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Internal 32-bit float stereo paired with lossless 120mm reach from a 20mm lens — all inside a genuinely pocket-sized 10-bit 1-inch sensor gimbal camera? 1 2 3
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I mostly use zooms out of necessity but use them like primes, ie, as fixed focal lengths. For stills on one of my S1RII’s with the Sigma 28-70 (chosen for it’s lightweight, minimal zoom extension, compact build), I shoot it 28 or 70 or 105 using the crop function. For stills with my L10, there is a 3 step function button and that I have set as 28, 50 and 70 for my candids. For video, currently S1RII to be replaced ASAP with an S1II (for less overheating purposes, an entirely different story), Sigma 17-40mm in crop mode with full eStab engaged making it either a 36 or an 84. The latter gives me a slightly tighter perspective when shooting side by side with stills but can’t get around that without some compromises. The summary is I’m pretty much always shooting 28mm as my wide and then either 70 or 105 as my long for stills and 85 for video. I’m pretty tuned in to those focal lengths as 28/85 would be my primes only set up. I would rather use primes but same as for manual focus only lenses, not a chance for the work I do. My work dictates the lens choices. -
These two [1*] [2] Korean hands-on videos are probably among the most useful references I have seen so far on the Luna Ultra / Pocket 4P discussion. EDIT — plus this one from another reviewer elsewhere: [3] Not because they end the debate, on the contrary : ) but since they also help show the real operational trade-offs better than most spec-sheet comparisons, while still offering some fairly clear findings on the usual comparison points, such as outcome, colour or dynamic range, whenever those aspects are covered. source *In this 1st video, right from the start, you can see exactly that approach: using this kind of camera as a serious B-cam tool (Osmo Pocket 3) in commercial work, very close to the way I have also been using small capture devices in a similar role, as mentioned before. -
By Aussie Ash · Posted
Here is the confrontation young upstart Kubrick had with an established cinematographer re different focal lengths ,that Mercer is referring to.Kubrick is known as a "single camera director" but used multiple cameras sometimes like in the war room sequences of "Dr Strangelove.".He often shot a scene more than 30 times to reduce the artificial acting and get the performers displaying raw emotion.Not much use have fabulous cinematography if the acting is not up to it,the audio is poor or the story dull and boring. -
By Aussie Ash · Posted
Feature films have the "luxury" of being able to shoot one scene with multiple cameras,focal lengths and perspectives-if it is beneficial to do so.Master & Commander has an extra on this ,five cameras A to E with a range of focal lengths used,including 17.5,27mm,35mm,40mm,50mm,75mm and 100mm including at least one zoom lens.Shot on Super 35 format.Whatever focal length and perspective to tell the story can be chosen in the edit. -
Yes, exactly. That was the part I was agreeing with and developing, not trying to claim as a new point. If two people are saying the same thing, there is usually a reason for it. Always better than one person going one way and the other going the other way, just to create confusion, isn’t it? ; ) What interests me is that once convenience starts affecting the rhythm of the set, it is no longer just convenience in a minor sense. It becomes part of how the scene can actually be made. Time, pressure, continuity, the actors’ energy, the crew’s patience... all of that can feed back into the creative result. And I take your point on the 2x/3x terminology when it comes to lens design, range, price and compromise. In that context, of course it tells you something useful. My issue is more with the way it is used as shooting language, especially with phones and small cameras, where “2x” or “3x” often replaces any real sense of focal length, distance or perspective. Your parlor trick is actually a perfect example of what I mean. If you can look at the lens and camera position and already have a good idea of what is probably in the frame, then focal length is not trivia. It is practical spatial knowledge. And yes, Kubrick was right there. The frame may look similar, but once the camera distance changes, the shot has changed.
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