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thebrothersthre3

Camera owning plans 2020

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To add to my previous comment... I think this is the problem with cameras over $2500. For only a bit more you can get an S1H. And then at $4000, for only a bit more you can get a C200 or a Red Komodo or an EVA1 or an FS7 or an Ursa Mini Pro.

After that price bracket it's a big jump before you get to a camera that has a significant jump in specs and even then, it may be worth bypassing those cameras to rent a Red or an Alexa.

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43 minutes ago, IronFilm said:

Would be the easiest way for Panasonic to dominate the next generation of cameras. 

 

Kinda surprised the Panasonic S1H didn't have this 

True but I'd need them for my S1 and Fuji for certain things anyways.

16 minutes ago, mercer said:

To add to my previous comment... I think this is the problem with cameras over $2500. For only a bit more you can get an S1H. And then at $4000, for only a bit more you can get a C200 or a Red Komodo or an EVA1 or an FS7 or an Ursa Mini Pro.

After that price bracket it's a big jump before you get to a camera that has a significant jump in specs and even then, it may be worth bypassing those cameras to rent a Red or an Alexa.

My big thing is I just don't know when I'd really need a better image than the Ursa provides. The only reason to get Arri would be the name recognition. 

5 hours ago, BTM_Pix said:

I might just sell everything, buy a GFX100, turn the internet off and call it a day.

I really love the look of it though it turns me off that the dynamic range is no better than an XT3.

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5 hours ago, mercer said:

I may just keep what I already have, add a lens or two and turn the internet off.

All of these cameras are cool and I'm always on the search for a second camera but the question remains... do I need it? Will my work really benefit from it?

For me, I barely have enough time to use the camera I have.

So I'd ask @thebrothersthre3 what are you gaining from having all of these cameras? The short films you've shot with your X-T3 look great.

Yeah and thats the thing the XT3 is capable for most stuff. The S1 does win out in low light though by a pretty big margin and IBIS is really nice to have for certain things. The Ursa mini is just a beast image wise, really up there with the best of cameras IMHO. It sucks at anything beyond 800 iso though and doesn't like underexposure much. 

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59 minutes ago, thebrothersthre3 said:

My big thing is I just don't know when I'd really need a better image than the Ursa provides. The only reason to get Arri would be the name recognition. 

Yeah I think between the Ursa and the Arri Classic, the Ursa is probably the smarter buy but man that Arri image is nice. Now if the Amira was in that price range... I'd definitely go with the Amira.

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My primary interest is in filming the aurora borealis (along with a few promotional type bits’n’pieces I do for work - P4k is and should remain ideal for that).

So the A7S3 was definitely top of the list for 2020. 
But... I might look at the 1dx3 if it’s low light capability  (iso 25k sort of range) is satisfactory. The weather protected body and raw files appeal. And I’d possibly find an excuse for using the AF doing snowmobile/skiing sort of stuff. The price will be an issue.

Once low light/high ISO footage from the Canon becomes available and, of course, assuming the A7S3 does indeed make it out of the shadows, then I will have a think...

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Probably going to keep the FS5 as its been growing on me.

Maybe swap my A7iii for the A7siii if it has a higher frame rate (180/240fps), A9 video AF, and 10 bit recording. 

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Yeah im guessing 2020 is going to be quite great for camera's. Hopefully also a cheap high speed camera will hit the market, as I would love to shoot 1000fps for table top productions without needing to hire a phantom flex (which is only possible for really big projects, big for me that is).

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4 hours ago, Snowfun said:

Assuming the A7S3 does indeed make it out of the shadows, then I will have a think...

Its gone a bit quiet about it in the past few weeks so currently there's maybe more likelihood of Hank Marvin making it out of the shadows.

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18 minutes ago, BTM_Pix said:

Hank Marvin making it out of the shadows.

If I can’t get Telstar out of my head by the close of play I know where to find you... (well, I don’t, but I’ll endeavour to find out!) 

Edit: now I’ve started swaying to and fro...

 

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8 hours ago, thebrothersthre3 said:

I really love the look of it though it turns me off that the dynamic range is no better than an XT3.

Everything is a trade off of course but, for my own personal use, a more limited dynamic range is something I can deal with or work around whereas the "look" for want of a better expression of different formats is more difficult to work around.

In looking at it as a "forever" camera as I'm now sadly old enough to be that kind of buyer, I'm more likely to compromise on the dynamic range.

The GFX100 has less dynamic range than the GFX50S and R so maybe the sweet spot would be if they could bring the video side of the GFX100 to a model with the 50 sensor. 

At a much cheaper price ;) 

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I'm in a weird position right now. 

I have a BMPCC4K (love it) but I really hate the battery system (currently using it with a bunch of LPE6 and CFast cards) in order to keep everything small. I also have a Sony A7III for stills and video (mostly for the AF with the Ronin) and it works amazing with the Tamron 28-75. The problem? I have a set of Canon L Series (24, 50, 85, 135) They works amazing with the BMPCC, but I really miss the AF when using them on the A7III. 

So, here are my plans.

- Wait and buy the next EOS R for amazing IQ and AF for my lenses (and sell the A7III with everything) I'm pretty sure that I'm going for it.

- Buy a Komodo (and sell the BMPCC and the A7III with everything except the cards to make some money). Can't wait for that camera, it also has RF mount so its a perfect match for my lenses.

That's it. I'm just waiting for the announcements to start selling.

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2 hours ago, Coiii said:

I'm in a weird position right now. 

I have a BMPCC4K (love it) but I really hate the battery system (currently using it with a bunch of LPE6 and CFast cards) in order to keep everything small. I also have a Sony A7III for stills and video (mostly for the AF with the Ronin) and it works amazing with the Tamron 28-75. The problem? I have a set of Canon L Series (24, 50, 85, 135) They works amazing with the BMPCC, but I really miss the AF when using them on the A7III. 

So, here are my plans.

- Wait and buy the next EOS R for amazing IQ and AF for my lenses (and sell the A7III with everything) I'm pretty sure that I'm going for it.

- Buy a Komodo (and sell the BMPCC and the A7III with everything except the cards to make some money). Can't wait for that camera, it also has RF mount so its a perfect match for my lenses.

That's it. I'm just waiting for the announcements to start selling.

I assume you have already tried using an MC-21 or Metabones adapter with your canon glass on your a7 III, right?

I just ask because a lot of people say that their L glass focuses BETTER on their a7 III with an adapter than it did naively on their Canon bodies.

Maybe they had really old canon bodies where the AF was dated. I don't know. Could be pilot error.

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For what I do, I'm thinking the em10iii from Olympus might be the best bet. 

Recording outboard audio makes things a little more difficult, but all the other good stuff kind of outweighs that. 

Small, affordable, IBIS, good color, 4K...not bad at all for micro budget documentary production. Can get two used bodies for under $600?  Hard to resist. 

I really like shooting "light" when in the field, so I'm tempted.

figute I can sell the gh5 and it'll pay for the switcheroo 

Would have considered the Em5iii, but without headphone jack might as well go with the cheaper camera. 

Sorry Olympus. You had a chance to take my money with the em5iii.

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47 minutes ago, Mark Romero 2 said:

I assume you have already tried using an MC-21 or Metabones adapter with your canon glass on your a7 III, right?

I just ask because a lot of people say that their L glass focuses BETTER on their a7 III with an adapter than it did naively on their Canon bodies.

Maybe they had really old canon bodies where the AF was dated. I don't know. Could be pilot error.

Yeah, I got the Sigma MC-11 adapter. It's cheap, good build quality but ZERO autofocus on video for the A7III. It focuses amazing on stills (single shot, eye autofocus, animal eye autofocus, tracking, everything works great) but I miss the video AF. I don't have any problems with manual focus, but my A7III it's mostly my gimbal camera, so AF it's a must.

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3 minutes ago, Coiii said:

Yeah, I got the Sigma MC-11 adapter. It's cheap, good build quality but ZERO autofocus on video for the A7III. It focuses amazing on stills (single shot, eye autofocus, animal eye autofocus, tracking, everything works great) but I miss the video AF. I don't have any problems with manual focus, but my A7III it's mostly my gimbal camera, so AF it's a must.

Ahh... didn't realize that the AF in video was useless with the MC-21. Guess most people were complimenting its stills performance.

One other thing... how do you find the DR performance of the BMPCC4K compared to your a7 III? Are you shooting in BRAW with the 4K and SLOG 2 with the a7 III?

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4 minutes ago, Mark Romero 2 said:

Ahh... didn't realize that the AF in video was useless with the MC-21. Guess most people were complimenting its stills performance.

One other thing... how do you find the DR performance of the BMPCC4K compared to your a7 III? Are you shooting in BRAW with the 4K and SLOG 2 with the a7 III?

I can't complain about the stills performance. It's not perfect like native glass, but still pretty good.

I shoot HLG on the Sony (HLG2 + BT709). I decided to shoot everything with HLG because it's my sweet spot for good looking image, easy to grade and good enough straight from camera. It also works very good with highlights. And to be honest, I don't like SLOG 2 or 3 at all. For me its a hell for grading and has a poor performance with blacks and shadows.

About DR, I find that the BMPCC4K in real world (not controlled test or charts or stuff like that) its way better than the A7III. It has a way better handling of highlights and shadows, light rolloff its pretty nice and "noticeable" against the A7III in the same conditions, and overall it has a more pleasant image, specially with natural light. For me the A7III it's an amazing camera for events,, sports, food and stuff like that where you need more "fresh" footage, with vibrant colors, a lot of movement and detail. The BMPCC4K for me its more for narrative stuff, interviews or content with slower pacing. That's why I use the A7III for AF stuff and the BMPCC for more dedicated stuff with more optical variety.

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2 minutes ago, Coiii said:

I can't complain about the stills performance. It's not perfect like native glass, but still pretty good.

I shoot HLG on the Sony (HLG2 + BT709). I decided to shoot everything with HLG because it's my sweet spot for good looking image, easy to grade and good enough straight from camera. It also works very good with highlights. And to be honest, I don't like SLOG 2 or 3 at all. For me its a hell for grading and has a poor performance with blacks and shadows.

About DR, I find that the BMPCC4K in real world (not controlled test or charts or stuff like that) its way better than the A7III. It has a way better handling of highlights and shadows, light rolloff its pretty nice and "noticeable" against the A7III in the same conditions, and overall it has a more pleasant image, specially with natural light. For me the A7III it's an amazing camera for events,, sports, food and stuff like that where you need more "fresh" footage, with vibrant colors, a lot of movement and detail. The BMPCC4K for me its more for narrative stuff, interviews or content with slower pacing. That's why I use the A7III for AF stuff and the BMPCC for more dedicated stuff with more optical variety.

Thanks!!!

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18 hours ago, mercer said:

I may download the trial and give it a go. I love FCPX even though I am forced to use Resolve to transcode the .mlv files to ProRes. One of the reasons I keep considering a Blackmagic camera is for its native ProRes. I actually have a broken P2K I paid $100 for last summer that won't power on. I may try and fix it and set it up with a loupe and that JLG Lanc handle you keep trying to sell me on... lol... pair it with the Panny 12-35mm or an old c-mount zoom with a zoom handle and it will be like shooting Super 8 again. 

I'm hopeful that in a few weeks I'll have ditched pushing that LANC handle on you and instead be pushing the FP at you harder than a YouTuber pushing Squarespace.

 

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