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Apparently it must be getting easier to build a camera.
Sigma could always do it but what made timing more appropriate now is the new L-mount Alliance, where they have some backup from Leica and, especially, Panasonic.
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I am just kidding
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:nads:
combatentropy
Veteran
I don't get the joke going on between you two.
JPNola
Veteran
You talking about James or Sigma with their FP? :cheesy:
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Making the worlds smallest FF35 camera body is a good move by Sigma. It is the kind of thing people share and mention in conversation. Maybe “fp” stands for “free press”?
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You have a great sense of humor. Maybe the best of us all. Glad i can be a little cold humored and still you are able to roll with it. Makes me wish i could be funnier more often. Maybe i’ll start upping my joke quota to once ever 3months moving forward.
You know, i looked at your profile, and saw in your ‘interests’ was italian beef sandwiches. Thought it was a pastrami easter egg, but no, it couldn’t be. Who would be so... then i jumped over to wikipedia, and found out that pastrami is beef, but not italian. And that also “pastrami” is a North American word, which combines the Romanian origin ‘pastramâ’ and the more popular meat of the time ‘salami’. In any case, it was a fascinating journey of learning. The more you know.
Being of Italian descent and having grown up in Chicago, my fondest childhood food memories are of the festivals in the Italian neighborhoods where I could get all the Italian beef sandwiches I could stuff in my face. It's a local favorite still today; oddly only a local phenomenon.
Chicago had (has?) a great Jewish neighborhood that, while it can't compete with NYC, put on a pretty good pastrami sandwich.
Chicago had (has?) a great Jewish neighborhood that, while it can't compete with NYC, put on a pretty good pastrami sandwich.
Batutta
Major Contributor
Chicago Italian Beef....mmmmmmmmmm.......
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Had to let that beef slow cook for a bit.
Mike Krumlauf
Award Winning Filmmaker
I think image quality is subjective to people. For me, i've been in the game 20 years and given that amount of time and how big of a nerd i am, i continue to notice things that once didnt bother me. Take for instance the signal to noise ratio of DV cameras like the old Canon XL1s and DVX100 line.. in their time my eye was not trained enough to really notice a difference in image quality other than resolution.. things like color, dynamic range, noise, etc.. i was not paying attention to any of that but as i've worked with more and more cameras since the early 2000s of varying resolution, size, etc i've trained myself to be more of a stickler to image quality in these sub catigories like color, contrast, etc which have had me stop chasing the resolution and trends (why i've invested in older high end gear than new middle range gear).. i think after some time you look at all you can do personally with the equipment and find something you like and complements your vision and style because after all, cameras are only as good as the operators that use them. HDSLRs want to challenge this to the max and for beginners I feel like you are in a time where you are getting more bang for your buck with an entry level cinema camera than when i started. To get really good images on a technical level you had prosumer DV or your last name was rockefeller and you could get a F900 or Varicam for 6 figures.
Moral of my answer is image quality is based on the creator.. some people like the look of SD DV still or even super 8 film.. some will only work with HDSLRs.. some only on cameras like the alexa and so on..
Hope im making sense and not rambling (ADD is a ***** sometimes)
Mike Krumlauf
Award Winning Filmmaker
Amen! Born and Raised in suburban Naperville and I lived in Chicago for 4 years.. miss home and it's food everyday. What I would give for a italian beef and green river soda, ugh
Run&Gun
Veteran
To be fair, the VariCam was never six-figures. The 27H sold for around $45K in its heyday(it's possible the 27F debuted for more. maybe $50K-$60K). I remember overnighting a cashiers check to Fletcher for a little over $50K for my original 27H and the Panasonic BT-LH900, which was the only real solution for an HD field monitor option at the time(even though it was not HD rez), and it ran around $5K.
Now the F900, yes. It did fluctuate up and down in price a lot, but there were many times it was listed at over $100K. Which even still today, is kind of mind-boggling to think about, even though I was there for it.
NorBro
Major Contributor
20 years is a long time but there's a difference in knowledge between someone who has experience with over a dozen of old consumer/prosumer cameras and a few older professional systems (also you were just a kid in half of that time), and someone who is consistently on the bleeding edge of professional technology and is working around or experiencing every new piece of hardware that's released (especially the high-end equipment).
In other words, I think your perspective may change if someone provided you a variety of ARRI & RED cameras to play with for a few weeks.
The 'ignorance is bliss' concept truly applies here (until the mind is enlightened).
So, to pick up the thread --
on the Panasonic Cinema Camera portion of the forum (EVA1), Clermond writes about using S1 V-log with EVA1 V-log. He says the footage is very hard to tell apart.
On the Nikon DSLR thread, Sam Morgan Moore posted a bunch of commercial clips he shot with Z6. (on a MoVi with auto-focus) I'd say they look pretty darn nice too.
Meaning that the division of image quality is a small battalion size now.
on the Panasonic Cinema Camera portion of the forum (EVA1), Clermond writes about using S1 V-log with EVA1 V-log. He says the footage is very hard to tell apart.
On the Nikon DSLR thread, Sam Morgan Moore posted a bunch of commercial clips he shot with Z6. (on a MoVi with auto-focus) I'd say they look pretty darn nice too.
Meaning that the division of image quality is a small battalion size now.