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11-22-2020, 01:10 AM   #76
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QuoteOriginally posted by madbrain Quote
Yawn. I'll stick with my Lumix GX85, which can record 4K at 100 Mbps with no file size limit and no recording time limit.
It is a great camera for video. A bit mire work to make it work with Pentax lenses. Not bad, since I do use my Pentax lenses on my BMPCC too. But it is still a thing you need adapter to work with. m4/3 lenses are more handy, but then one has to get couple of those.

11-22-2020, 07:01 AM - 1 Like   #77
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QuoteOriginally posted by repaap Quote
It is a great camera for video. A bit mire work to make it work with Pentax lenses. Not bad, since I do use my Pentax lenses on my BMPCC too. But it is still a thing you need adapter to work with. m4/3 lenses are more handy, but then one has to get couple of those.
I definitely agree that the Panasonic line is great for video production. But IMO there's a lot of content types that don't need the post processing latitude afforded by the Panas, and where reliable AF at lower bitrates/codecs allows me more motion control options along with less assistants to pay. This is where I believe Canon and Sony have the upper edge. If say I was hired to do a sit down interview, I could run a 90D/ M6 Mark II + SL2 / M50 setup or dual Sony 6400s, mount the main camera on a gimbal with object tracking, and mount the B-cam on a slider and have both cameras work fully automated. I could then sit down and do my interview without worry that my footage comes out unusable. I'd need atleast one assistant to shoot the same scene with confidence on the Panas.
11-22-2020, 08:52 AM   #78
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QuoteOriginally posted by someasiancameraguy Quote
I definitely agree that the Panasonic line is great for video production. But IMO there's a lot of content types that don't need the post processing latitude afforded by the Panas, and where reliable AF at lower bitrates/codecs allows me more motion control options along with less assistants to pay. This is where I believe Canon and Sony have the upper edge. If say I was hired to do a sit down interview, I could run a 90D/ M6 Mark II + SL2 / M50 setup or dual Sony 6400s, mount the main camera on a gimbal with object tracking, and mount the B-cam on a slider and have both cameras work fully automated. I could then sit down and do my interview without worry that my footage comes out unusable. I'd need atleast one assistant to shoot the same scene with confidence on the Panas.
Reading this workflow with great interest...I've been having to run multiple cameras by myself, one static and one "active". Automated slider is a very nice touch for the "static" camera. I've been thinking hard about budget/DIY solutions to get more professional looking output. Our stuff should be easy to adapt for this, as it's mostly interviews or the occasional gallery walkthrough, & etc. I'd love to be able to view one of your simpler final products, discreetly if it's not for public consumption and/or proprietary.
11-22-2020, 09:06 AM   #79
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QuoteOriginally posted by texandrews Quote
Reading this workflow with great interest...I've been having to run multiple cameras by myself, one static and one "active". Automated slider is a very nice touch for the "static" camera. I've been thinking hard about budget/DIY solutions to get more professional looking output. Our stuff should be easy to adapt for this, as it's mostly interviews or the occasional gallery walkthrough, & etc. I'd love to be able to view one of your simpler final products, discreetly if it's not for public consumption and/or proprietary.
I can't share much, but PM me for more and I'll help you break it down.

11-22-2020, 09:15 AM - 1 Like   #80
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QuoteOriginally posted by someasiancameraguy Quote
I definitely agree that the Panasonic line is great for video production. But IMO there's a lot of content types that don't need the post processing latitude afforded by the Panas, and where reliable AF at lower bitrates/codecs allows me more motion control options along with less assistants to pay. This is where I believe Canon and Sony have the upper edge. If say I was hired to do a sit down interview, I could run a 90D/ M6 Mark II + SL2 / M50 setup or dual Sony 6400s, mount the main camera on a gimbal with object tracking, and mount the B-cam on a slider and have both cameras work fully automated. I could then sit down and do my interview without worry that my footage comes out unusable. I'd need atleast one assistant to shoot the same scene with confidence on the Panas.
Or then you can shot little wider with 4K and do some tracking in post. It is actually incredible what one can do with PP and it is not even that difficult. of course there is limit on everything.
11-22-2020, 09:22 AM   #81
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QuoteOriginally posted by repaap Quote
Or then you can shot little wider with 4K and do some tracking in post. It is actually incredible what one can do with PP and it is not even that difficult. of course there is limit on everything.
Yeah, I definitely agree that there is a lot more editing latitude with 4K. There's merit to different methods, depending on workflow requirements and customer spec.
11-22-2020, 01:03 PM   #82
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QuoteOriginally posted by texandrews Quote
Reading this workflow with great interest...I've been having to run multiple cameras by myself, one static and one "active". Automated slider is a very nice touch for the "static" camera. I've been thinking hard about budget/DIY solutions to get more professional looking output. Our stuff should be easy to adapt for this, as it's mostly interviews or the occasional gallery walkthrough, & etc. I'd love to be able to view one of your simpler final products, discreetly if it's not for public consumption and/or proprietary.
I'm just finishing one project for the client and I did use "static" camera as well as panning manually. For some shots static camera little cropped and tracked in post can do the same thing. no one will ever notice, and you can adjust it in many ways. Sometimes too much fiddle with gear might lock you for that too much, and it is difficult/expensive to get done. PP for photos is essential, it is not different in video. just my 2 cents(I'm still also learning to how to make it look better and So far I like this combination best. Do with a proper video head pannings and with rail what every one else is doing, but you can also do a lot in post. I'd say a good quality program I have final cut pro and davince resolve, both good, I really like now resolve more. My friend who is a gear head, love Final cut, more than premiere(did not like davinci) and he has a lot of other stuff too. But still the 'tricks' are the same.
01-05-2021, 03:12 AM   #83
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QuoteOriginally posted by automorphism Quote
Do you find that 10bit vs 8 bit makes a big difference in your video workflow? Just curious because I am getting into video somewhat and I am curious about your experience here.
MASSIVE difference - even if shooting 8-bit, like a K-01 or K-3, Edit on a 10-bit timeline, and you'll see reduced banding across gradient lit areas.

---------- Post added 05-01-21 at 09:15 PM ----------

QuoteOriginally posted by repaap Quote
I shoot with BMPCC video, mostly because it s affordable and great quality.
Original, 4K or 6K?
The latter two are very different to the original, and the BMD Colour Science has progressed in leaps and bounds, but when dealing with Flesh Tones, the Pentax Colour is much much more accurate.

---------- Post added 05-01-21 at 09:18 PM ----------

QuoteOriginally posted by texandrews Quote
So.....speaking of video. I'm about to get a new PC, looking at this one: PowerSpec System Specs
Good starter PC, swap out the Power Supply for a higher output one before updating GPU or CPU later - last thing you'll want is a voltage sag under load, and the inherent processing errors and gear failures it causes.

---------- Post added 05-01-21 at 09:21 PM ----------

QuoteOriginally posted by madbrain Quote
Yawn. I'll stick with my Lumix GX85, which can record 4K at 100 Mbps with no file size limit and no recording time limit.
100Mbps? Yaaaaaaaaawn,.... I don't get out of bed for less then ProRes4444 or 12-bit DCI 4K Raw.

But, seriously, for 4K in h.265, 100mBits is the bottom limit of what's good, the GX-85 is a good camera to hook up to external recorder, and can make for a compact Anamorphic rig.

---------- Post added 05-01-21 at 09:23 PM ----------

QuoteOriginally posted by repaap Quote
It is a great camera for video. A bit mire work to make it work with Pentax lenses. Not bad, since I do use my Pentax lenses on my BMPCC too. But it is still a thing you need adapter to work with. m4/3 lenses are more handy, but then one has to get couple of those.
Don't forget to get the calipers out and see if the K-to-M4/3 adapter has the correct depth between the flanges - I shimmed mine to get it spot on, and made for much better focus on GH's and BMD's.

---------- Post added 05-01-21 at 09:25 PM ----------

QuoteOriginally posted by texandrews Quote
Reading this workflow with great interest...I've been having to run multiple cameras by myself, one static and one "active". Automated slider is a very nice touch for the "static" camera. I've been thinking hard about budget/DIY solutions to get more professional looking output. Our stuff should be easy to adapt for this, as it's mostly interviews or the occasional gallery walkthrough, & etc. I'd love to be able to view one of your simpler final products, discreetly if it's not for public consumption and/or proprietary.
Slider should always be manned - Automated ones move too smooth, and the viewer notices it rather then the content.

01-05-2021, 04:55 AM   #84
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QuoteOriginally posted by PiDicus Rex Quote
MASSIVE difference - even if shooting 8-bit, like a K-01 or K-3, Edit on a 10-bit timeline, and you'll see reduced banding across gradient lit areas.

---------- Post added 05-01-21 at 09:15 PM ----------



Original, 4K or 6K?
The latter two are very different to the original, and the BMD Colour Science has progressed in leaps and bounds, but when dealing with Flesh Tones, the Pentax Colour is much much more accurate.

---------- Post added 05-01-21 at 09:18 PM ----------



Good starter PC, swap out the Power Supply for a higher output one before updating GPU or CPU later - last thing you'll want is a voltage sag under load, and the inherent processing errors and gear failures it causes.

---------- Post added 05-01-21 at 09:21 PM ----------



100Mbps? Yaaaaaaaaawn,.... I don't get out of bed for less then ProRes4444 or 12-bit DCI 4K Raw.

But, seriously, for 4K in h.265, 100mBits is the bottom limit of what's good, the GX-85 is a good camera to hook up to external recorder, and can make for a compact Anamorphic rig.

---------- Post added 05-01-21 at 09:23 PM ----------



Don't forget to get the calipers out and see if the K-to-M4/3 adapter has the correct depth between the flanges - I shimmed mine to get it spot on, and made for much better focus on GH's and BMD's.

---------- Post added 05-01-21 at 09:25 PM ----------



Slider should always be manned - Automated ones move too smooth, and the viewer notices it rather then the content.
I have BMPCC 4K. My adapter seems pretty good. But it is flimsy(dunno if that makes sense) does not sit tight. No problems thou. Iím going to make a move to buy cine zooms and use speedbooster with BMPCC and when I get more money Iíll have them on proper cine camera. Lot of different options and even more coming. Would love some global shutter in my next -main- camera.

And fir more moving stuff hopefully this new K-33
01-08-2021, 04:53 AM   #85
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QuoteOriginally posted by repaap Quote
I have BMPCC 4K. My adapter seems pretty good. But it is flimsy(dunno if that makes sense) does not sit tight. No problems thou. I’m going to make a move to buy cine zooms and use speedbooster with BMPCC and when I get more money I’ll have them on proper cine camera. Lot of different options and even more coming. Would love some global shutter in my next -main- camera.

And fir more moving stuff hopefully this new K-33
4K, so M/43 mount,.. 'Flimsy' makes complete sense, I've used or tried every BMD except the Ursa Mini 12K,... you might have some success shimming the PK end of the adapter, and you'll have Zero success finding a Focal Reducer for PK - Metabones has a bug up their collective,.. they flatly refuse to make a PK version, and the email response when I inquired was, rude.

Expect the M4/3 mount to be a little loose on the camera too, same as it was on the original BMDCC and the EF on the BMPC4K - BMD engineered them that way to accommodate the wide range of inaccurately made lenses by smaller manufacturers. You should be able to gently wiggle the adapter side to side on the mount.

For Manual Lenses
you could try a piece of silvered 'aluminium' tape - it's really mylar with aluminium evaporated on to it - a single layer to build up the thickness of the of the outside of the mount, done so it doesn't touch the electrical connections inside the mount, and with a hole for the lock to come up through.
It can be just enough extra size to stiffen the mount by removing some of that extra tolerance. just carefully trim it to size, and do open a hole in the middle for light to pass,....

Global Shutter,... yup, that's why I bought the Cion,.... That and it's half the mass of the original Ursa !
01-08-2021, 05:32 AM   #86
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QuoteOriginally posted by PiDicus Rex Quote
4K, so M/43 mount,.. 'Flimsy' makes complete sense, I've used or tried every BMD except the Ursa Mini 12K,... you might have some success shimming the PK end of the adapter, and you'll have Zero success finding a Focal Reducer for PK - Metabones has a bug up their collective,.. they flatly refuse to make a PK version, and the email response when I inquired was, rude.

Expect the M4/3 mount to be a little loose on the camera too, same as it was on the original BMDCC and the EF on the BMPC4K - BMD engineered them that way to accommodate the wide range of inaccurately made lenses by smaller manufacturers. You should be able to gently wiggle the adapter side to side on the mount.

For Manual Lenses
you could try a piece of silvered 'aluminium' tape - it's really mylar with aluminium evaporated on to it - a single layer to build up the thickness of the of the outside of the mount, done so it doesn't touch the electrical connections inside the mount, and with a hole for the lock to come up through.
It can be just enough extra size to stiffen the mount by removing some of that extra tolerance. just carefully trim it to size, and do open a hole in the middle for light to pass,....

Global Shutter,... yup, that's why I bought the Cion,.... That and it's half the mass of the original Ursa !
Yea, I was thinking of getting cine lenses with PL or EF mount, EF has speedboosters so should PL.

What you said about m4/3 to PK, it sounds about right. How ever, I haven’t got any problem with it regardless.

Cion is still on my radar, as we had a chat before. It has been discontinued? I think that 4K is enough and has plenty to be even ’futureproof’ only thing what I could see from 6/8/12K is bigger files to get in trouble with. My computer has no problem with even several 4K clips on top of each other. As film pros(except guys thrilled with newest of new) put it, 1080->4K is visible, not as big as seller say, but it is there. 4K -> 6/8K, not so much anymore. I can believe that. I did shoot in 4 K a project on stage and they wanted several angles and what not. Then I sent them 1080 movie. It was 2,5 Gb. They asked if they could play with original footage. I told them that I should visit them, because whole size was more than 2 Tb and I did not even shoot RAW. They did not see that necessary anymore. Now let’s calculate what it would be in 6K. And if there is not so much to gain in quality...

BM G2 would be too expensive. Even if it is good and cheap for what it is. Then there is Z cam?

Anyway. Looking forward of learning what this new Pentax will be like

Last edited by repaap; 01-08-2021 at 05:48 AM.
01-11-2021, 12:01 PM   #87
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Cion went E.O.L. last year,.. or late 2019. There's some bargains to be had.

But, out of the current crop of Cine cameras, the BMD's, Pocket 6K and Ursa Mini G2 are probably the best bang-for-buck, with the 12K close behind.
02-12-2021, 04:31 AM - 2 Likes   #88
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QuoteOriginally posted by ZombieArmy Quote
They sure didn't.
Not only DOES the K-5 have mechanical SR but to this day (and I work as a video professional and have used basically every camera of the last 8 years or so) the best video shake reduction I encountered, only rivaled by the GH5. I started my filmmaking career with the k-5 and everyone envied me for my "skill" to be able to get gimbal or slider like shots shooting handheld and it was a real upset when I got my first mirrorless to see that this level of SR is not standard and has since not been achieved by many.
03-25-2021, 06:02 PM   #89
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QuoteOriginally posted by ZombieArmy Quote
It's 4gb or 25 mins. As obviously the camera can let you shoot at resolutions far below its maximum.
Yes, 4 GB or 25 minutes, whichever comes first. On my K-1 II, if you shoot at 1080i and highest quality, you reach 4GB in only about 16 minutes as I recall.
If Pentax does 4K, they will have to increase the bit rate presumably, at least by a factor of 2x, hopefully more. Keeping the 4GB limit would make no sense, as you would only be able to shoot 8 minutes or less at the highest quality.

Meanwhile, my latest Galaxy Note 20 Ultra can shoot 8K with no recording time limit and no file size limit, on the 512GB microSD I have installed in it.
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