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By Samantha_Hong · Posted
There are a lot of great camera options right now, but I think the lens ecosystem and overall usability matter just as much as the camera body itself. A camera that fits your workflow and encourages you to shoot more is usually the better choice than chasing specs alone. -
By eatstoomuchjam · Posted
I worded my response badly! I meant that the $700 US price tag was "already there" in terms of 'exorbitant, ridiculous, and "this is just an action camera - WTF"' which Kye had just said in anticipation of the AU pricing. I should have chosen phrasing that made it more clear that I wasn't simply repeating US pricing that is already known. 😅 -
I love the sigma 30mm f1.4. When I was using the GX80, it was pretty much the only lens I used. -
I bought an EF-MFT speed-booster, now I need some lenses! It's a VILTROX EF-M2II, and I tried my 50mm F1.8 and the AF was somewhere between functional and like it had a mind of its own. The focus ring on the lens has such a short travel that it's impossible to use as a MF lens (which it wasn't designed for so I understand). I'm looking for some interesting / fast / cheaper EF lenses that will be fine manually focusing. I'm especially interested in lenses F1.4 or faster but are still budget lenses. My thoughts immediately turn to the early days of cheap Chinese glass, but I can't seem to find any as any search is overrun with Canon AF lenses, or with new MF lenses that are for EF-M mount but are incorrectly labelled as EF (even Meike has a lens labelled as EF that is clearly a mirrorless lens!), and while EF was the only mount people never bothered to include that information and so things don't appear in searches. Laowa doesn't even let you browse their products by mount! Our new robot overlords suggested some options: The Samyang/Rokinon series: 35mm 50mm 85mm F1.4 Zhongyi Mitakon Speedmaster 50mm f/0.95 (nice but it's over AUD1000!) Zeiss ZE series: 35mm f/2, 50mm 85mm f/1.4 MEIKE 50mm F1.2 Anything else I should be looking at? I really thought there were more third-party options around than just those. -
If you like.. the thread I linked to included a link to a comparison of dyes and the digital sensors all had significantly weaker dyes in the bayer filters, probably to increase the sensitivity to light, but it means the spectrums of RGB overlapped a lot more than film, which hardly overlapped at all. This has all sorts of implications on digital vs film, and I have been pondering it since linking to that, but I'm not really sure what it really means in the context of ARRI colour science or even good colour science etc, which is why I didn't mention it. One thing worth mentioning is that when it comes to additive colour (like light) the response is a cone that gets wider (more saturated) at higher luma values, whereas subtractive colour (like dyes) the response is widest at the lowest levels of luma. This gives you two cones where the additive one (which is any monitor) can't fully replicate the most saturated parts of the subtractive response. However, now we have much higher dynamic range devices (HDR displays) they pretty much cover the dark-and-saturated part of the subtractive cone, and considering that modern cameras also have this kind of dynamic range they also capture it too, so that problem is mostly solved, with the only wrinkle being that you have to compress the whole gamut when grading your footage for SDR displays so it all fits, which is why film emulation plugins are so useful because they do a great job of this.
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