FS7: FS7 successor (rumours/expectations)

Cynthia Webster said:
Was at the Cine Gear Expo in Hollywood this weekend and saw an interesting new S-35 zoom from Laowa.
They're coming out with a 25-100mm 2.9 in EF/PL Mounts called the OOOM, which stands for "Out Of Our Minds". The price is listed at $6,500. I didn't actually see the lens itself, but it is pictured in their new brochure. Looked for it later on their website, but it's not there yet. (I was too busy gawking at their lovely 9mm 2.8 and 24mm Probe lens to notice the zoom until later). Seems like it's priced between the cost of a pair of $4,000 Sigma zooms. Their number one design goal was to eliminate focus breathing and keep it parfocal. I got pretty excited about this lens at first, but upon reflection, the price seems kind'a high compared to everything that you get with the Sony 18-110mm. Still, I want to try one in person first, find out how many iris blades that it has, and see if they will release it in e-Mount.
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I had the Laowa OOOM lens for about a week before NAB.
Full disclosure: I worked their booth for the show, but I don't work for Venus Optics or Laowa (I do however, think they have some great optics like the 12mm VistaVision 0 distortion lens).

Here's a screen grab from the OOOM on my Amira:

Dough Girl.jpg

I think it's a great choice if you're moving up from a still photography zoom. It's a nice range if your shooting interviews, events, some corporate stuff. Throw a wide prime in your bag and you'll have a lot of range for not a lot of $$. I wish it were a bit lighter but that would make it more expensive.

BTW, Laowa plan to release an expander, a rear anamorphic adapter, and an EF mount for the lens. I don't know if all of these elements are carved in stone, but those were still the plans when I checked in w/ them at Cinegear last week.
 
morgan_moore said:
Yep it has a place as an interview lens or a medium conference lens .
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All up.. for $2K more you can get the Sigma zooms T2.. 18-35-50-100.. no breathing on the 18-35. and super close min focus.. and the other,only really noticeable breathing on the 50mm end .. and the T2 makes a big difference for interviews than the T3..
 
DLD said:
On the other hand - let's juggle that for a second - there's new Canon RF 28-70 F2 that is just under 1.5 KG and is priced at $3,000. Could one make an 18-80 at F2.8 or something similar in the same price range? With the ever increasing low light performance, acceptance of full frame and falling LED light prices, this ought to be within the range of possibilities.
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It seems more than reasonable if a f2 full frame zoom can be made that a f2.8 for S35 could be made which starts at a similar wide angle FoV and reaches a little further.

For reference we already have the Fujinon 18-55 T2.9, it isn't unreasonable to ask for a teeny bit more reach for an otherwise identical lens specs if you're willing to accept the trade offs of a bit more weight/cost

morgan_moore said:
S35 and canon mount.. pure stupidty in the design department :)
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Is a constant mystery why Panasonic didn't release the EVA1 with their own MFT mount instead of the stupid limiting EF mount of the EVA1
 
IronFilm said:
Is a constant mystery why Panasonic didn't release the EVA1 with their own MFT mount instead of the stupid limiting EF mount of the EVA1
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Probably didn't want to have to deal with all the complaints they would have gotten from people thinking they could use their existing MFT lenses on the camera. Much as I would like to be able to use my MFT 12-60 as a run-around lens on the EVA1, I probably wouldn't be very happy with the small image circle in the middle of a massively vignetted frame.

Bur realistically, when I'm shooting on an FS7 I'm normally using either Canon mount lenses with a Metabones or Sigma MC-11 adapter, or using Nikon or PL mount lenses with any of several other adapters. Both Canon and Nikon mount lenses work fine (when used with appropriate adapters) on almost every camera out there -- except the Arri. I find myself bringing certain lenses to most shoots even when not bringing my EVA1 -- mainly because many of the production companies that own cameras don't really back them up with a decent assortment of good glass.
 
Pretty sure that was one of the main reasons Mitch/Panasonic gave: people would have been trying to use MFT lenses on the EVA1 and they wouldn’t cover the sensor.
 
IronFilm said:
... Is a constant mystery why Panasonic didn't release the EVA1 with their own MFT mount instead of the stupid limiting EF mount of the EVA1
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A) As mentioned, MFT wouldn't cover the APS-C sensor without a serious crop.

B) There was no "high end" MFT sensor available to give them the 5.9K they wanted.

As to main point of this thread, there's probably not going to be a FS-7 "successor". There's going to be a lower end 8K stills/video camera and probably something on the higher end ... but who knows where.
 
Ref the EVA - with a 5.7 snesor it would be easy to implement an MFT crop mode and even offer a warning when such a lens was attached.
 
DLD said:
JVC tried it. It didn't go anywhere.
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I thought that cam was well deisnged but has some critical flaw (I cant remember what - 20mbs 420 codec or something that made it unusable)

I think they upgraded the codec but no one noticed.. maybe they should have :)
 
Adding zoom rocking functionality ('Variable Scan Mapping') with primes was brilliant by JVC, but they didn't have enough power as a company to push it forward. IMO, they mishandled their camera launch and most people lost interest by the time it turned out to be a pretty decent system.

Also, ideally, future cameras would have 8K+ sensors and you'd be able to zoom with a rocker in their 4K mode vs. a 4K sensor and being able to zoom in the HD mode.

Crop modes are extremely useful and I use them on a regular basis with full-frame cameras that have an APS-C crop with the push of a button. Sony actually has the 'Clear Image Zoom' technology that lets you do exactly what JVC does, but it's not the same as having a traditional smooth and pressure-sensitive rocker.
 
morgan_moore said:
I thought that cam was well deigned but has some critical flaw (I cant remember what - 20mbs 420 codec or something that made it unusable)
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JVC GY-LS300 S35mm Camcorder

I was keen on the JVC LS300 until it finally showed up. The first problem was that JVC released the camera with no LOG format, and it took a firmware update almost 5 months after it hit the market to finally add LOG recording. The second problem is that the LS300 sensor has limited dynamic range, this killed the camera for me, as I wanted a camera that had at least 10 stops of DR and the LS300 did not have this. I still think JVC could have a winner on it's hands if it upgraded the LS300 to something like the GH5s sensor, but I guess that ship has sailed a long time ago.
 
NorBro said:
It has more than 10 stops with its J-Log...the 4K/60p output firmware update was also a nice touch.
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All of the comparisons I saw against GH5 V-LOG L looked quite bad, where the LS300 LOG had blown out highlights the GH5 V-LOG L was easily holding detail.
 
I'm sure the GH5 is better...the LS300 was shown around the same time the GH4 was (released later though).

Even if it's not 12 stops, it should definitely be more than 10.

I owned the camera and J-Log can look nice.
 
OnSet said:
Probably didn't want to have to deal with all the complaints they would have gotten from people thinking they could use their existing MFT lenses on the camera. Much as I would like to be able to use my MFT 12-60 as a run-around lens on the EVA1, I probably wouldn't be very happy with the small image circle in the middle of a massively vignetted frame.

Bur realistically, when I'm shooting on an FS7 I'm normally using either Canon mount lenses with a Metabones or Sigma MC-11 adapter, or using Nikon or PL mount lenses with any of several other adapters. Both Canon and Nikon mount lenses work fine (when used with appropriate adapters) on almost every camera out there -- except the Arri. I find myself bringing certain lenses to most shoots even when not bringing my EVA1 -- mainly because many of the production companies that own cameras don't really back them up with a decent assortment of good glass.
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EF lenses work just fine on my Amira, I get all the electronic data through my Canon mount, and control Iris without issue. Did I miss something?
 
You missed the possibility of a speedbooster and buiding a set that works with your Gh5 B camera.

You missed facing swapping out a load of lenses if you were upgrading from the extremely succesful GH3/4/5 cameras.

Maybe not relevant to you.. but the EVA should be the aspiring upgrade for every GH3/4/5 owner who has realised that ND and XLR are not for fools.
 
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