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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Panasonic's ALEXA killer?

Noah Kadner said:
Yep the HD-SDI is full res and runs simultaneous with HDMI for secondary monitoring. So hook up to something like this and you're in codec heaven for well under $10K, which leaves you money for glass:

http://www.aja.com/products/kipro/ki-pro-mini/ki-pro-mini-description.php

-Noah
Click to expand...

Plus you can get 4/3 to Leica M lens adapter and then get a gorgeous choice of extraordinary high quality glass.

Don't forget that Leica Noctilux-M 50mm f/0.95 and Voigtleaner Nokton 50mm f/1.1 will extend this system

even further in a low and available light shootings that you can't get with any other system except R1

in the case if you want to void your warranty.
 
Sanjin Jukic said:
Plus you can get 4/3 to Leica M lens adapter and then get a gorgeous choice of extraordinary high quality glass.

Don't forget that Leica Noctilux-M 50mm f/0.95 and Voigtleaner Nokton 50mm f/1.1 will extend this system

even further in a low and available light shootings that you can't get with any other system except R1

in the case if you want to void your warranty.
Click to expand...

The X2 crop factor of the micro 4/3 sensor is very limiting for the use of FF35 glass.
 
Steven-Marc C. said:
The X2 crop factor of the micro 4/3 sensor is very limiting for the use of FF35 glass.
Click to expand...

Yeah, but if we are talking S35 size, which Red One, Epic and pretty much the standard when people talk motion picture capture normally, then this comment really has no basis. I've never put a FF35 lens on my 7D that hasn't taken crisp pictures at the native resolution.

I use FF35 glass on my 7D all the time for video as well, 11mm-16mm, 30mm, 50mm and 85mm. I'm not having a problem with the APS-C sensor, why would the 4/3 sensor make so much of a difference if it is only slightly smaller? (although I will admit, I wish Panasonic had made APS-C size though)

For me this camera is a niche filler while the S35 gets through R&D and production at RED. The S35 has superior stats, but for my shallow DoF needs that I am using the 7D for at the moment, I can gladly put the 7D back to doing just photos. This camera excels at EVERY point as the 7D except size. And I'll live with that because I can remove the top handle and the side grip and probably invest in the Ki Pro Mini to get 4:2:2 out.

And for this price, plus the forthcoming Birger electronic mount for EOS lenses, I can use the same lenses that I will be using on the S35 on the m3/4 system.

If people are looking for FF35, they'll still have to go 5D. I have access to a 5D and shot video with it, and I prefer the S35 size myself. It's just that nice healthy median point where I get the framing and DoF with my lenses that I like. I know it is a preference, but I guess that is a good thing for me :)
 
Rick Burnett said:
How can you make any judgement on the LCD on the AF100 if they've not even shown the production part? From my understanding from Barry and Jan (product line manager I think) is that the new LCD is not ready yet to show, they have a temporary LCD on the prototype.
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1) LCD size is too small. It is not "unusable". It is too small for what can be put in there for very reasonable cost and for the difference it would make for the shooter. If they decide to use larger one in production model they have to change the camera body shape for it to fit.

2) Monitor position is far from perfect for shooting from a shoulder and the viewfinder is on the back. For the monitor to be usable on shoulder setup the camera has to be too far to the front.

3) Panasonic has history with not caring for screens much.

Rudi Herbert said:
I disagree with that 100%, it does not at all match my experience, and I own, shoot and post with several cameras recording each of those formats. Then again, this is not the point of this conversation.
Click to expand...

I wasn't referring to the cameras, but the h.264 codec capability. Since the camera talked about here is supposed to shoot in this codec it was worth mentioning.
 
Hrvoje Simic said:
1) LCD size is too small. It is not "unusable". It is too small for what can be put in there for very reasonable cost and for the difference it would make for the shooter. If they decide to use larger one in production model they have to change the camera body shape for it to fit.

2) Monitor position is far from perfect for shooting from a shoulder and the viewfinder is on the back. For the monitor to be usable on shoulder setup the camera has to be too far to the front.

3) Panasonic has history with not caring for screens much.
Click to expand...

I guess to each their own. I don't shoot from the shoulder, but I agree the EVF is in a bad location and something I wish to not even have!

I like the position of the LCD screen, and from the stats I saw on it, I am happy with it. I plan to use an external LCD of my choice when I need a bigger screen and would rather not make the camera larger to account for a larger screen. I like a very small rig myself which is why I was okay with the default Scarlet monitor as well, which is pretty small.
 
What exactly are the practical limitations of 8bit vs. 10bit and higher? Higher is better but is this a visible characteristic or more for color information for use in color grading? Sorry if this should be common knowledge.
 
Bit depth

Bit depth

Yup, each extra bit is doubling your precision i.e. 8-bit gives 256 values, 10-bit gives 1024 values.

That's why 8-bit is acceptable for transmission, but 10-bit (or higher) is preferred if you need to grade the footage.

A parallel argument is 4.2.0 color sampling v's higher precision 4:4:4 color sampling...

...and compressing across a Long Group Of Pictures yields less precise results than compression of individual frames.

So 8-bit 4.2.0 Long-GOP codecs (such as AVCHD) should be avoided for high quality image capture.
 
3.2" screen on HPX 370 may be gorgeous compared to previous screens which were crap.

Compared to what folks can Tweet and play games on - it's a toy. Talking about professional image acquisition tools this notion seems like a paradox.

I agree - to each their own.


http://www.samsung.com/us/article/galaxy-s-a-new-era-in-amoled-technology

http://www.htc.com/www/product/desirehd/overview.html

http://www.sonystyle.com/webapp/wcs...44515844&N=4294953720&Name=All+Mobile+Phones+

http://www.dell.com/us/en/home/desktops/mobile-streak/pd.aspx?refid=mobile-streak&cs=19&s=dhs


picture1td.jpg
 
8-bit v's 10-bit

8-bit v's 10-bit

Craig Meadows said:
Stuart - what if you take a 8-bit uncompressed out of the HD-SDI (any camera, not just this one) and say, feed it in to a AJA Ki Pro at 10-bit. Realizing you still have a 8-bit original source, would you gain a little bit of headroom or better stability for grading?
Click to expand...

Unfortunately the damage to signal precision has been done already.
 
Meryem Ersoz said:
to reinforce what Evin said...I spent some time chatting with a Canon rep several years ago. Basically, he said, at the time, that their real bread and butter was lens sales, not camera sales at all. A buyer might buy one camera every few years, but lens purchases provide a constant, continuous revenue stream throughout the life of the camera. He said that every time they release a new lens, they immediately sell hundreds of thousands of copies to existing Canon camera owners worldwide.

I think it is only with the release of the 5D Mark II that they began to see a new camera envelope worth pushing, because the hybrid marketplace opened up new sales opportunities - which translates, for Canon, into new lens sales, which is really what guides their product mix, more than cameras.

DSLR cameras sales are of secondary interest to lens sales, and the video market, for many years was almost an afterthought because it didn't budge the sales of still lenses too much at all - their bread and butter. To continue with the food analogy, video camera sales represent peanuts to the Canon market, that is why they tend to follow rather than lead in that arena.
Click to expand...

no one busy more expensive L lenses than Birger Mount Red users. We buy them like candy bars.
 
M Most said:
You keep saying this, and you say it with the assumption that Canon is selling all of the 5D's and 7D's to people who are shooting video with it. That's just not the case. The vast majority of these cameras are being sold for exactly what they're designed for - stills. Your statements to the contrary would need to be backed up by some solid research before I would even begin to believe them. Your own personal interests are not universal, and assuming that they are is a sure way of seeing a skewed view of the world.
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I agree - the 5D is a totally top-notch, pro-grade stills camera. Its' truly excellent as a stills camera - that's why we bough ours, only for that, even though 90% of our business is moving pictures, which we shoot on Red MX.
 
This is kind of the BMW: Ultimate Driving Machine argument isn't it. Sure it's a superior car experience, but does it somehow invalidate the satisfaction of someone who's driving a Prius and saving a lot of dough over the Bimmer?

Noah
 
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