Posts Tagged ‘super 35mm’

All footage by Ed David on the EOSHD forum

I’m surprised at how nice the quality is from APS-C (Super 35mm) mode on the A7S. I expected it to be a lot softer! There’s no signs of significant moire or aliasing either.

The smaller window from the sensor allows the shutter to expose the whole pixel readout more quickly than in full frame 12MP mode, so less jello for us.

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Sony A7S APS-C mode

One of the enigmas emerging from the A7S is whether you can shoot 4K in APS-C crop mode as well. APS-C is Super 35mm in cinema language. I really would like to use my Cooke S4i Minis via a PL adapter on this camera! Taking advantage of the low light sensitivity. APS-C crop mode would also allow the use of standard Sony E-mount / NEX lenses, Canon EF-S and Nikon DX lenses.

Sony’s information (above) implies that is the case with “both resolutions available at both full frame and APS-C size”.

I dug a little deeper to find out more…

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Original music by Berlin electronic act Herdwhite – see more on iTunes

Join EOSHD on Facebook – we broke 10,000 likes and counting yesterday – thank you everyone

I’ll start this review with a parable. It is a parable about an old man, who fell asleep…

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gas-light

The Micro Four Thirds Speed Booster for Leica R is now in stock at Metabones!

The Speed Booster for Micro Four Thirds gives cameras like the Panasonic GH2, GH3 and Blackmagic Cinema Camera a Super 35mm / APS-C sized sensor using clever optics, in the same way that the E-mount version turned cameras like the Sony FS100 and NEX 7 into valid alternatives to full frame.

As well as shrinking the image circle of a full frame lens to fit a smaller sensor, the Speed Booster lives up to its name by giving you a 1 stop increase in brightness so that F2.8 effectively becomes F2.0.

I’ve been testing the Leica R mount version of the new Micro Four Thirds Speed Booster on the Panasonic GH3 and here are some of my early observations.

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Blackmagic Production Camera 4K

For the second NAB in succession Blackmagic are bulldozing down the image quality / price barrier for film production. 4K compressed raw, global shutter and Super 35mm was the unique preserve of Sony with the F55 until today, and that was a $36,000 camera. This is a $4000 one. Gone is that extra margin – unsettling stuff for the big guys. Here’s my own personal look at the cameras and the consequences.

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The EOSHD Panasonic GH4 Shooter's Guide
The EOSHD 5D Mark III Raw Shooter's Guide
The EOSHD Sony A7 Series Guide to Full Frame Lenses
The EOSHD Panasonic GH3 Shooter's Guide
The EOSHD Anamorphic Shooter's Guide - Second Edition
More EOSHD Guides