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Blackmagic brings genlock to the iPhone 17 Pro, while Apple’s first ProRes RAW goes straight to your pocket... 1 2 3
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My Takumar 50mm F1.4 arrived and I took it out to compare it with the Voigt 42.5mm F0.95 with Sirui 1.25x adapter setup. The Voigt+Sirui is equivalent to 68mm F1.5 and the Takumar+Speedbooster is equivalent to 71mm F2.0, so a bit longer and a bit slower. In order to avoid changing lenses all the time, I did a little lap with the Voigt+Sirui, then did another lap with the Takumar and re-created the compositions from the first lap (as well as grabbing other shots too). These images have had a film-emulation applied, and have had exposures matched, but no other changes, so things like contrast and WB etc should be the same. My impressions: Voigtlander is softer at F0.95 than the Takumar at F1.4 I haven't compared them with the Voigt stopped down, but I'd probably rather get a bit more subject separation than sharper images. The extra sharpness of the Takumar makes the focus peaking a lot easier to use when using the screen (using the EVF you can see what is in focus but the monitor you need peaking on) The focus ring on the Takumar is a lot looser (not that damped but not too loose either), but of course it's backwards The extra width of the Voigt is apparent. It makes me wonder if the Speedbooster is a little less boosting than I claimed. The Sirui has a lot of coma on the edges (stretching light sources horizontally) so the bokeh seems more horizontal than vertical on lights, whereas the Tak seems to have a zoom-blur sort of effect which is a bit odd The Tak has slightly lower contrast (hard to see but I noticed it when trying to match exposures) In addition to those, I also grabbed these with the Takumar: Swirly bokeh! and it's not a Helios!! It has a nice halation/glow but the ghosts from the light sources are real. This is something I am thinking a lot about because I find them to be very distracting. Seems sharp at the edges at closest focus. The bokeh is confusing - sometimes with bubbles and sometimes not. I actually find that the response to light sources in this lens is very complicated - sometimes it stretches along the spokes of a wheel and other times along the rim of the wheel. Also something I noticed but isn't really visible in stills is that light sources pointed straight at the camera have a flare that's like a loop, like this, which can look pretty distracting too. My conclusions are: The focus being lighter and peaking being more obvious makes it a bit easier and faster to use, so much so that I changed my process to where I'd adjust the vND, then hit record and then focus in the 2s it takes the GH7 to begin recording The size and weight difference is significant and I found I was able to shoot people from a lot closer with it than the Sirui The small size and weight mean it's a no-brainer to pack on trips where I'm reluctant to pack the Voig/Sirui combo Next is to test it with an oval insert to get some stretched bokeh. As a proof of concept it certainly looks promising. -
People fight over who has closer DR and latitude to Alexa 35, then apply a LUT that drops the DR to 6 stops to look like Heat 1995. -
By fuzzynormal · Posted
Here's my dumb-ass-getting-older-by-the-second-opinion: In an era where some people are starting to look back at 80's and 90's films while saying, "Why don't movies look as good as that anymore"? I'm not eager to jump into the high-resolution-hyper-DR-fray. The best looking film I ever made was in 1080p on consumer cameras before I really was trying to do a hell of a lot with color grading. There's GOT to be a push back at intense IQ realism in cinema sooner or later, right? Right? Ah, wtf do I know? -
By eatstoomuchjam · Posted
8K sampled from 12K should be really good 8K and it's basically how you'd get 4:4:4 quality from a bayer sensor. If the FX8 specs are as-rumored, it could be a real hit. Though if Sony try to sell it for $6K+, it'll be a really hard sell. If they don't, it'll be cool to see the prices drop on their existing camera line-up. -
A couple of years ago, I was saying on Forums that Arri would fail, and people were calling me stupid. Ohhh its image is so special, etc etc how peasants could understand this. But the problem is you can't sell a lot of 70-100 000 usd cameras, the market is what it is, even more so when you have very capable cameras coming for much less. You reach a level where that 5% more cannot justify the 10, 20x the price. Before you had the highend market where camera cost/rent is peanuts compared to the overall cost, but that secondary market, the people that used to rent those highend cameras, can now buy a camera that will do 90% of what they need, and will rent only 10% of what they used to do. Arri and most US/german companies are going to be eaten by the Chinese ones. They still live in the rental business, for camera and other gears light lighting etc. The principal of the Chinese is that they will produce affordable equipment for the many, that will help them also produce for few highend that they will sell. You will find Aperture/Godox/Nanlight models that will cost less than a hundred dollars, to 4k led light costing more than 10 000 USD. They will sell a thousands of the 300 USD 300 watt cob monolight, for perhaps every 10 000 USD 5000 watt one. But those thousands of 300 USD lights will help them for R&D for those big lights. same for camera, imagine if Arri had repackage the original Arri LF in a more affordable casing, taking out some features of frame rate and sell it for 10K. They would be selling thousands of them, perhaps at the detriment of their higher ends, but those thousands of 10k models would overall bring so much money.
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