Ninpo33

But as I said above, I am happy about the minor update to video specs, because I want an A1 mk1. The camera was ahead of its time upon release and still has some features I want. This just means if you wait a couple of years with Sony you can scoop up the cutting edge tech at bargain prices on the used market. I rent the FX6 and FX3’s all the time for corporate work but am going to buy a ZV-E1 for myself at $1,300 soon. Lack of anamorphic support/open gate is criminal in this day and age but there is a place for a low MP video camera with good low light and AF in my kit. But not for $3k and certainly not a $7k A1mk2

No, I’m not new to the scene LOL. I got a camera for my birthday and developed my first role of film at 8 years old. Shot home movies and skate videos on Hi 8. My first nice camera was a Panasonic DVX100 and then a AF100 followed by a 5Dmk2, Red Scarlet, GH2,3,4,5… etc So sounds like maybe YOU are new to the scene LOL. I said slow, INCREMENTAL changes and that’s exactly what your post confirms. Sony is known for expensive cameras and making huge advances every 5 years and then trickling out the little changes here and there and riding their big releases for years. Then they give their new tech to lower end cameras and piss of the pros that bought a flagship. FX3 is how old now? Then comes the ZV-E1 with 90% of its features for half the price. It’s their business model and you can be a Sony Fan Boi all you want but LUMIX, Fuji and some others who are innovating and pumping out generous firmware updates, (That don’t brick your camera) have my loyalty. the A1mkii is just another meh update from them and they continue to piss off a lot of their flagship base. Many of the pros I work with mention it to me all the time.

I was told the all black version will be coming to the U.S. a bit later but I’m seeing a bunch of them in the wild. I couldn’t pass up a $500 LUMIX S5 this week so I’ll have to wait on the X-M5 till after the holidays anyway. Hoping they don’t have the same shortages as the X100 series.

Smart choice and for the money, more practical for sure. Until the AF gets better it’s still a pretty specialized system. i would love a new GFX rangefinder 50R mark 2 or 100R that shoots decent video. The 100S has gotten crazy cheap for what it can do but I need better video so I’ve always talked myself out of one. For my needs I need Video even on the third C camera that also acts as a high res stills hybrid.

Ummm, have you seen the Gerald Undone review? He refreshingly pulls no punches this time.

Yeah, I was disappointed in the same/similar video specs but also relieved. If prices come down considerably on the A1 mk1 that will be worth this release alone I suppose. The A1 is a sweet camera and was ahead of its time on release but priced high. I’ve been waiting for a deal on one so hopefully the new model should force the mk1 down on the used market. Sony is known for its slow, incremental releases but the photo specs are a nice step up with this model. However I can’t help but feel like maybe we are at a slow time in sensor/camera evolution with not much development in the space. Feels like all the major brands are releasing recycled parts with old sensor tech. And if Sony isn’t revolutionizing things with their flagship model I don’t know what to say. Would be nice if the other companies can get their own sensors going so everyone is not dependent on them.

Not exactly Black Friday but the service I use to buy cheap used gear in Japan has a bunch of 10% off coupons that work in their auction sites. https://buyee.jp/yahoo/auction Just scored a very nice lumix S5 for $550 including FedX shipping to the U.S. with a coupon.

No, AF is not supported at all. There is a Sony adapter for A mount lenses to E mount bodies but it’s only for photos and has no video functions unfortunately. I shoot video/films and rarely use autofocus so for me adapting lenses is all about the image IQ first and I can usually live with other issues. Most likely I will end up getting the whole set rehoused in the future to PL or LPL anyway.

Yeah, that’s just one of the things he does. He does wildlife and has several YouTube channels too. Lots of good testing in the real world with examples which I like. Takes the time to actually shoot and not just read of camera specs at their desk so he gets my vote.

Yeah, we’ve had this discussion before. Obviously the 1st gen Panasonic box cameras were kind of a lazy recycling of parts, not a truly innovative new mini cinema cam. The GFX 100ii is $7k so the Eterna being double the price of a C80 makes sense. It’s apples or oranges anyway.

And you know for a fact that this sensor doesn’t support any tweaks/adjustments or the ability to improve performance? Please post a link.

While I agree to an extant for Red, Arri is in a whole separate universe and pretty much untouchable in my opinion. For large productions they don’t even bother looking at other cameras. There are just so many other factors at play when making a movie so a lot of times they don’t want to mess with any untested new stuff. Playing it safe and choosing the tried and true camera system that “everyone else uses” is the norm. Once in a while someone will get creative and use something interesting for a specific look or to achieve a particular effect. Alex Garland in Civil War for example and his choice of the Ronin 4D for some of the shots…

Same here, it’s good for us consumers and even if the cameras aren’t perfect it motivates the other cameras into action and forces them to compete. (Ideally) Maybe this will help give us the full frame lumix EVA or a FX3 mk2 box camera from Sony. Just happy to see something in the pipeline announced that isn’t a small camera marketed for vertical shooting “creators”.

The X-H2s is a beast. Going to finally build mine up this X-Mas into a mini Cine camera with a Cineback and some other goodies. X-H2s is $1,400 US now on the used market and it’s a lot of camera for that price.

I think this video sums of my feelings perfectly…

Taking a bunch of old things and putting them together does in fact make a new thing if those things in that configuration never existed before. Is the ZV-E1 a new camera or is it just an FX3? which is just an A7sIII… Since you’re splitting hairs here I will clarify that the “newness” in my original post referred to a newly announced medium format cinema cam for the low end market. That is new is it not? My point was that innovation in the market has been stale and it’s nice to see Fuji announce an $800 camera with 6.2k open gate 12 Bit HDMI Raw and a medium format cinema cam in the same month. I’m optimistic about the future but feel free to argue about partial tech specs from a day old press release.

It’s early days and we don’t know exactly what the final product is going to end up with right? Lots of time between now and when it’s released. Fun to speculate of course but yes it is a bold move by Fuji. And while the individual components in the preproduction model announcement might be existing tech, I would argue that it is indeed a bold camera. Andrew has already expounded on it better than I could so I won’t go into detail here. I know locally here in Los Angeles the Old Fast Glass, “Custom 65” rents out pretty much continuously and they’re building more to keep up with the demand. The fact that they even put that custom rig together and how popular it’s been show shows me that there is a desire for a camera like this and it’s been popular even in its limited speced, modded out version. For perspective, Canons are not renting at all for larger productions and even the new C400 is sitting around right now. It’s all Alexa Mini LF and 65 on the high end and FX6 with FX3 on the low end. Smaller owner operators are different but local DP’s love the idea of a cheaper Medium Format option that can use adapted vintage glass. All it will take is faster readout speeds and reduced rolling shutter to take it a level above where it’s at right now.

With the lack of new camera news in 2024 especially exciting flagship models, this feels too good to be true…!!! As always, any new bold tech is good for everyone because it forces all the companies to innovate and compete. Excited to learn more. https://www.fujirumors.com/fujifilm-gfx-eterna-filmmaking-camera-development-announcement-with-expected-2025-release/

To be honest, I just sold some older camera bodies and a few lenses so I’m looking at grabbing both the Xm5 and S9. Best of both worlds while I wait for the more flagship cameras to drop. The sigma FP was listed at $350 so was going to have fun with that but alas, chose to simplify and not get bogged down trying to fix an older camera that is in need of too manly fiddly bits. Used X-H2s with X-M5 as B cam Open box S9 with S2H forthcoming (hopefully) That’s a lot of firepower for peanuts.

Yeah, I had hoped the S9 would get a raw output update at some point but I guess it could cannibalize the s5ii so I understand. But then Fuji goes and gives away the store for $800 so hey…

Update: Decided against the broken FP. With the X-M5 coming out for $800 and doing 12bit raw, hard to pass up.

Yeah, I’m always surprised more people aren’t as excited about the X-H2s as I am. I know there’s a bias against Super 35 still but the huge popularity of the FX30 shows me it’s not all Full Frame these days. For anamorphic shooting the 6.2k open gate is awesome. And ProRes? Amazing deal for $1,500 used right now. I’m looking at the specs of the new Fuji X-m5 and thinking it will make a great B or C camera to the X-H2s. My ideal traveling doc setup is going to be GFX 100ii - Stills and static video shots X-H2s - Action and gimbal, handheld. X-M5 - C cam third angle, street cam. I picked up a number of older Minolta AF lenses this year for really cheap and metabones makes a MAF to Fuji X speedbooster for them. Having the full set of lenses for peanuts including a lot of fast f/1.4 lenses is going to be fun to play with.

I applaud your devotion to ethical products but in 2024 this is not that easy. The global marketplace is a complicated beast and just because a camera label says something about where it’s assembled “made” you’re going to never know the true story of what is the most ethical choice. Huge companies like Panasonic and Sony are global players with products being made and sold all over. Trying to assign a value on the finished camera body which may consist of parts from China, rare earth conflict metals from Africa? Who knows at this point? And to the rest of your post, have you played with any Fuji products? Sounds right up your alley. The X-H2s sounds like it has everything you are looking for in a camera system with film looks and the sweet XTrans sensor. I love it. At the same time it’s important to remember that a clean and neutral image will always be a great starting place to grade into whatever look you want. Dehancer and the other software options can achieve most of what you are looking for with a few simple clicks with the added benefit of not locking in an image or burning in a particular look.

Hoping to get some insight here from Sigma FP users. I have been wanting to build out a mini FP cinema rig around something like the Cineback or Rigid Pro box style accessory for a while now. The problem with the FP in general is the lack of articulating screen and having access to menu functions once it’s built out. I found a great deal on one with a cracked screen. The screen on this cheap FP has a big crack down the middle so I’m looking to use an external monitor in place of the damaged one. I’m willing to play around with it but wanted to see if anyone here had some quick answers that could save me some time to see if it’s worth it. 1. Will an external monitor or Ninja V Recorder be able to control all functions of the camera without access to back LCD screen? What about an app? EVF maybe as a solution? 2. With no ability to press the menu button on the back bottom corner is there a way to access the menu system otherwise? Custom button remap or the Sigma app? Not sure it’s worth it but it’s otherwise in like new condition and at less than half market value I’m hoping to save the headless FP and put it to use buried in a box style rig. Alternatively I could look into getting the LCD replaced but would rather put that money towards accessories I’m going to need anyway.

If you insist on going Sony one nice setup I’ve seen good results with is using the controversial and cheaper Blazar Anamorphic lenses and adapters. A lot of people have issues with the quality of these lenses even though they are priced really well. The thing is, most of the issues are with the edges and the swirly, swimming look and extreme distortion. By shooting with the FX3 or ZV-E1 and cropping most of the edges off, you’re getting rid of the more extreme character and retaining a more useable final image. Another great option is shooting with the cheaper FX30 and using the APS-C crop to your advantage and essentially doing the same thing. The real mojo with the FX30 is going external though and recording RAW 4.7K (16:9) 4672 x 2628 mode. This slight bump in quality helps negate the crop in post and is a really good image.