Davide DB

FYI - Nexto was acquired by TVLogic and this is their new backup storage product: https://www.newsshooter.com/2023/09/28/clouzen-tainer-all-in-one-portable-backup-storage-review/

Sorry I meant Venice II
 
From: https://www.xdcam-user.com/2021/11/sony-launches-venice-ii/
 
 

As is the entire YT channel of WanderingDP, a real life working pro breaking down commercials.  Not only does he break down the composition and lighting, and also shooting logistics like when you'd schedule different shots at different times of day, but also advice on how to be more efficient on set etc, plus he's hugely sarcastic and his videos are often hilarious...
https://www.youtube.com/@wanderingdp/videos
 

No, Venice is 6K.
They have apparently used the A1 sensor in the BURRITO.

Reading this thread about the opportunity to have native BRAW recording on Z-Cam, confirm that is OS on post production only:
https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=171209
Anyway, They could make a deal like the one rumored between Canon and Red: you don't f**k with your Raw and I let you use my mount....

what about Venice sensors? do you have any info on those?

I don't think anyone is questioning the future of Panasonic though ?
It is where they are at and/or heading within this specific format that is under discussion as they are in rude health within the FF market.
Again, the camera (which as I've said umpteen times looks very good) and the form/format are very different things.
The idea of a compact system that offers the "optimal balance of high image quality, compactness and lightweight in cameras with interchangeable lenses" to quote the actual MFT organisation itself is surely challenged when it becomes the same size as a full frame system from the same manufacturer.
We need to examine the word 'dead' in the context of what it actually means to a camera system.
It isn't 'dead' as in the absolute discontinuation of all MFT products.
Which means it isn't yet 'dead' in terms of the stated ethos of it as a format by the MFT organisation as, if nothing else, BMD have just released a camera that actually fits within those aims. We also don't know whether Panasonic might also have a camera up their sleeves (or in their pocket) that will more closely align with that ethos.
I'd say that a more appropriate word, as it currently stands, would more likely be 'moribund'.
In a hippier time, it might be described as the 'scene' being 'dead' (man).
Indicating that what it was is not currently what it is.
But what it is might well work for many people so thats all fine too.
I was using it to provide some light relief to this thread 🙂
And to show my own innate hypocrisy and how you can't really rely on the meanderings of a random old fella on the internet.
 
I emphatically agree with both of you that the notion of all MFT cameras having to be small is both a nonsense and ludicrous.
Which is why I haven't actually stated that.
Equally, the notion that all MFT cameras having to be the same size as a FF camera is also both a nonsense and ludicrous.
There is room for both.
Its just that Panasonic haven't released one for three years which was the ill fated (but actually not without its merits) G100.

With the 12-32m kit lens it was around £600 before it was discontinued and it really did fit with the ethos of MFT as we originally understood it and how the MFT organisation still describe it.
It showed that when motivated by hatred (Sony's dominance of the vlogging market) that Panasonic could still do it despite the intervening four years prior to that (the G80 launch) they had been making ever bigger bodies.
Time marches on, of course, and things change so if the price that has to be paid now (physically and literally) to move the story along from the G80 (which unlike the G100 had IBIS) in terms of video spec then so be it.
Of course, Panasonic are not the only MFT player in town so maybe Olympus will offer that alternative.
Yes, the extra reach of the 100-400 on MFT would need the Sigma 150-600 to equal on FF L mount which results in a significant size disadvantage.
This is an example where it makes sense both as a format in general anyway but also as a camera itself, if the price to pay for that performance has to be that form factor.
Thus far, it appears that it must because there is no alternative with that spec.
Maybe I will pre-order one after all 😂

I would take the industrial design team and lock them in a room with:
- A Hassemblad 907X 50C kit
- An Insta360 One RS kit
- An old Zenza Bronica with grip.
Essentially I would want a camera consisting of:
A squared brain with buttons, inputs and outputs, and a minimal display (like a ZCam or the front one of a GoPro) that would allow me to configure the machine.
A high-resolution 3.5 inches display module to attach to the rear that can rotate as we are used to on a GH5. I am not talking about an external monitor but a module that adheres to the butt of the brain and forms a complete body capable of controlling and configuring it like an integrated display. The whole thing a parallelepiped like an FX3.
A Hassemblad-style handle/grip complete with controls and wheels to add to the brain and get the ergonomics of a current camera.
Throw in an adapter with ND.
Put the pieces together and you have a complete camera suitable for photo and video.
If you just use the brain you have a komodo/zcam/BS1H style stuff that you can configure as a cinema rig.
add display and handle and you get a complete camera.
Hassemblad 907X 5C has everything (but the touch display is built-in)
P.S.
Choose which piece costs 2K 🙂
 

 

 
 

I agree and I think this idea is nonsense.
I use m43, Panasonic/Sony FF, and yet I preorderer the G9II.
So why the hell I bought this "big" and "expensive" m43 camera ?
There are a few reasons :
- Neither my A7IV or S5II can give me the fantastic stabilization of the G9II with "relatively small" telephoto and super telephoto lenses.
- Neither of these FF cameras have an acceptable rolling shutter or 60fps Open Gate/120fps 4K. Yes, the A7SIII has good rolling shutter and it has 4K 120fps, but there are always trade-off (much more expensive, low MP, no crop mode,worse details in 4K 120fps).
- While they are a lot of really excellent lenses of the FE mount and a few on the L mount, m43 has a lot of jewels as well. 
I can't see me stopping using some of my Panasonic Leica or my Oly Pro lenses. Some are irremplacable like the 100-400mm PL, some are outstanding to the point that even comparable FF lenses are no match, like the two f1.7 Panasonic zooms (contrast and colors are wonderful). 
I also tried to replace my 12-32mm, 12-35mm and 35-100mm with some FF lenses on my S5II and my A7IV, I can't. There are some options for Sony to replace the 12-35mm but they are not compelling for me (weight, price or features associated with the camera).
- This is subjective but I love the colors from the GH6 and I expect the colors from the G9II to be almost the same. I don't like the colors of the S5II as much, even less the colors of the A7IV.
So at the end of the day, there is no perfect camera and system, but they have strengths and weaknesses.
No, we can't get the low light performance of the S5II on the G9II. No, we can't get the FF look at some focal lenghts (like the 50mm GM f1.2) with our m43 cameras and lenses. 
But as pointed out above, m43 gives a lot of advantage as well. And if we should use m43 only with small cameras, we could not get everything this system can offer with the G9II.

Even though the average movie goer (or even the average movie reviewer) doesn't know what "a Sony FX3" is, this still helps them massively create this underdog story of we're this plucky independent-ish film going our own way, doing things in our own manner, and we're not like those big studio films that some people are getting turned off by. 

And you don’t want the guy who did the Millenium Falcon.
Just ONE cup holder.
MAJOR oversight.

Just as long as he, she or they (you can never truly tell with Lego people) doesn’t have the standard Lego hands. Which are rubbish.

In terms of pure design aesthetics and handling, I also want this @Davide DB

Sony FX3, Atlas Mercury and P+S Technik Evolution Lenses (source: IMDB)
recorded on a Ninja V. other bits here: https://www.provideocoalition.com/did-the-creator-use-the-sony-fx3-as-an-a-camera/
 
From trailer it seems all the movie has a extensive VFX work.
 
From what I understand in my ignorance:
- the camera is the least of the costs in a large production/blockbuster.
- It is not the camera that makes the look of the film but the lenses.
- In a big production, where a serious DOP can afford to give vent to his fantasies about lighting, the technical characteristics of a camera are less important.
Ultimately, if Fraser/Edwards chose this camera, it is more because of their fixation on being minimalist as pointed out in the opening article.
About minimalism.... I still remember in 2009 when Howard Hall first took an IMAX camera underwater for the documentary Under the Sea. Minimalist to the point 🤣
 

Somehow relevant to my question.
Now they're comparing iPhone 15 pro 5x camera to 24-70mm lens at 70mm. 

Yes, DSLR image has higher quality, but the fact that we're now doing this comparisons shows that a $3000 camera lens combo should deliver a lot of value to stay attractive for younger generation. 

Those lens are 'only' 10k each. Probably makes a difference 😉

Hi everyone!
Another music Video coming along. Shot on the blackmagic 4K with Metabones and Sigma 16-35mm and Helios 55mm. On the outside shots i had ND filters with IR correction. Also there is a small DJI camera in the mix for all the shots from above ( Just put it in a stick) . On this shoot i really missed an autofocus feature.
Also i had some problems with the grading in the first half of the song as the lighting conditions were very different in each set up. Maybe i would have needed to have a closer look on the white balance. Maybe also a grading session in Resolve would have helped, i did the grading in premiere.
 

Let's assume you are product manager in a Japanese camera company. You want to add a new video oriented hybrid to your line up. By video oriented hybrid I mean a video camera that can be used for still photography, rather than a still camera that can shoot video very well.
Please be specific about the specs. And consider, as a product manager, you should have a clear plan for future updates releasing every 2 years, and at least one firmware update in between. Also be realistic to keep the price at $2k.
I don't want to know what you personally want. I want to know what you think the market wants.
 
Thanks.

I think they got quite right, people that can afford expensive glass will go buy them at premium and sell their EF ones that allow people with less budget to get great lenses. The sport example is a good one just look how affordable a EF 200-400 1.4x has become..

Would you buy a mid range RF 85 1.4 or a cheaper used EF 85 1.2? Would you buy a mid range RF 24-70 F4 when you can get a cheaper used EF 24-70 II 2.8?

Most of the people criticizing RF lenses they don't own them, is funny to observe. 

I sold my EF 24-70 II 2.8, EF 50 1.2, RF 35 1.8 (btw very good lens for the price) and EF 24 1.4 for a RF 28-70 2.0, one of the best decision ever, but this also allowed people to get really good EF lens cheaper.
If the EF lens support would not be as good as it is on the R cameras, I would agree but they mostly work better than on DSLR.... so plenty of good options and some gets cheaper and cheaper, it is a good thing for people with limited budget.

I wonder what you are more likely to find in most homes, an Ikea Billy bookcase or a Canon EF24-105mm f4?
Its a close call, I reckon.
They shifted so many of them in bundles with the 5DMK2 amongst other cameras because it was absolute bargain as an additional price standalone let alone versus buying a 24-70mm f2.8.
Do they do the same with the RF version ?
Because that would be the way forward to chuck those in with the camera as a bundle with the lens being at 50% of what it would cost extra which is exactly what Panasonic are doing with the S1 with their 24-105mm
As it stands, its the fat part of £1300 for the RF24-105mm which is just not appealing at all.
The Z and L mount both have the same problem to some extent but the third party range is what gives the other two the advantage not to mention E mount which just keeps motoring along with options everywhere.
Of course, there is the massive back catalogue of EF to adapt onto RF but, unlike Nikon with the F mount adapter, this is nothing unique as all the other mounts can do that too.
If I bought an RF camera, I definitely think that it wouldn't see a native RF lens for a very long time and thats probably been enough to keep me away so far as I can do that with everything else but also have affordable native glass too.
As it stands, the most flexible mount is Z mount (primarily due to the unique ability to have F mount with full AF) closely followed by the E mount.
E and L mount currently have the best options in affordable fast native lenses and Nikon are catching up.
The key to that, of course, is the 3rd party support most notably from Sigma.

Possibly because it kind of demonstrates that one of the least most important components of movie making is the camera itself?
Beyond a certain point. 
I’m sure they were not using the f4-5.6 kit lens but some 20k$ cine lenses and maybe less than in some other productions, but whatever lighting etc was needed.
We know that even just in commercial jobs, the type of camera you have can get you or at least deny you, the job.
’Average’ tool in skilled hands etc…
In terms of sensor though, just how far off a Venice is that of the FX3? Barely anything.

What i am really looking forward to are the information that will come out of the postproduction companies, as these will apply to most "prosumer" cameras.
Also "The Creator" is going in the direction of the "Sony" look and taking advantage of it - and many shots are just the basis for extensive VFX work.
I assume these cameras would not be used for a feelgood rom com where you want to get soft skintones from 45 year old actors...
 

I think I understand where @IronFilm is coming from - the advantage of a larger body is that you get dedicated buttons and other things that are useful on set.  Think about it, if there was no use for something then they wouldn't add it to the camera, regardless of how large they were allowed to make it.
On a controlled set you'd imagine that they'd have a proper cinema lens with remote follow-focus etc attached, matte box, v-mount power, monitor, and the whole thing would be rigged appropriately.  By the time you add all that then the difference between an FX3 and FX6 is maybe only an extra 25% to the size of the whole rig.

Started by buying an EM5 cuz it was small.  Then Bought a GX7 cuz it was small.  Bought a GM1 cuz it was small.  Bought two GH1's cuz they are small.  Bought an EM5II cuz it was small.  Bought two Gx8's cuz they were small.  Bought an EM10iii cuz it was small.
Bought GH4's and Gh5's along the way as well.  They are not small.
I like the smaller cameras better in my hand.   Too bad the small cams didn't have the same features/specs.  Andrew is onto something by saying there was a missed market there.  At least in my world that market exists.
Doesn't take too much to wonder if OM can make a run at that market with trying to niche their way through the wildlife photographers. M43 for super long lens stuff is a relatively small kit.  (Not the body, however, but the lens)  Is it enough to keep the format viable?  Probably not, but here's hoping.

I doubt Sony is put out much by these numbers. Sony has never been that much of a 'camera' or 'lens' manufacturer - the 'camera business' is just a show case for their sensors. And in the sensor business they totally dominate (do Canon even use their own sensors anymore?)
Of course Sony's really big market is smartphone image sensors. There was a time that a smartphone had one image sensor - my latest phone (Xiaomi) has '5' (all Sony) and including a 1 inch sensor.
So I would reckon Sony are pretty ok with Canon dominating what is essentially a declining niche mirrorless camera market, Sony have essentially capture the fastest 'growth' area of the photo industry...