Ninpo33

Sounds like you don’t want to shoot with an external recorder? If you’re that concerned about camera size building out a 5” monitor/recorder you might need to give up something. And again, I think if you’re talking about anamorphic shooting you need to really focus on other aspects of the image and not obsess over things like highlight roll off. Namely the ease and quality of anamorphic friendly modes on any particular camera. Sony has no open gate or anamorphic modes so you are forced to use a 1.33x lens to achieve the proper final aspect ratio. You won’t have very much anamorphic character, bokeh or distortion but you will retain the maximum resolution. What most people do is use the 1.5x aivascope or other 1.5x lens to achieve a super wide desqueezed image and then crop off a huge are of the sides to get the proper scope aspect ratio. For something like the FX3 it’s useable and I’ve seen good results but it is not ideal. The 10mp 3840x2160 image on the FX3 is already cropped in from the full height sensor and then you’re going to crop in again to loose even more resolution by chopping off the sides in post. in late 2024 my money for anamorphic is on the LUMIX S5iix and the Fuji X-H2s. Both start out with a 6k open gate image which gives you a huge 9k-10k desqueezed image and when you resize down to your final deliverable format you’re really gaining some mojo. Heck, even the Older S1H and S1R are going to be better for anamorphic and image mojo and you’re going to be out of pocket $1,300 US or less compared to more than double the price of a Sony.

There is no way to turn down internal sharpening on Sony where as with Panasonic you can dial it down quite a bit and then mess with it later in post if so desired. Gerald Undone talks about this quite a bit as one of his main requests from Sony even on the higher end cameras like the A1. It could be a good thing or a bad thing just depends what you shoot and who it’s for. I like the more filmic image out of LUMIX for an easier color grade and have found it very time consuming to deal with the latest Sony cameras the last several years. Mostly skin tones and faces are troublesome with the exception of the more recent A1 and ZV-E1 which somehow have been less green and more neutral

I guess that includes over sharpened files with green color cast...

Agree on all points. You really can't beat it currently for features and price. I've even found a company that will put in OLPF filters in the S5ii and other cameras and am wondering if that might bring back some of the mojo some people are saying they really miss from the S1h vs newer S models...

You’re going in the wrong direction for everything you’re asking about. Sony is the image with no mojo and the clean clinical look. Very old sensor in all the cameras you mention and poor color science with green cast on faces. ZVe1 is fun and a good bargain and that’s a camera that has slightly improved color as well as many of the FX3 features for half the price. However anamorphic is not the strong suit and you’re going to throw away a lot of the resolution by cropping in on ultra wide image sides in post since there is no open gate settings. I’ve seen some nice results with the FX3 and Aivascope as well as the FX30 with Blazar lenses but you’re limited to 1.5x max so do some research. In my opinion you’re better off with Panasonic for these things or waiting for some new models from someone else. A7siii especially. Overpriced for its specs and poor color performance in late 2024. If the S1H 2 ever comes out it sounds like it will be a good choice for you.

Peta Pixel did a follow up review on the S9 recently I just watched yesterday. Now that the little zoom lens is out and they let go of the record limits they gave the camera another look. Surprisingly they ran the camera for 50 minutes or so with 0 overheating issues and until the battery went dead. I was surprised to hear that… Huge shift from 10 minutes of open gate shooting upon release. Even 4k 60 went for 50 minutes and finally gave an overheat warning but still functioned fine so that’s some great news.

There are a lot of people talking about it online that didn’t get it for free. Obviously there was the first wave of influencers that got it early but after people started buying it and posting. I’ve seen 5 or 6 YouTubers that review stuff from their own purchases or rentals. As someone who shoots 75% video and 25% stills or so, the S9 is a perfectly fine camera. It now can be picked up new open box for around $1,100 sometimes with a lens. Mini 6k open gate anamorphic footage with amazing IBIS is a deal for that price.

Specs are solid but that is not a “prosumer” camera. S9 is not a prosumer camera. FX30, FX3, X-H2s, S5iix is what I think most people would classify as “prosumer”. But camera companies have to sell cameras and for all I know, this is what needs to be done to sell cameras in 2024? It makes sense considering how we consume content these days.

While I agree and understand where you’re coming from, capitalism works a little differently than that. You have to remember, companies are dictated by the market and really need to be much more on top of things. They have to be two steps ahead if they want to survive to be around in 2 years time. There are so many factors that need to be managed to survive, public perception and marketing are big ones and Panasonic is blowing it right now. They don’t have a clear vision and it shows. There’s a lot of psychological factors involved and if people don’t trust where they’re going they will jump ship and look for what they need from others. For most of us, buying a camera isn’t just the body, it’s investing into the whole system. If you’re a professional that means maybe 2 or 3 cameras and then all the accessories, lenses… personally, I need to know that I’m making a good decision that will work for me and my team for 2 - 5 years and when that gear is starting to age it’s ready time for an upgrade. The image and experience with lumix is great but things are getting a little strange with the lack of news and latest releases. There’s been a pretty consistent and timely release of products over the years and for the first time in a long time, that schedule has been inconsistent and the focus has shifted. That promotes concern for those of us who are dialed in and ready for the next major flagship upgrade or need to adapt. And at the end of the day, it’s pretty simple, we like gear and tech and new shiny things. The camera world is very innovative and it’s growing and changing really fast. 32 bit float, lidar, IBIS, animal detect AF… it’s all moving quickly and 5 years is a Looooooong time.

https://www.newsshooter.com/2024/10/14/fujifilm-x-m5-camera-x-series-lenses-announced/ Looks like we’ve moved into the “social media driven” era for cameras and are doubling down on low price. I really wish companies would continue to support prosumer stuff and innovate instead.

Honestly, it’s just not the camera if you seriously need those features in 2024. A Fuji is there specifically for those shooters. It’s really a niche crowd in my opinion.

This x1000.

I agree. They have a real opportunity here to listen to the makers and continue to give us the specs we’re after. LUMIX has always given us so many features for the price and supported cinema features early on. Even maybe forcing some of the other brands to offer things they wouldn’t have. If they doubled down on that and started being more transparent they could foster a real creative community around their products that would spread to consumers at large. The Sony products are sterile and efficient tools but overpriced and lacking a lot. There’s no reason why LUMIX couldn’t have put out an FX3 and FX30 and dominated like the days of the DVX100. But it’s all about marketing and a plan and creating more around the brand. They are so close…

Oh trust me, I know all about half frame format, as I mentioned I just picked up a few more and have over 15 different vintage half frame cameras by Konica, Yashica and Olympus etc… My point was that Fuji has done a good job focusing on small retro styled cameras in the past and that’s been a successful strategy for them. I could see them using the current trend of gen Z loving all things analog and vintage and making a modern camera that “sells” the aesthetic. As you mention, Half frame puts two vertical images on a single 35mm frame so making a little 1” sensor fun camera with low res vertical images feels very likely compared to a whole new full frame camera. Add some film grain and Fuji looks in a small compact body sound like a camera gen z will Love.

I’ve recently picked up a few half frame cameras from the 1960’s…!!! Love the styling and the lovely black and chrome. All of these cameras have jumped up in price like all retro film cameras so I guess I could see Fuji understanding their market and giving people another pocketable fun camera. Like a Lomo, or maybe a new X100v trend. I don’t think I see them doing Full Frame at this point.

I was hoping they would come to their senses and do this for the first update. Still not for everyone of course. But at the used price of $1,000 it still a deal for what it can do and will be a nice little 3rd cam for me in the kit. Full frame pocket anamorphic with LUMIX stabilizing is really cool. Now I just need to get my little Yashica 1.5x dialed in and can have some fun.

While waiting for new cameras to drop in late 2024 I have been instead having a lot of fun playing around with vintage lenses. Excited to see how my new Yashica Scope 1.5x does on a bunch of new stuff arriving from Japan this week. The good news about all the new cheap Anamorphic lenses coming out recently means that the adapters are dropping to rock bottom prices again. Feels like 2010…!!! Rapido has no more small variable 8A diopters for the baby scopes and I fear they are going to be out of business soon. Would love to figure out a small solution to keep this little setup tiny. anyone have any ideas?

Good point. Also to add, if you’re a generation that grew up with reality television always being a constant, the look and feel of unscripted stuff feels very normal. I work a lot in reality television and have to really think back to when it wasn’t dominating the channels. I don’t like it and it’s trash but it pays the bills and allows me to pick up other creative narrative stuff when we’re not filming. I miss the good old days of quality cinema and seeing something like the Matrix or Fight Club or Seven and just having a paradigm shift in the way I saw the world.

Another vote for Camera Conspiracies. Doesn’t get everything right but he’s having fun and trying. Transparent and honest and not afraid to make fun of himself. Very refreshing in the 2024 Douchtube space. He will take a theory and go out and shoot to test it. I’m tired of camera reviews and gear videos but I watch these 5 channels pretty consistently and find inspiration here. Some thoughts below. Camera Conspiracies Kyle McDougall GxAce Stefano Federico Ed Prosser What drives me crazy these days is the lack of originality and this insane copycat culture. A trend will start and all these people jump on the craze and suddenly it’s everywhere. Over using promist and “cinebloom” filters. Low saturation and washed out grading to replicate film. Too much film grain added. Nostalgic for an era many of these gen Z never experienced. Holding the lav mic or transmitter in their hand while filming themselves. Using an old school handheld mic to be ironic and different. Neon tube lights behind them at their butcher block workbench desk from Home Depot. Then cutting to close up shots with the plastic engineering mat desk protector. It’s just gotten so, so boring to hear people read the camera specs to me off the website with no original thinking or unique take on any of it.

Whenever I go back to fixed primes I am always surprised how just a couple of steps forward of back end up solving the problem almost as efficiently. “Let your feet be the zoom” Of course there are plenty of times when the zoom solves problems and is a real lifesaver but the ability to crop in on a massive sensor makes the zoom in post almost as easy.

If I’m being optimistic, I see them building random cameras out of old spare parts with slight improvements to get rid of all the old tech before big changes to their line up. They must have thousands of those damn box camera bodies built up and sitting in a warehouse dead in the water. If they can easily add some slight improvements and upgrade them for sale in late 2024 it means they move some units and clear things out.

If after all my lengthy replies and examples you don’t get my point I think we’re done here. Cheers.

Why would you not include hybrids? You’re comparing image quality for price aren’t you? A rigged out hybrid might get you a better image that you don’t consider as “meh” LOL. Honestly, my same buddy I mentioned before has used the DJI on a bunch of commercial shoots for Samsung and I bet you wouldn’t even be able to tell the difference while watching one of those spots on TV. And again, why even make the comparison between the other cameras you mention? Like what’s the point of comparing bottom level pro-ish mostly Super 35 Sensor cameras around the same price point that don’t even offer full frame, similar specs or features? If you buy a used C70 or C300 etc… and add LiDAR, a gimbal that can do Z Axis, handle controls, wireless transmitting etc…(close to $3,500) you’re close to $10k. Also on the DJI factor in pro res raw internal, 6k 60p external recording to SSD’s over USB-C and Full frame be Super 35 options. As far as modular, I meant that the head comes off to be able to act as a pole camera/Jib arm with the flex unit or fit between small spaces, etc… that’s something the other cameras you mention don’t even have the ability to do. Again, why a smaller hybrid mirrorless camera with IBIS comes in handy. You’re entitled to your opinion of course but I just think your comparisons are kind of all over the place. And I guess as you said, it’s not a camera for your use case so in the end it doesn’t even really matter. Just curios, what is it about the footage from the 4D that you can identify as being “meh”? Specifically, compared to a C300mkii or Komodo?

Yeah, I mean you’re kind of just stating the obvious here. Sigma FP has an amazing raw image for $1,000 but would you bring that on a professional set bare bones? Even after you rig up a $2,000 consumer camera with equivalent features of the DJI it’s not going to have anywhere near the convenience, ease of use or be as modular. It’s the FX3 vs FX6 argument but the DJI in this case has a lot of unique features that allows for difficult shots in a time sensitive environment. it’s around the price of the FX6 and also has built in ND’s but allows for 3 mount options including Leica M and Sony E. Integrated power for the gimbal, wireless and lidar focus alone saves so much time since you’re not rigging and managing cables. I understand your point but in the end, it’s a total bargain for what it can do and how well it does it. The time savings for getting difficult shots in fewer takes on a pro shoot would literally pay for itself in a few shoots.

I like both the Blazar Nero 1.5x adapter and the Remus lenses. Even though they are designed for full frame I really like them on Super 35. Distortion can get a little wild if you’re trying to film things away from the center sweet spot. They’re nice and small too…