the Komodo-X and Pocket 3 with my DJI Mini 3 Pro - that's an entire shooting setup that easily can fit in a backpack, more or less - and with EF lenses, I can use the Canon VND adapter when outside and the Canon focal reducer when inside.

For sure, and I'd be excited to give it a try! I was a Kickstarter backer of the Z Cam E1 and I've bought a few Ribcage kits/cameras over the years. I was disappointed by all of them, but I'm still hoping for that magical/usable tiny sensor camera! I have a little bag full of D-mount and C-mount lenses just waiting to go on something! (I still wish there were a way to get a decent/non-laggy video feed from the Insta360 One R/RS series - I have a Ribcage-modded 1" module and the quality is really decent - but focus is hard, given the only options for monitoring are the camera's tiny screen or laggy wifi)

Like with anything, it's best not to get too revved up over the hype and wait until there are actual cameras around to check out. GoPro are, of course, hiring professionals and cherry picking the very best footage/images that any of them captured. Otherwise, the concept of using an action camera ASIC in a cinema camera isn't new - it was exactly the strategy with the Z Cam E1. Since then, action cameras have advanced a lot, thankfully. Similarly, the Z Cam E2 series used/uses an off the shelf Hisense board, though that one was intended for higher-end security cams/consumer cameras and not action cameras.