Ninpo33

4 hours ago, PannySVHS said:

That 135mm looks pretty. Thanks for posting. What camera do you use the 90 and 135mm with? @Ninpo33

I Currently have the Fuji X-M5 and the LUMIX S5 with adapters for both with either a GFX100s or a S1Rii on the way next. Still getting used to the little Fuji and haven’t tried the 90mm or 135mm on there yet. I have a m42 speedbooster for Fuji from Kipon but it’s been getting stuck on the camera and I worry about damage. Plus it’s a little ridiculous on the tiny little body.

29 minutes ago, MrSMW said:

I had the debate myself over SL2 vs S1R a few years back but in my case the need was primarily hi res stills and only a secondary need for video and at the time, not log.

The S1R easily won that argument. It was, for stills at least, a better, but 1/2 price SL2, though the Leica beat it on design and badge. Obviously.

But time marches on and though many of us consider the S1R and S1H well overdue and this latest launch is not quite what many hoped for, but cut out all the hysterics and simply ask yourself, "is this a good piece of kit for my needs?" and that is the only bit of info that is actually relevant.

I have warmed to it and could make a case for it, but still wish it had been 60mp+ for my own selfish reasons!

I agree, 61mp with three different modes for stills (like the SL3) would have been great but not with the same sensor as the SL3. I guess they waited long enough to try sort out a decent readout speed and in the end I’m glad they went with the sensor and lower pixels to make it a better hybrid. I can live with 44mp or so but if I already had the 61mp Sony I would be in the same boat as you and wouldn’t feel the need to upgrade. If I shot more sports, events or weddings I would have already bought an A7RV and made do with the weaker video specs. Good news is that GFX100s is at $2,500 now so it’s becoming a tight little race indeed. 

27 minutes ago, MrSMW said:

It’s called ‘timing’ and ‘progress’ respectively isn’t it as in just a few months back, some of those older cameras might have made sense, but with march of time, increasingly less until such a point as they do not.

I don’t think we are quite at the ‘do not’ stage yet with those models, but launches like the S1Rii start to compete and once the prices drop and firmware upgrades happen, should make even more sense.

The SL2 with zero tilt screen option for one thing would just kill it for me.

Yeah, for sure. I mean, that’s why I’ve been waiting over a year for the high res stills body and not bought anything. I just wish this camera came out two years ago LOL. 

While waiting for all the Panasonic S2.0 bodies I got impatient and bid on two different SL2 models on eBay. They both went above $2k and ended up above  $2400 with tax and fees. For me the $2k was kind of a psychological barrier that I could justify the camera at. I also bid on three different S1R models and ended up winning a great deal on one that ended up being a scam. The S1R’s I was going for under $1,200 all in. I need high res stills and need the second body to shoot solid 4k video. Ideally to be a full on second video camera when needed. Because the SL2 has Log and the S1R doesn’t I was after the SL2, plus I’ve always loved the design of the SL series and could justify the extra $$$. And the SL3 and SL3-S are just totally gimped and the $6k prices are a joke. 
 

But now…? After the S1Rii the SL2 just feels stupid even at $2k. It’s not just the 8k but it’s all the new 2021 - 2025 advancements we’re getting. Even something as simple as shooting to SSD’s and 32 bit float actually change my workflow in pretty substantial ways. I’ll be selling some lenses and other gear soon and pretty excited to upgrade soon. If and when the S1Hii drops the S1Rii becomes a solid B-Cam 
 

2 hours ago, Walter H said:

Keep in mind that if you are also a stills shooter using Capture One and if you would need to upgrade C1 to use the S1Rii, you can preorder the camera from Adorama and between the free media and the discounted C1, it is a $3k camera.

This might be the first time I jump at the pre-order phase. No doubt there may be some realtive deals (open box or otherwise) by mid & late summer, but for the maybe couple hundred dollars of additional savings, I think this camera will be making my professional life much easier for months already. False color and switchable, discrete photo/video modes alone is worth several hundred over four months to me. Then pile on everything else.

Oh yeah for sure. I think it’s already a deal for what it can do and paying full price at launch for this one is easy. The $6800 Sony A1 is another story.
 

I buy a lot of open box/gently used gear from Japan on various shopping sites so I’ll probably wait for one of those to pop up in the next few months. They have a lot of 3 day sales with 10% - 15% off coupons and free shipping. Plus there’s no tax so it will be just under $3k very soon with the deal. 
 

2 hours ago, PannySVHS said:

I would love to see the 28mm Vivitar in action.:) @Ninpo33 It looks like a Vivitar I lens in body design and sturdiness, doesn't it?  Iirc from my ebay tours some years ago, it looks just as cool. Is the 135mm as nice as the 90mm? Have you shot with the 90mm? cheers

135mm is a nice little compact design and made by Komine. I love the look of the Series 1 lenses with the little cut out/ aperature window on the lens body. 

Yes, It gets a little confusing with all the different companies making lenses for Vivitar at the time. There were a couple models and you can tell them apart by serial number. 

All of them are good build quality and a good deal. Performance is nice, especially for the price but some of them have an issue with oil leaking onto the blades. 

22XXX - Kiron/Kino Precision Optical made lens - 

37XXX - Tokina made lens

28XXX - Komine made lens

5 hours ago, eatstoomuchjam said:

Nice!  Not sure where in Minnesota you are, but assuming you're near MSP, do you ever do Z-Fest, 50 Fifty, or any of the other local short film contests?  Would be cool to see what you're shooting with 'em.

I'd still say that unless the Eterna is priced pretty similarly to the GFX 100 II, they're going to have a real battle for sales vs Ursa Cine 17K, especially if BM release a body-only version similar to what they've done with the UC 12K.

Yeah I heard them say they are TRYING to make it affordable for the consumer, "NOT JUST RENTAL HOUSES" so that for me was disheartening. That sounds like $10k minimum to me if they even have to say a line like that.

Honestly for how close image will probably be to the 100ii it would make more sense for me to just wait and pick up a used 100ii and rig it up. The second generation Eterna will probably be a beast of a camera if they can get those read speeds quicker and incorporate the next level of tech that's coming. 

1 hour ago, Andrew Reid said:

I would say the 6K/60p of the S1R II is the mode that should have got the most attention in reviews though.There's no crop in 6K/60p right? And the rolling shutter is much better than in 8K?

I still won't be getting one though. There's no way it is better than the Z8 for 3500 euros.

Yeah, 15.3ms on the 60p modes

7.3ms on the 100/120p modes.

it's funny how Lumix were so late to the party with FF 4k 60p but then once we finally get it everyone is all bent out of shape about other features and the 60p just gets passed over. 

If you're talking about overall specs and performance that might true but it depends on what you're upgrading from. I think it's pretty close when you factor in usability and familiarity of Lumix products. After years with Lumix cameras and workflow it's nice to not have a steep learning curve in menus, functions and post processing. We've talked about being invested in a system and the true cost of ownership will depend on other factors. I shoot a lot of anamorphic so Panasonic has always had an advantage when it comes to crop modes and IBIS specific to that format. That alone makes it really stand out for me. I'm probably going to pick one up once I can get it for below $3k open box/used. I was really close to getting a used SL2 or a S1R and bid on several deals the last 2 months. But now at $2k the SL2 just isn't practical when the S1Rii can be had for just $3k or so. Same goes for the Sony A1 mk1. For $3k used and several years old now it feels like it's loosing its mojo for me compared to what's coming. 

5 hours ago, PannySVHS said:

I got the Vivitar 1 alteration of the Bokina. I'd call it the steelhammer version. It is so robust and tough. Mine has a ca 1/3" × 1/4" × 1/4" chunk of steel chipped off miraculously by a former owner, maybe in a steelhammer manner. It still operates like a charm. This lens is crazy regarding built. What a beasty lens. I have only used it once or twice many years ago. I must change that. Which Viv I lenses do you have? @Ninpo33We could do a Vivitar cinema verité piece or any kind of video and share it here.

I got the Bokina and a Vivitar 35mm 1.9, which I wouldnt consider in the same league as the Bokina. I'm pretty sure the 35mm is not a lens from the I series. The 28mm F2 looks beautiful. Must be a pleasure to hold and use.

It's a shame I left that gem collecting dust. As it comes to my mind, I even have a converter for it, changing it into a 60 or 65mm lens. This lens is a good reason for some solid tripod fun!

Back to topic. If the S1RII has a creamy look like a C500II with absence of oversharpening, it could be a tempting prospect of Gas. Better not.:)

I have the 35mm f/1.9 as well. Both of ours are probably made by Komine for Vivitar. Does your serial number start with 28XXX? Great lens. I also have the 24mm f/2 and the 28mm f/2 from the same time period both made by Kiron for Vivitar: Series 1 I only have the Bokina and the 135mm f/2.3. I think these will start to be creeping up in price soon due to people finally finding them. : )

1 hour ago, Emanuel said:

So, keep going strictly on topic about this camera, seems interesting to have available some kind of test with the different coverage of vintage glass as for instance, for those different crops (1:04, 1:10, 1.11, 1.17, 1.31, 1.52, 1.65), wouldn't it be? If not for all : P at least for those to mainly be used. As earlier mentioned by two of us, RS can even be irrelevant. Let's not mention the shooting style now but the selectable recording mode chosen.

This new video from Connor is helpful to me. Nice little rundown of a lot of the main crop modes. He was nice enough to include a link to download all the files so if anyone wants to play, check out the link below.

A couple of things if noticed while reviewing footage and doing more research about the S1Rii, the color fidelity really does look good, I’m really liking this sensor so far. Kind of crazy how good the 4.2.0 files look compared to the 4.2.2 and Prores. Also there is mention a few places that the new IBIS is so good that it might be helping to counteract the slower readout speeds. Would be quite the development if that ended up being why the 24ms doesn’t look bad to most people…

1 hour ago, PannySVHS said:

Back to topic. Does DRE work in S35 and pixel to pixel 4k? That could provide an acceptable readout speed for DRE use.

DRE is only available in the 5.8k and above higher res modes if I remember correctly. Also, read out speeds at 4k and super 35 are below 15s rolling shutter at 60p so very usable. 
 

Also, I love the ”Bokina”. I have several of the older Tokina/Vivitar Series 1 lenses and they are really a bargain for the image they produce and the build quality. 

6 hours ago, eatstoomuchjam said:

Meanwhile, yeah, 32ms rolling shutter is pretty bad.  I have it on my GFX 100 II in 8K mode and yeah, if something is moving horizontally through the frame at almost any speed, you will probably see it a little bit.  Solution?  Don't use that mode in those cases.  Works fine for plenty of other stuff.  Something's moving horizontally?  Better to just use the 4K mode that has like a 15-17ms readout.

One of the big things causing issues is the DRE mode for extended Dynamc Range. It’s a feature but will cost you RS when turned on. It’s the same as in the GFX100ii. Quoting RS speeds in 8k with DRE turned on is absolutely the worst for RS. So as Andrew mentioned, it’s all about real world use. No one in the real world would turn on DRE and go shoot action and F1 cars. It’s the wrong tool for that job. So for Gerald to focus on the 31ms speed and keep repeating it was disingenuous.  

25 minutes ago, newfoundmass said:

He could probably save himself all these headaches by giving more context in his videos if he feels that they are being misconstrued or misunderstood.

It's hard to feel too sorry for someone who created the problem he now has. He pigeonholed himself into being THAT guy because it was what got the most views aka generated the most revenue, and now he hates it.

Seems less like "Rise of the salesmen, Death of the artist" and more "Rise of the salesmen, Reaping what you sow."

Exactly…!!!

Whether he likes it or not, he’s become a YouTube personality everyone trusts and goes to for “scientific results” and there are a lot of people that misconstrue his results. With the S1Rii all he had to do was say something like, “rolling shutter isn’t great, about the same as the other LUMIX cameras, turning DRE off will help a lot. This is a common trait of high res sensors like the A7RV and the SL3 so 8k readout speeds will be slow”

A line like that would have literally saved so many stupid comments and made this thing much less of an issue. He’s trying to blame LUMIX fan boys for people complaining when he really needs to check his ego and learn how to take constructive criticism. 

9 hours ago, eatstoomuchjam said:

It's a lot more than my little brain can store when I'm out and about.  I mostly just have C dial settings for the modes I'm apt to use (C1 = 4Kp23.98, C2 = 4Kp60, C3 = 5.8kp23. C4 = 98,8k23.98, etc).

Right. I just use this as a quick reference guide and then do like you and set custom settings. It’s nice to see lens coverage though. 

On 3/4/2025 at 5:44 PM, eatstoomuchjam said:

None that I’m aware of, but there are an awful lot of menu options and the list of recording modes and their associated crop levels is S1R II-level confusing.

I found the charts on DP Review helpful to break down all the crop modes on the GFX100ii. 
 

10 hours ago, Django said:

Yeah pretty wild that in 2025 Sony only offers it on their $60K Venice 2. I’d hope that would change in the FX replacements or even some kind of update although Sony are terrible in that department. 
 

There is a rumour Canon will introduce open gate in an upcoming R5 mk2 update. It would be a smart move because that camera isn’t getting much love and no one aside from Panasonic is doing it on a hybrid (would be a direct S1Rii counter strike). Plus if Canon add it, it might push Nikon to do so as well. 

I’m using open gate with great success on the Fuji stuff: X-H2s and X-M5 but yeah, for full frame it’s a short list. And then the GFX 100ii and upcoming Eterna for medium format. 

2 hours ago, Andrew Reid said:

What do you do with 2, 5, 10TB of files though afterwards?

It mounts up.

You then have to either delete the masters or transcode them. The latter option could get very time consuming and the former option can only be done if you transcode unless you want all the original footage gone forever.

Another difference between client videography and art.

With a client they are happy when you throw 2TB at them and say keep it, it's yours.

But if you've just spent a month filming your short film, no way are you going to compress all that to mush or delete it.

Good points. 

3 hours ago, j_one said:

ProRes Raw/BRAW is what probably bypasses most of the rubbish processing, artifacts etc as with S5ii

Agreed. But I thought you were just looking to go straight into Resolve without any transcoding and that’s what your comments were about. 

3 hours ago, Django said:

Yeah I don’t really think stills burst rate limits correlates to open gate. There are cameras from Panny and BMD that offer it with much older tech. 
 

Personally I wouldn’t mind if it were offered with certain codec/fps restrictions just as long as it’s an option. Fingers crossed.

Yeah, I feel like these days companies  really should figure out giving us an open gate setting even on older cameras. With so many people shooting stuff for social media and the rise in cheap anamorphic lenses it feels like a no brainer. LUMIX was always so ahead of things in this regard, so crazy to think that the FX3 still doesn’t have it. Would be a perfect addition to the Z8 

6 hours ago, Andrew Reid said:

All massive file sizes though.

No ProRes LT as on Fuji X-H2 and others.

And no 700Mbit/s compressed RAW video codec as on Canon EOS R3 and Nikon Z8.

Room for improvement here in my opinion!

Oh definitely. But the post was about being able to use Davinci Resolve with the S1Rii files. Also, just like the S5iix you can record to small little m.2 nvme SSD sleds which are cheap, fast and easy to mount. 

Another vote for the S5. I got mine used from Japan for $535 and it looks like new. They gave that camera a new life with the later updates too… I have mine as a B camera with a Ninja V+ on it because that last big update gave it raw 6k, 4k s35 and 3.5k anamorphic raw. So with the S9 you get all the latest lumix has to offer but the S5 makes a really sweet B and C cam now. And that sensor has such a nice look to it compared to the over sharpened S5ii. It’s not a big deal but I feel like it looks a little closer to the S1H. My only gripe is that they never really figured out how to do L-Mount speed boosters for Panasonic cameras. I emailed metabones 3 or 4 times and they never gave me a reason. I have been told there isn’t enough room but some of the other shorter flange distances work so who knows… luckily at this point we’re finally at FF 60p with no crop moving forward. I do however have the Kipon Focal reducer to adapt the Mamiya 645 lenses to the S5 so that’s been fun. Since AF isn’t the best I doubled down on vintage, manual glass. 
 

Second I would say the small bit mighty Fujifilm X-M5 at $800. 

 Like a baby X-H2s with quite the list of video record options. Ranked 8th best in DR tests by Cine D. And quite the image with 6.2k open gate and 60p/120p 4k. Rolling shutter can be a little bad in the open gate modes but there are some other faster options to choose from if that’s your priority. Also, the Raw output (6.2k 3:2 and 5.2k 60p) is unexpected in such a tiny and cheap camera. Just have to get a locking cable bracket because it’s micro HDMI. No IBIS so makes for a good drone cam or car mount/action cam and matches perfectly with the X-H2s. Fast data rate speeds and 4.2.2 color with F-Log options.
 

lens tangent: I have been using it with the little Blazar Nero 1.5x adapter for Anamorphic 6k and love the results. The Blazar is a little wild at full frame but for APS-C it looses the funky edges and looks a lot cleaner. Plus you can add it to your lens of choice and have fun with it. I’m adapting some 60’s Japanese rangefinder lenses to M mount and they pair really well with the Blazar. 
 

On 3/5/2025 at 1:11 AM, j_one said:

S1rii currently only internal ProRes raw so no Davinci support, LUMIX lenses bore me.

If I’m not mistaken there is internal ProRes and ProRes HQ internal as well as ProRes Raw. 

4 hours ago, Walter H said:

So much for me not watching reviews, but I am glad I found this which just seems a bit slower and more grounded.

While there is a lot of similar ground covered from earlier reviews, things that stand out to me in this one are

• lots of great imagery and skin tone in a variety of lighting
• perhaps a slight over correction toward magenta? but no more of the greens that I am always pulling out of my S1 footage
• dynamic range gains are weighted toward the shadows and highlights need to be better protected when they are prioritized and
• fantastic color and noise stability when lifting shadows relative to prior S cameras (like shocking to me)
• don't use DRE with 8K for a sit-down interview.

 

Oh hey look, Ed Prosser’s. Video I mentioned a while back. Look @eatstoomuchjam now you don’t have to waste your time googling anything. Here it is, delivered right to you. 

53 minutes ago, MrSMW said:

 

Fujis imminent fixed lens might be 100mp and then we are talking.

’Walk with your feet” is the line folks trot out, but that is not always possible.

Yes, and even has a cool dial for shifting through crop modes…!! I sure hope the rumored price of $5,000 US is wrong tho…
 

https://www.fujirumors.com/exclusive-first-image-of-fujifilm-gfx100rf/

7 hours ago, Emanuel said:

for instance... but do not blame me to go off topic here! xD)

I would not be able to tell even if you did my friend. 
 

Honest question for you, all jokes aside. Do you use a translation app before posting? Whatever your process is for posting in English, it isn’t working out so good. I would like to understand what you are saying but I feel that less then 10% of your thoughts are making it across to the other side here. 

24 minutes ago, Caleb Genheimer said:

Yep, it’s a niche within a niche hah. Medium format digital is already a small crowd, then when you siphon off the video folks? Smaller crowd. I think the reality is, video users are gonna have to work with whatever sensors will sell well to the photo crowd (at least when it comes to medium format.) 

Im definitely looking forward to Eterna being on final firmware and in some folks’ hands to see what it can do though. I also hope they see the 100s II as a B-Cam option and align it as closely as they can via firmware.

Same. I can't afford the GFX 100ii yet but my plan is to pick up the 100s soon and use it for stills and some locked off video stuff. At least I can get into the system and start using my Mamiya and Soviet MF glass. Then later if I pick up a 100ii for a nice used discount the 100s can be B-Cam. I can always rent the Eterna if need be since I will have the lenses and adapters already good to go. 

Happy to see them working hard to get the Eterna a bit above the 100ii specs. RS at 15ms would be just fine and hopefully the other crop modes will stay reasonable. Plus yeah, the open gate stuff will be a nice addition. 

I sure wish Panasonic/Lumx would give us updates like this and interact with users about all these much desired specs. Imagine if in 2025 we see a GFX AND Lumix box cams?

CineD interviewed top Japanese Fujifilm managers about the upcoming Fujifilm GFX Eterna, which is already listed at BHphoto here.

GFX Eterna is Fujifilm’s first dedicated filmmaking camera

GFX Eterna coming still this year

Price wise, the goal is to make it available not only for rental houses, but that people can actually own it – Price Rumor here

supports 4:3 open gate. Resolution better than 4K

rolling shutter depends on mode you are filming

also on GFX100II depending on what mode you select

“we are making sure that the camera has no rolling shutter issue when you are shooting with the camera”

15ms is minimum rolling shutter (4K 16:9)

F-Log 2C was developed for the GFX Eterna, but since GFX100II already on the market, they added it there too

what is applied to GFX Eterna, will actually enhance also other models

Fujifilm developed a monitor that will be included in the package for the GFX Eterna

it’s not another brand making the monitor, but it is made by Fujifilm

5 inch monitor with touch screen

Fujifilm has received a lot of requests for a viewfinder, so Fujifilm is considering how to respond to that

around NAB in April Fujifilm will be disclosing more specs, but probably not yet all about it, but the main specs

Fujifilm wants to make sure this camera is well accepted in the market, otherwise there is no second or third camera

dual base ISO, ISO800 and ISO3200

Johnnie from CineD says that the Fujifilm team is relatively small and the small team is working on multiple projects

the Japanese manager confirms, “you are right, we don’t have a big team, but our platform is the same, we have the 5th generation processor and sensor and so it’s quite efficient. Although we have a small team working on different categories and different products, but the team knows what’s going on for the other camera projects and that could be implemented between each other. We are doing our best with our small team“

Developing a camera takes about 2 years. Fujifilm tries to adjust to the market needs as much as possible, so if Fujifilm thinks it’s necessary, they would even stop the development of a camera and change to something else. But that does not happen so often

Fortunately our digital cameras have been very well accepted, but of course the market will change

https://www.fujirumors.com/fujifilm-managers-talk-gfx-eterna-new-fujifilm-made-monitor-and-more-the-gfx-eterna-will-enhance-also-other-models/