The video crop factors of the current 4K cameras, and an easy way to calculate crop factors…
Above is the new EOS 5Ds, a high megapixel full frame camera from Canon. Specs have been leaked online ahead of the official announcement next week.
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.
Dilemma of the century. Do you take the advantages of raw or 4K? Do you take the full frame sensor or the crop? Do you take the DSLR form factor or the advantages for video of mirrorless? This is something I’ve been really trying to draw a conclusion on in recent weeks for my own sanity!
I had hesitated to try this for so long, but finally today a brave EOSHD reader sent me a tweet saying he had fitted his BMCC Speed Booster (with protruding rear-glass) on his GH4. It just goes straight on. First a BIG disclaimer. Speed Booster adapters have adjustable glass which can sit closer or further away from the sensor to fine tune infinity focus. On some adapters this will mean potentially it may clash against the inner housing of the mount and be damaged on a Micro Four Thirds stills camera. Therefore I do not take responsibility for any loss or damage if you try this.
The Sony RX1 has amazing stills but awful video! I began thinking how could I use this otherwise great little camera for video? The answer is to rough up the image beyond comprehension, with trick filters. Here’s how I did it.
Although it’s yet to be officially announced, the A7 and A7r have been heavily leaked. All along I have been saying mirrorless is the future, not the low end consumer proposition the manufacturers seem to think it is. Canon and Nikon ignored the high end mirrorless technology and now it is pay back time. Sony, already ahead of Canon on full frame sensor performance, looks set to steal a huge chunk of the enthusiast DSLR market away from the 6D and 5D Mark III with these new E-mount Alpha cameras.
Canon’s competitors are waging a miniaturisation war against DSLRs. The Sony RX1 is not a DSLR replacement but Sony’s same technology is building towards a full frame mirrorless system. This mouthwatering prospect may well turn up in Berlin this September at the IFA show where the NEX 7 was launched some years ago.
The Contax Zeiss Distagon ‘Hollywood’ 28mm F2.0 is a classic fast wide for full frame and is incredible on Super 35mm as well. Wide open it’s one of the sharpest F2.0 wide angle lenses available and it has very little distortion. The Contax Zeiss version fetches $800 on eBay but there’s a $60 wolf in sheep’s clothing called the Pentax PK 28mm F2.0 which has a fascinating story behind it.
Download my full resolution 6000×4000 photos from the Sony RX1 The Sony RX1 is a compact camera that beats Leica and Hasselblad for image quality.