Ninpo33

On 6/14/2025 at 3:06 PM, Defleur said:

I joined this forum in 2012 when I wanted to buy a camera & make a film.

After all the years I have been here I just see you are useless people and you whine about money.

You are all idiots with a camera but you are not.

Phones have replaced you.

Ten years ago when I live in Shanghai, my friend took an amazing photo of a street, black and white,
better than anything you bitches moan and whine about.

 

 

You first asshole. 

9 hours ago, Yannick Willox said:

Oh man, you are grossly exaggerating things.

It is not that US schools, children, women, hospitals etc are being bombed to death and free-world journalists are being willingly targeted by snipers. Or important people falling through windows or from terraces, while teenagers get arrested and convicted to 10 years of prison for pinning a little note on a wall.

Apart from turning into a third world country, nothing shocking will happen.

One has nothing to do with the other.
 

For all the things you are complaining about, someone else in Africa having a worse time could say YOU are also grossly exaggerating things. everything is subjective. 

1 hour ago, Andrew Reid said:

I need this...

It would save Panasonic for me... Full frame, premium rangefinder better than a7C, better than S9, big EVF, Fuji styling and dials, photographic monster that happens to do perfect 6K open gate too with the usual Panasonic features.

It would save them in the photography market and get them back on track in a big way.

Full frame GX9 please!

Imagine of the S1Rii had come out with exactly the same specs that it did but in a proper range finder style body with EVF... People would have flipped out. All of the RS issues and other niggles would have been downplayed because people would say, "well, look it's a proper rangefinder with all the right features but wow, it sure can do some sweet 8k video"

Everyone is talking about how they used the Ronin 4D on the "Adolescence" and how well it did. I bet they only used it in like 4 shots though.

Did someone say wide adapter? 
 

I’ve been having fun working on a few adapter solutions with my rangefinder lenses. Will be fun to see what covers the GFX Sensor. 
 

1 hour ago, John Matthews said:

The only "problem" I've found with all vintage lenses is the coatings. If you look at footage taken with the 40mm and then the 50mm f/1.7, there are significant differences. If you use multiple focal lengths on the same shoot, you need to stay within the same generation of lenses. For example the 21mm, 40mm,  and a newer zoom. Or, the 28mm, 50mm f/1.7 and 100mm, as they're made with similar coatings. I don't know how GL Optics gets away with that. The 57mm should probably only be used as a one and done lens as it's vastly different from all the other ones.

I suppose it depends on a few things, namely how yellow your 57mm has become and yeah, not mixing the older single coated versions or even the second gen MC versions. 

I honestly haven't had any trouble with mixing all lenses from the newest gen and maybe only need to do a slight adjustment in post for really, really subtle color shifts. Have you thought about the UV light trick with your? I remember there was a cheap IKEA light that people were using for a while with nice results. I should look back into that because I have a few M42 Yashica and Mamiya lenses that could really use it. 

Watched the whole thing in one sitting, really remarkable. Really solid acting from everyone involved and the 'one take" episodes were very well done. I almost want to watch again and just focus on the camera the whole time. There were  some interesting choices with where to have the various episodes take place and to have to think about the limitations of space and time that come with this style of storytelling. It's normally easy to manipulate these elements in traditional filming and editing so here it's fun to see the creative use of transitions and blocking. 

1 hour ago, John Matthews said:

Yeah, I started collecting them too. Sometimes, you can find some great deals. So far, I have:

• 15mm fisheye
• 21mm f/2.8
• 28mm f/3.5
• 40mm f/1.8
• 50mm f/1.4
• 50mm f/1.7 (both versions)
• 57mm f/1.2
• 100mm f/2.8
• 135mm f/2.5
• 135mm f/3.2
• 200mm f/3.5
• 300mm f/4.5

I also have various zooms.

For some reason I started to get really attracted to them, always looking for something a little different. With the exception of the 57mm, I got decent to amazing deals on them, often with working film bodies.

The 28mm f/1.8 is one I'd also like to get. I got really lucky getting the 21mm as the person didn't know what they were selling. I told her what she had, offered her 2.5x what she was asking, and she decided to sell it to me rather some other person who was most certainly going to flip it. It's a nice sharp lens, but the build is more like a Tokina (the producer) than the 60-70's Konica-made lenses.

I agree.

One thing I've noticed about Konica lenses in general is that they often have grease problems. Due to the shorter flange, they missed the DSLR years, only being able to adapt to M-mount. I probably need to service most of them. Any suggestions for grease?

Also, I've heard that declicking Konica lenses is a bad idea. Has anyone done that? I'm not really sure if I would, but I'd like to try on one.

Oh yeah, sounds like you’re only missing a few. I also scored great deals by just waiting around until something reasonable came up. I refuse to spend top dollar on vintage glass when it can always be found cheap if you’re patient. 
 

I bid on a 21mm a couple of weeks ago that went for just about $500. Given that there’s a Tokina wide for much less out there I decided to let it go. 
 

The Konicas are only now starting to get some attention for video finally after the rehouse projects at Ancient Optics and Old Fast Glass.

I’m working on a speedbooster project to mount on Fuji APS-C. Really tough because of the short flange distance but I found an ALPA speedbooster that works if I make a custom adapter. 
 

On 2/17/2025 at 6:21 AM, John Matthews said:

Yes, I have it too. Those radioactive lenses never match anything, really. It’s a one-and-done lens due to yellowing. Still, it’s really great IMO.

I have the whole set of Konica Hexanons. Just recently picked up the older F mount version of the 52mm 1.8 and 1.4 lenses. Wow, these are really good bang for the buck. Got them both for $50 total. 

For AR mount the 40mm f/1.8 is one of my favorites. A great pancake for the Lumix S9 even with the adapter. The 35mm f/2 and the 28mm f/1.8 are also mandatory in my opinion. The 28mm is rare in that its minimum close focus is only 7". The 21mm f/2.8 is really good but stupid expensive now so I would skip it.

What's been really fun is all of the undiscovered rangefinder glass from 60's Konica's. With a little time and energy one can adapt these vintage beauties with some really stunning results. The 48mm f/2 especially. I'm working on a bunch of Leica M mount conversions for all of these old rangefinders I've been picking up in Tokyo. 

Konica 48mm f/2 Rangefinder modified to Sony E mount on A7RV. (Not my photos BTW)

Anyone geeking out over the gorgeous lens choices of Season 3 of White Lotus?

Season 3 shot on Sony Venice with DP Ben Kutchins. From what I can find out they used a lot of custom vintage Leica M glass from Zero Optik this season with maybe a handful of OMs as well. Last couple of seasons featured Zeiss Superspeeds, Cooke S4s, Baltars, Angénieux, Panavision Primos and Canon EF Zooms. Quite the buffet...

A lot of people complain about the overuse of shallow DOF but it's creatively used in my opinion and only extreme in a handful of shots. Plus those shots are justified as a narrative tool in those instances. Tons of other shots with deep focus and the series always does a great job of establishing the exotic locale.

I'm actually working a press event with HBO and the cast of season 3 next week here in Los Angeles and really looking forward to it. 

8 hours ago, Alt Shoo said:

I don’t have an issue with people being passionate about cameras, I just think the discussion gets lost when it’s more about obsessing over specs than actually applying them to real world filmmaking.

I hear that. There's always a balance and you're right that getting stuck in the theoretical is no good for anyone if it's not ever put into practical application. 

I guess for me I try to remember that there are camera specs that I don't care about but other people use those same specs daily in a high pressure environment. The S1Rii got everyone's attention because it's a true hybrid and was about a year too late. Because of that everyone was keen to really dive in and see if it was for them. Also, it's hard to achieve the high res - low noise - good DR balance so everyone is putting it under the microscope to see if it balances those things out as well as the Z8 or A1. 

5 minutes ago, MrSMW said:

I thought at the time and still do, that the S1Rii was and is a 50:50 hybrid in every sense of the word.

Not the absolute cutting edge for video and nor is it for stills, but one of the best to date for both.

I will be interested of course in what this new more video-centric thing may be, plus anything/everything else and shall talk about it as so many of us do, but as there is nothing I am especially looking for...

I have the OG S5 I could sell/move to C camera and make room for a LUMIX FX3 style camera. However if it’s priced around the S1Rii I may still go for that. After 4k 120p uncropped and a faster readout speed, we’re really running out of things to complain about. What will people even argue about on YouTube anymore?

LX3? They should troll Sony with that model number. 

Even with the Ninja V+ and the new smallrig cage the little X-M5 is still quite light. Gearing up for an event next week and will test out battery life and any overheating issues. Rolling shutter isn’t as good as the X-H2s but still totally fine. Also, lack of IBIS is mitigated by building up the rig a bit. The increased dynamic range is pretty impressive on this little guy. Still can’t believe this is an $800 camera. 6.2k open gate Prores Raw. 

just need to do some better cable management and maybe look into 3D printing a tiny side panel to help hide cables and wireless receivers. 

Loving these little Andycine Lunchbox SSD caddies too. Gets rid of all the extra space with standard SSD’s and cheaper than the expensive Angelbird units. 

https://www.l-rumors.com/hot-panasonic-will-announce-a-new-lumix-l-mount-cine-compact-camera-in-april/
 

Maybe now everyone will leave the poor S1Rii alone…

17 hours ago, Alt Shoo said:

I get where you’re coming from, and I understand that different workflows exist for different reasons. But at some point, you have to ask, are we pushing our tools to be better storytellers, or just finding ways to avoid tightening up our craft? There’s a difference between efficiency and just being lazy. If someone is taking multiple takes to get it right, that’s not always inexperience. It’s making sure the shot actually works without needing to “fix it in post.” On the other hand, the mindset of shooting carelessly and relying on post production isn’t efficiency, it’s a crutch.

Regarding not using older gear, some people don’t use those older cameras simply because they want to make their job easier. Newer cameras offer better usability, faster workflows, etc. but still, as everyone allegedly already knows, you can still achieve a high quality look with older gear. It just comes down to experience and knowing how to work with what you have.

At the end of the day, I don’t see top level professionals getting caught up in these debates. They pick their tools, use the features that matter, and get the job done. Ninpo33 mentioned a DP who didn’t realize a camera had a particular function…because that DP focused on what helped him execute, not on obsessing over every technical option. That’s the difference between using your gear and getting lost in it.

Nah, you missed my points big time. I kind of feel like you have an idea about things and aren’t really looking to hear or grow from other peoples experiences but just keep doubling down on your own hot takes. That’s fine. 
 

For clarification, the DP I mentioned who was well versed in post production was shooting to get exactly what he needed and not wasting time with shots or elements they weren’t going to use. The only reason he was that efficient was because he was dialed in to how to best achieve what he needed and how to use after effects so well. He wasn’t “fixing it in post”. He was “shooting for the edit” not for “excessive coverage” and wasting everyone’s time. Much like how David Fincher works if your familiar with his subtle use of VFX in narrative storytelling. 
 

And the other DP/Operator was an ass. He bought an FX6 and a barely knew how to use it but would book jobs anyway and literally be reading the manuals on breaks in between takes. He was lost, but definitely not in technical specs. 
 

When you say that pros aren’t on here talking about camera gear, how do you know? Do you know who’s on here and what they do? Also, many of the guys I’m friends with here in LA go to trade shows and meet up at companies when new products come out. They beta test stuff and talk directly to the engineers and then we all chat about it over dinner or coffee. You’re way off if you think the conversations don’t sound like how we talk here. Camera guys nerd out on camera gear, they just do it in private circles with other pros. 

I figured it might go the way of the X100V. Sales paused on the tiny but mighty X-M5 for now. Wonder if I should flip mine on the black market for big $$$$$$
 

https://fujiaddict.com/2025/03/14/fujifilm-x-m5-sales-paused-overseas/amp/

9 hours ago, j_one said:

I hear you for sure. You’re definitely right.

I think the point behind the nitpicking is to figure out where the current gen Lumix bodies stand in comparison to the competition and last gen, including IQ. It’s been a while since they released a pro body like this so it’s good to see where their focus is now in their positioning within the pro market.

Things like downscaling and cropping do factor in to purchase choices just like features, ergonomics, and reliability do. Some want paint brushes. Some want tested utilitarian tools. Some want some balanced mix of both for their money. It may or may not make a difference; some of us just want to know what’s happening under the hood.

Because if we’re gonna say that clients don’t really care what we see, how come most of us don’t just pick up a few secondhand 5D3/D810/A7Sii/GH5/C100/P6k/FS7 and call it a day? Some answers to this may reveal legit analysis paralysis. Others, not so much. 

It’s something every artist or business has to answer for themselves. Like I really don’t care for the FX6 since what I have is good enough, but if owning one fits well into existing clients’ workflows AND gets me more jobs then hey it’s time to consider upgrading.

(Remembering that we’re pages deep into a topic discussing video performance for a supposedly photo-focused camera model haha)

Exactly...

Dissecting every little stat on paper and arguing in YouTube comments over various cameras is one thing... but there's something to be said for mastering your craft and learning your tools. I research the shit out of gear and then after I pull the trigger on a purchase I rarely look back. I keep my cameras, lenses, lights etc...for YEARS. Really knowing how you can push a camera or other tool while out in the field is a solid skill. I have worked with so many camera ops, even DP's on set who said to me, "Oh, I didn't even know this camera had that mode/function... 

But alternatively, I was working as a 1st AD on a small indie feature a few years back and that DP was really, really good. He was the one person on set who was getting paid full rate. And it was worth paying him with how tight and efficient he was. He also was really good at After Effects and compositing as well as color grading and was going to end up doing that stuff later in post. I'll never forget the lesson I learned on a very full day watching him shoot. He was so efficient with our massive shot list and there were a lot of times we thought we had to go again for third and fourth takes. I would walk over to the director and make sure we were good because I would notice little continuity mistakes or other issues and the DP would always dismiss me. Later at lunch he explained that he knew what we needed and that the background was going to be replaced in post, or he was just going to mask off the extra that walked into the frame etc... So many other inexperienced directors/DP's would have spent hours "getting it right" but been behind all day. So my parallel with the S1Rii here is that I want to be able to put it through its paces and how it will stand up to certain things. I want to know that if I'm shooting an event that I can shoot a wide video clip and know that later I can extract a few cropped stills and it will hold up. Because this is a hybrid camera, I want to really know if it will act like one when pushed. Of course we know it will be fine for most things and the 4k will be great but some of us are looking to push it. 

12 hours ago, octoplex said:

The notion of "color grading" is largely a commercial-construct designed to create the job of "colorist" and to sell computer hardware and software. Movies made after the 1980s look consistently worse and worse, because the popular concept of "fixing it in post" has led a generation of film-makers to disregard the importance of proper lighting, story, acting, and set design.

While I do like the look of film and enjoy movies from the 90’s, you’re laying it on pretty thick here and a little over dramatic. There have been a lot of beautiful, cinematic films coming out over the years since that weren’t shot on film and I wholeheartedly disagree on your “hot take” on colorists. You have an opinion and that’s great but none of this is fact. Actually it’s rather naive and the Alexa 35 in the right hands might be indistinguishable from film at this point. 
 

1. At the end of the day film is both an art form and a product. If the audience doesn’t mind or can’t tell the difference the cheaper and more efficient format will win out over quality/nostalgia 90% of the time. 
 

2. It might be important to remember that  we all have a perspective based on what we were raised on and what we enjoyed growing up. What looks “good” to us can taint our objectivity and it’s important to separate out nostalgia and familiarity from things like color, latitude and grain.
 

3. For someone raised on the internet and video games at 60p your idea of film being superior is laughable. The new generation is determining things now. Vertical format content delivered in bite sized portions all day long. That’s the norm. Steaming services competing over existing IP that has a built in audience and a race to the bottom. 
 

3 hours ago, wushuliu said:

Watching that last video I came to the opposite conclusion - maybe because I watched most of it with the sound off so I didn't have to hear Gerald's commentary. My observations were:

1. The base rolling shutter is fine and the criticisms amount to hysteria. The 15ms shots looked better, sure, but only because you're comparing back to back. No viewer in the real world would care.

2. *Panasonic has provided multiple modes that allow you to mitigate RS*. Amazing that isn't the the takeaway. You can get decent read speed in a pinch, you just have to make some (minor) compromises.

3. Don't do panning shots with telephoto lenses. If Robert Altman super-zoom pans are your jam, then the S1RII sucks.

I like how the first thing the camera guy Gerald wrangled along said was 'I mainly do dolly shots so rolling shutter doesn't matter to me' and then had to come up with some debilitating circumstance for bad RS. If you listen to Gerald's commentary then you get a negative take-away. If you just use your eyes you see a really capable and flexible camera.

Oh yeah, for sure, I agree with you. I was talking about the first video Gerald made and how he “implied” things. Meaning he said a bunch of stuff which was exaggerated and then misunderstood by a lot of people. And yeah, the second video showed that it wasn’t really an issue. He tried to make people happy after the fact but for me the damage was done. 

Fun to see the difference between festivals. Your original topic of Sony vs Canon definitely continues in Austin for SXSW.

*Side note - No Film School sure has fallen off hasn’t it? Quite the clickbaity shit show now. 

https://*banned URL*/cameras-of-sxsw-2025

9 minutes ago, MrSMW said:

I’d hope they would put it in all of them as it’s somewhat annoying when footage does not match and the S9 is very much a B cam to to S5ii/x.

Actually, it’s my A cam and the S5ii’s are ‘B’ but burning in that base LUT makes my workflow so much easier.

An Arri link up is very good marketing just as Nikons is with RED.

They both need to milk these things.

DJI - Hasselblad has entered the chat. 

On 3/12/2025 at 10:09 AM, Al Dolega said:

I can't find where it was presented as "cinematic storytelling", could you point that out to us? 

When you see a latitude or color test video on Youtube, do you take that as proof that "the next wave of cinematic storytelling" will now be models standing still holding color charts?

The tests all lead to what the camera can and can’t do out in the real world. What’s being implied is that some of these tests (and the added commentary from Gerald) make it appear that the camera won’t be able to perform as needed. Whether that’s cinematic or commercial or whatever it’s sort of irrelevant. 

I do remember cheering out loud when I saw the filmmaker Cullen Hoback using an S1H on some BTS footage of the HBO doc from 3 years ago about The Q-Anon cult. I think he shot the whole thing with two of them. 

One things no one has mentioned yet is Autofocus. FX6 and a couple of FX3’s make a pretty solid doc package on the cheap and might be able to eliminate 1-2 crew members/operators if depending on AF for talking heads and run and gun stuff. I’ve missed a few big shots on the GH5 on interviews using manual lenses. I was in a contrasty low light situation and thought I was ok with the focus range to be able to lock off a second angle on he GH5. I didn’t notice that the talent had adjusted their chair forward and about 20 min into the interview I looked over to see a soft image on the monitor and cursed myself for missing it. That would have surely been saved with Sony AF on the FX3. Same with AF for gimbal work replacing more expensive steady cam stuff with a 2nd AC operating a FIZ. 

The FX6 can be built up into a good looking full size camera to impress clients meanwhile the small size of the FX3’s can be used like @IronFilm mentioned as crash cams or car mounted stuff. Good rolling shutter and low light performance along with small travel bags for airplanes makes it all a pretty solid setup. 

16 minutes ago, PannySVHS said:

The 28mm and the XM5 should be a treat. S5 and the 135mm on sticks would lovely, maybe even in S35. I'm getting exited to test my S1H on sticks with the 90mm. @Ninpo33

S1RII, like the S1H before, could be the h264 and h265 camera of the year besting all other Dslms in these codecs up to Iso 12800. All Intra h264 and Prores HQ should provide pretty much the same quality anyway.

Can a variety of crops be used for Prores Raw, like S16, S35 and 4to3 ratio?

Yes, even with the adapters and speedboosters the wides are pretty compact. I would like to do a shootout with all the various Vivitars and find the best ones. I just recently discovered the older Soligor lenses built by Tokina as well. All f/2. 
 

And yes, S1Rii has Prores in all the different crop modes I believe.