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Everything posted by richg101

  1. tbh for general video use your a7s and a7rii are gonna be hard to beat. I'd suggest rigging the cameras to add weight and maybe length too - this will drastically affect the motion of the cameras. the a7rii with the ibis set correctly for the focal length you;re using and some added weight will help motion a great deal. here is a pic of my a7rii in a birdcage and a chunk of aluminium billet as a riser - perfect height for a 15mm rail mount I made. for out and out stills image quality.. you're not gonna be able to improve on the a7rii. it is single handedly the best st
  2. Leica R - f2 or faster.. native e-,ount and m4/3 lenses will depreciate in value since they'll always be less adaptable than slr lenses. personally I feel if a lens requires electronic contacts to allow it to be used, it's almost certainly gonna devalue rather than increase.
  3. Yo Andrew. Don't be put off by the huge influx of unemployed people who've recently gone into blogging/vlogging in an attempt to make a commercial name for themselves. The days of celebrities like Philip Bloom are gone - gear nerds literally looked upon him as a god 3 years ago. Personally I'd like to see you in a permanent product development position at Sony, while still keeping this blog running with details like your beautifully carefully written and informative articles. I've been hoping to see your response to the Leica SL - I'm amazed you weren;t sent one before the rest of the hope
  4. you miss my point completely. I'm talking about how we associate a look with a type of visual piece. The Alexa65 will have been brought into the equation by arri in order to offer a prestige option to productions in the upper echelons of 'high end' that need to be able to separate themselves from everything else. The Revenant 'looked' different optically to anything else. They wouldn;t have bothered with the extra hassle of using multiple different cameras if there was no difference. I'm talking about a situation you obviously don't empathise with = the reason movies began to be shot in a
  5. I kinda hope they don;t get too easy to acquire. The more there are, the more they'll be willing to knock down prices and make rental for crap jobs possible. nothing worse than seeing a golden standard used for menial projects. like when a creative director or dp suggests shooting a walmart advert in anamorphic.. it undermines everything and removes the 'special' option that should only be made available to the true high end jobs like features.
  6. richg101

    TRUMP +1DC + F35

    Make lenses great again!
  7. what a stunning lens! 20mm/1.4 full frame ! madness. beautiful test images too. on my want list!!!
  8. for typical scenes in outdoors bright daylight with dark shadows:- set your ev dial to +2 then use the histogram. If you're not sure what the histogram should look like for correct s-log2 exposure just set the camera to auto mode and see what settings it wants for a +2 exposure. then you know roughly how to set the camera up and how the histogram should look. for fool proof exposure just use a +2 setting on your ev dial and auto shutter. use a variable ND to keep your shutter as close to 1/50th as you can if you're not shooting in these conditions switch to another p
  9. When you factor in how much of the total cost outlay is dedicated to stills performance; and how much of the video functions have been crippled (compared to an ursa mini, a kine terra, an fs700 etc video camera, or the 1dc for that matter - canon's prehistoric sensor tech needs all the help it can get when we're talking about DR, and without c-log this camera is not going to deliver the goods that the 1dc does; you have to factor in the performance in stills mode. Anyone buying this brand new for video alone - instead of looking at a preowned 1dc, c300mk1 or c100mk2 is mad.
  10. The DPreview tests back up everything Andrew has said here... Journalism is all about presenting information in a concise package. DPReview's article is plagued with positivity - if they're not positive they don't get advertising revenue or free cameras sent early. Andrews article simply points out and opens conversation regarding the less positive facts that are almost avoided by dpreview to best play political ball - brushing under the carpet hastily the fact that the 1dxii doesn't improve upon - infact based on the tests can;t even compete technically against a 4year old predecessor.
  11. A bad workman always blames his tools... inproper wb settings and poor exposure. get them right and you wouldn;t have had a problem
  12. Nope. It will adapt 'some' pl mount lenses to eos. sadly very few PL lenses people actually wanna use will adapt to eos. a few zooms, that's about it.
  13. it's an official promotion from Canon. 20K on that promo was a low estimate. It probably cost canon more than 5k just for the travel, acomodation and insurance. It may only look like 3k's worth of budget to you, but you;re obviously not aware of all the other costs associated with working on projects where the brand are going back and fourth with umpteen different creative directors and marketing people, asking for adjustments to edit and grade. The post house probably charged £10k extra just charging for extra work
  14. actually of all the modern offerings the loxia are definitely my favourites. If I had the cash I'd be all over them! The problem with modern lenses is that they all seem to be over contrasty meaning they don;t render things like skintones quite as nicely as older lenses IMO. TBH, it might be that correct use of diffusers and netting might make canon L series more appealing to my eye, but the fact remains is that the lenses have been used extensively in non cinematic environments to the point where they impart a non cinematic look. It's like the opposite of panavision lenses. if you ta
  15. For sony, You could fit panavision lenses if you wanted to. But in the real world with a very cheap e-mount to oct18 adaptor you can fit lomo copies of the old arri 35mm format lenses. at £100-150 a pop the oct18 lenses are the cheapest way to get the look I consider 'cinema'. for canon you are pigeon holed into using lenses that can be adaptoed to eos - so most 35mm motion picture lenses are not usable. but IMO a set of old 1970's nikon adapted to eos are a good call. or better, some leica summicron-r lenses. The problem is that unless you're using the full sensor of the 1dxii (whic
  16. I assumed correctly they shot this on L series. and it looks like also the L series 'cine' versions. It's not the camera that makes this feel the polar opposite of the look of No Country for Old Men. It's the glass. If they'd had cooke s4's on the front of the 1dxmk2 i imagine the image would look like a real movie. The fact that they can be in just about the most filmic location I can imagine and it still feel like a dslr shoot is because of the lenses. Canon glass = photo journalist snapping a criminal after his day in court Cooke glass = Hollywood. Shame Canon stick w
  17. Though in a consumer branding/marketing strategy, I'd argue the A7Rii + native FE lenses is without a doubt the best performance full frame camera system out there (for stills in typical situations). Best dynamic range, best resolution, and now 14bit raw - the three most important aspects of a camera for stills. To get close (in image quality terms) to a 5k$ investement in a a7rii and some fe lenses you need the d810 and some otus lenses - a d810 and a single otus is enormous and costs over 2x the price of an a7rii and a couple of loxia lenses. The AF argument and durability ar
  18. Just buy an a7s, a7sii or a7rii. stick a canon logo over the sony one if it makes you happier. That's the only way you'll have a non cinema-eos canon camera with good video performance.
  19. give the crew a $60k budget to shoot, and a $20k budget to pay for the edit/post for a promo video for the nex5n and the results would be just as awe inspiring. The level of production value on this video makes it impossible to judge the camera because in real instances with these budgets they'd just add another $2k for the rental of an Alexa Mini for the couple of days of shooting. $80k for 8bit acquisition and a lens mount incapable of using real cinema lenses, or $82k for arriraw acquisition and the ability to use cooke s4's.. Nothing more annoying than consumer advertising tech
  20. they're a little heavier than authentic canon batteries and twice the weight of the usual aftermarket cells. also being white you don;t get them mixed up with your inferior batteries and know which are yours if you;re sharing batteries with colleagues.
  21. The 1080p from the f3 is better than the 4k from any camera system within the same budget (sub $3-4k).
  22. http://www.ebay.co.uk/itm/Ex-Pro-LP-E6-Ultra-White-Series-Battery-7-4v-1850mAh-for-canon-EOS-5D-Mark-III-/331467112824?hash=item4d2cfac178:g:oLIAAOSwBLlVRRFY badboys. better than the originals by quite a way.
  23. richg101

    One Lens?

    yep. as a aps-c user the 35mm/2 is a must have. Imagine you took the 35mm/2 you;re used to using on m4/3 and aps-c then used it on full frame for the next widest option. If a particular full frame fast 35mm can deliver good resolution on m4/3 for short tele work, it'll do great for 'normal' on aps-c and 'wide' on full frame. The nice thing about the summicron is that it's nicely controlled in terms of fringing on high contrast edges. so you can take full advantage of the big aperture. I expect the loxia 35/2 will be even better than the summicron for a single lens option of full fram
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