eatstoomuchjam

Some are a bit faster. For instance, the non-EDR 8K readout is 16ms on the R4D and it's 20 or 24 or something like that on the Panasonic. But otherwise, yeah - most of them are really close. You've been able to see a bunch of R4D footage in cinemas - including parts of Civil War. If Flight Risk is still in theaters, some parts of it were on it too. Oh, and there is apparently BTS footage that shows it being used for F1. Though I'm not sure if it was the 8K or the 6K that was used on them. RS isn't too different between them, anyway. You're likely the target market for Panasonic. There's not much with the S1R II that would inspire somebody to move to L mount, but if you're already there, I'm sure Panasonic see it as a bulwark to prevent further defection from the system. The only overheating I saw in any tests was in the most stressful modes - and after 1 hour. To me, any criticism of the overheating is basically silly. If the long interview needs to be 6K open gate and 2 hours long, then yeah, it's not the dream camera. Good. People talk lots of shit on forums, but that's all most of it is - especially me. 😅

Since we're still talking about Gerald's rolling shutter nonsense with the S1R II, it reminded me that he did a review of the R4D 8K (which, again, has either the same or a very similar sensor). Note that DJI paid him to do tests on it. Then note how his discussion of dynamic range is actually very measured, sane, and accurate and without dwelling on things. In its 8K DRE mode with 30ms rolling shutter, it's basically "this is too slow for some people and content, but for a lot of people, it'll be absolutely fine." And that review was on a camera that was made to move around and to be used handheld. He even goes on to say in the conclusion how it's a "best of both worlds option" since it gives the user a choice between great DR or low rolling shutter.

They're the same people that deny that tariffs will increase prices (they will) because it will bring manufacturing back to the US (that doesn't happen overnight) and increase competition (yes, US companies will need to be price-competitive with the cost of foreign products + tariffs which is still more expensive than what things cost before the tariffs were enacted). Those same people seem to think that the stock market taking a big shit on the announcement of tariffs has something to do with "Biden's economy."

Indeed, a number of people have looked into it and ended up with the same conclusion. Anyway, Octopus looks great! Almost makes me wish I were still a Premiere user!

My guess is that Canada and Greenland both have environmental rules that would make extraction of minerals/resources difficult, time-consuming, and expensive. On the other hand, if shithead succeeds in erasing what poor environmental laws we already have in this country, he'd give the corporations carte blanche to do as much repercussion-free damage as they want (as long as he gets a taste of the profit).

I'm not sure of the warranty, but I've bought two things from them on Black Friday (last year and the year before, they had coupons for a big discount on their already pretty-low used prices - I think like 20% or 25%). One was a C70 and the other was a Ronin-4D 6K (which I pretty quickly upgraded to the 8K). Both were great deals and showed up in exactly the condition I expected from the website description.

Nice! Now if only Resolve supported input codec plugins!

Which manual adjustability are you missing? If you install the Black Magic Camera app, you have manual control of a bunch of stuff on the iPhone. I moved from an iPhone 13 Pro to an iPhone 16 Pro. Prores in log on the 16 Pro is a whole lot nicer than any of the modes that I had available on my 13. Anyway, careful framing and lighting are completely unrelated to the camera being used. Depending on what you mean by wanting to stand out with "depth of field," the iPhone also has computational simulation for it. If the goal is primarily YouTube and the like, it's unlikely that most viewers would object to the difference between computational shallow DOF and real shallow DOF (unless you showed them side-by-side and then most people would, I think, prefer the real thing). I'm just saying - the newer iPhones are shockingly good and in addition to getting a nicer camera, you'll also have a nicer phone. 😃

As far as I know, there's no raw on the S9 - but for EDC stuff, the internal 10-bit log modes are almost certainly enough.

That's the one I used the most often with mine. Keep in mind that the drive sleds for that one use the smaller NVMe's and also be ready for them to get VERY hot when dumping footage - like I nearly burnt myself picking one up. Also, make sure to take any stickers off the SSD that you're putting in it. The tolerances are really tight and when I didn't take off a sticker, the drive wasn't working well. You can actually use the bigger drives/sleds that go with the cage version, but they will just stick out about 20-30cm under the camera.

Fuji do a pretty good job of this - I'm not sure how people are chosen, but they seed their cameras out to filmmakers to make films with them. Then Fuji releases the film on their channel and they also release a making-of video with the filmmaker talking about how the camera helped them in making the film. I'm not sure about their other cameras, but the films that have been made for the GFX 100 and GFX 100 II were really nicely done.

To go a different way, and I don't think I saw it suggested yet, why not just get a tripod mount and a decent modern iPhone? On 15/16, you can easily record nice quality ProRes/log to an external SSD (or even to CF with a USB-C to CF adapter). Combine it with a decent mic and you're set.

I'd be willing to bet that if you measure the dimensions of the camera with that plate on it, you'll be really close to an EOS R5 in terms of dimensions. Dark Power Lab has a similar bottom plate (though without the abomination that is an 90 degree offset Arca-Swiss plate) and custom SSD sleds that are really small. I spent a while trying to get the fp and fp-l to a reasonable setup for filming things. Everything had big compromises or ended up as big as the R5 (or bigger). I really wish Sigma would re-release nearly the exact same camera, but with an option for faster internal media. If they'd add 12-bit cDNG support to the bf, I'd probably go buy one. Paired with Leica M glass, it'd be a brilliant EDC.

Seems like multiple people are in favor of challenges, but thus far, nobody (me included!) is excited to actually run them. 😉

There is a lot of "it depends" in the answer to this! If we're going with "need," it probably would be a smartphone and a single higher-end mirrorless body. But if we're going for stuff I'd like to have in order to feel happy, it brings in film gear and between medium and large format, there are a bunch that I have and enjoy - from a Gundlach 8x20 down to a Mamiya 7. I don't really bother with smaller formats anymore since digital is just a lot better these days - and even 6x7-6x9 are effectively less good than the GFX 100 series so I use them more because I like the experience of shooting on film, costly though it might be. For video, my current kit (K-X, Komodo, Ronin 4D 8K, GFX 100 II, R5, C70, E2-F6, and E2-S6G) treats me well. I'll be trading in some or all of the last 3 toward an UC 12K soon, though... though I might keep the E2-S6G for car-mounted purposes, especially on dusty roads, since it's passively cooled and global shutter (the former is important for not having to clean a crapload of dust out of the camera's cooling system). But as much as I love the C70 and the F6, I'm just not taking them out enough. With the UC12K, I think it'll become my main camera. The K-X will be more or less dedicated to Fujinon MK zooms/DJI Focus for fast turn-around stuff (unless the AF performance is night and day better with the new (or some upcoming) firmware. The R4D, of course, the gimbal camera (I also ordered the Flex unit so the R4D will also be the "put the camera in strange/small places" camera). The OG Komodo is rigged up to be super light so I can use it for car stuff (on non-dusty roads!) or handheld. GFX 100 II is my stills/travel camera. R5 is a very small/light camera that is unobtrusive to use so I can bring it and shoot in places where the other cameras would draw attention.

I'd continue to be cautious with those numbers, though. Given that the two cameras are only about 1/2 stop apart in 8K raw mode - which, if we're talking about an oversampled mode, is the same one (or close to the same one) that gets downscaled to 4K, higher numbers might be less indicative of a huge jump and more indicative of more aggressive noise reduction. If not, great, but rather than taking test chart results at face value, we should recognize them as a useful tool for understanding certain aspects of performance. (And if getting a lot of detail in the image isn't a goal, then the higher NR settings SOOC might be just fine anyway!)

As for DR, is it really that exciting to be 0.5 stops (SNR2) and 0 stops (SNR1) better in 4K than the Canon C70, a super 35 camera that was released in 2020? Or 0.4 stops better (SNR2) and 0.2 stops better (SNR1) than the Sony A7 IV, a camera that Sony users have been enjoying since 2021? Or 0.2 stops better (SNR2) and 0 stops better (SNR1) than the Ronin 4D 8K which was released in late 2023? Keep in mind that the DJI numbers, at least, are also raw which, presumably, doesn't have (much?) NR baked in, as any of the other cameras would when using non-raw codecs. None of that is to say that the R5 II is a bad camera! It's a really fantastic camera. It's really just to say that it's not really meaningfully ahead of several other cameras. That said, if someone offered me a free swap for my OG R5, I'd take it. 😉

Empty. Hell is other people.

I'd love a monthly "challenge" (as long as it isn't a competition) to inspire the creativity of members. Perhaps the one suggesting the theme could change monthly too, with the previous month's suggester choosing the next month's suggester along with the suggestion!

Sorry for the misunderstanding! As I mentioned in an S1R II thread, anybody who has used Ronin 4D has been practically begging for this. Just take the R4D body, rip off the gimbal and put on a fixed lens mount. Which... almost seems to be what the Lumix is. The timing is suspicious too, with it coming almost exactly 1 year after the DJI announcement (maybe the latter had a 1 year exclusive thing with Sony to buy the sensor?). Although something that might prevent them from pursuing that could very well be that a lot of the big players have been willing to collaborate with them on gimbals vs competing - so if DJI decide to compete with them on cameras, some of that good will may be lost and we'll start seeing gimbals from Sony, Canon, etc.

Not to take his job, but the tl;dr is that less than 50mm focal length has very very few entries which cover without vignetting. The wider, the fewer. Above 50mm, it increases quickly.

I'm surprised to see Komodo in there at all! It's far from the camera I'd reach for if shooting a documentary! Though I suppose not all of them are run-n-gun so maybe it was used for them.

Darnit, you beat me to my pedantic correction. You're talking in terms of standard 35mm, right? Because Fuji's medium format gear was/is fantastic - and xpan, which they made with Hasselblad (and sold on their own as the TX1/TX2) is legendary. Why rate Kodak highly? Post-1950, did they ever even make a camera worth owning? DJI. Mentioning a second time since BTM_Pix doesn't consider them relevant video-wise, but I'd say that for drone photography/videography, they're nearly the only brand these days.

I don't know if any primes for the GF system are even close to as small as Sigma's f2 range - and that includes the 50/3.5 which is, as GF lenses go, pretty tiny. It won't benefit you at all. For the sort of work you're doing, full frame is most likely the sweet spot for still photos (and maybe APS-C for video?). The A7R V is a hell of a camera and 61 megapixels is way more than enough.

If you wanted smaller/lighter and soemthing where you could just rock two bodies with a lens each and never swap, you could probably get by with the 20-35/4 and the 45-100/4 and nothing else. I have no personal experience with those lenses, though. Technically, you'd be a little above an f/2.8 FF equivalent, but not in a way that matters much (except maybe at the long end where cropping would have you closer to an f/4 equivalent).