Jump to content

richg101

Members
  • Content Count

    1,828
  • Joined

  • Last visited

Everything posted by richg101

  1. richg101

    One Lens?

    if I was limited to one lens from here on, it would be the helios 44. There are plenty of lenses I love. but only one that I couldn;t do without and that's the 58mm/2. for a 'working lens' that will deliver almost every conceivable shot I'd go for the summicron-r 35mm/2 on a full frame sensor. shooting full frame 4k on an a7rii gives you the ability to use full sensor for your wide, aps-c for your normal and crop in a bit more with clear image zoom for a tele. a lot will wonder why the summicron vs any other 35mm/2.. it's because very few other full frame 35mm/2's deliver good enough
  2. I think the low end anamorphics sector has died. SLR magic seem to be hoovering up the users who don;t know any better, and rental houses not on the ball hoping to capitalise on the anamorphic bubble. They'll send those new slr magics out once or twice then they'll stay on the shelves since their image aint good enough to warrant the hassle and expense. If a modern lens can't match or outdo an iscorama from the 1960's for image quality, have beautiful character, and be cheaper than an iscorama then people are more happy going for a kowa 2x and a focus module or rangefinder or plump for an i
  3. I'd suggest as the producer he finds the extra $500 a day for an alexa mini and get his money's worth out of any anamorphics he's fitting to the camera (which will cost a lot more in rental than the camera). makes no sense renting anamorphics if you can't use their full image circle. a 3k image area on the ursa sensor is a 1.5x crop of an alexa mini in 4:3 mode! The $500 saving on camera rental is moot.
  4. they'll sell more of these to be used as directors viewfinders / recon scouting cameras on high end productions than you'll see ravens or terras used in high end sets. The best dop's are usually very accomplished stills photographers and will lap this up - if only for the leica badge. If L-Log and the sensor readout is good then this will be rather popular for actual productions too. - adaptability of lens mount, and a sensor size that will render closer representation of the fov/dof of a RED 8K Weapon or Alexa65 then current offerings. - if kipon produce a SL mount version of their MF focal
  5. None of the DP's or Directors I look up to will let crap like this interfere with the way they work. Give me a shout when Deakins starts on this stuff and I'll take an overdose
  6. I expect there will be a new cinealta version of the a7sii sometime soon. then we'll have 10bit 4;2;2 onto card, but it'll be a cinealta price..
  7. The Kinefinity Terra is more exciting than anything that was unveiled last year IMO, but only to those who can see themselves ordering one. It's a bit like when Ferrari introduce a new car. - it's cool and car enthusiasts get excited but the excitement soon fades, but on the whole most people couldn't care less about a car that costs more than their house and they can never see themselves ever buying one. I think the consumer level purchase boom (bmpcc, bmmcc, a7sii, gh4, etc) has died since the release of the A7Rii and A7Sii. Both cameras deliver more than consumers want and need. NAB
  8. I expect this could be very very damaging to the likes of RED. not so much Arri since they still deliver the top dog in terms of cameras. But the fact that this little Terra shoots 6k and has a focal reducer pretty much means it outdoes everything except the upcoming 8k Dragon/Weapon. The 1 stop increase in low light probably allows cleaner low light results too. Looking at what I;ve seen from the Kinemax, it looks to me as good as I could ever imagine anyone needing for even the highest end productions. The Terra uses exactly the same sensor so will likely deliver the same image. Yo
  9. Looks a bit like a 3D Design / product design university student major project to me. Just looking at those renders makes me weep at how many of the mechanical aspects need to be fulfilled flawlessly. It's all very well drawing something novel and pretty, but making them is another matter. That sucker looks like they'd need a Sony R+D budget to pull it off at their expected price. The reason the RED modularity works is that they price their gear to allow for the tremendous costs associated with making them work properly. I hope I'm wrong and they deliver because if they don;t I ca
  10. the screen inside forbes is effectively an infinite resolution once it's moving . the limitations are mainly derived from these aspects:- 1.the sensor on the relay camera (1080p with the current bmpcc sensor), 2.the relay lens between the screen and the sensor (currently capable of providing just over 4k of optical resolution (averaged over entire frame) to the sensor). 3. the lens on the front of forbes70 (a good quality schneider 80mm/2.8 will happily provide 56mpx onto an 80mm image circle). doing a crop to the 65mm wide screen area down to smaller - ie, 56mm -
  11. BRAVO! I sense a lot of the moaners will have gone quiet right about now. this little sucker will fit inside forbes70!
  12. Who needs a prototype. it's a c100mk2 without recording or monitoring. They've told us that. We know the size. Logic tells us everything we need to know.
  13. ISO means nothing when you;re limited to the ef mount and a sensor smaller than what the ef mount and native lenses were originally designed for. the bmmcc has a theoretical native iso of 2500 with the bmpcc speed booster, and pretty much the same fov when the same lens is used. So it's an inferior lightweight option compared to the bmmcc in every single way
  14. I'd argue against and say, avoid VR and VFX artists like the plague. Those sticking to their guns and insisting on pushing the envelope with true cinematography will find themselves sitting in a niche when others have all jumped on this technology bandwagon just like they did with 3D. I think most worthwhile film makers who fell foul to the 3D fad 3-4 years ago probably feel deeply embarrassed by that point in their career.
  15. remove from the metal housing and wrap the element in masking tape draw a line down the middle drill lots of holes along the line using a glass/ceramic drill bit - like an arrow head shaped drill bit - make sure the elements are in a shallow pool of water to aid cooling/lubrication during drilling. don;t apply pressure - let the drill do the work. high speed, use a battery powered drill for safety - 230volts and water don't go! using a tile cutting fret saw slowly cut along the line - the drilled holes will mean you have less material to physically cut through using very
  16. @jgharding would have raised so much money he'd be able to bribe the head of business planning of Arri to sell him one.
  17. I believe there are now electronic contax 645 lens adaptors allowing aperture control. contax 645 will be the best bet - they still just about deliver on digital backs since are modern by the standards of other mf lenses in the price range. the cheap mamiya mf glass is cheap for a reason. The number of RED guys waiting on their Vista vision/8k sensor upgrade who are stockpiling mamiya mf lenses thinking they'll be a good move for what is effectively a full frame sensor is staggering. Instead of putting the money towards full frame lenses that on the whole do a better job for less weight an
  18. Minolta lenses are superb. Sadly they can't be adapted to EOS so are less in demand, hence prices are vastly under what they should be. Because of their adaptability limitations I have to admit I've stupidly overlooked these lenses myself. since the OP is going to invest in a speed booster it means he's able to take full advantage of minolta glass.
  19. A lot of the haze type issues are related to how a lens has been stored. damp conditions, warmth and old lubricants/broken down adhesives can often cause a gassing effect, which manifests itself as condensation then once moisture has evaporated the contributions from the lubricants are left intact. since often lenses are stored face up, the gasses naturally rise and the build up is usually around the front edge of the front element. removal of a front element is often quite easy, and an ether based lens cleaner and 100% cotton cloth will remove the build up. as a general rule
  20. Olympus Zuiko. Get later MC lenses. - great focus action, easy to declick aperture. 24mm/2.8 , 35mm/2, 50mm/1.8, 85mm/2. careful ebay searching will bring up lenses within budget if you wait for the right lens. don;t pay bin prices. wait for auctions and you'll stay in budget.
  21. IMO the A7R mk1 had the nicest image (arguably the same sensor as the d800). the a7r2 is incredible in resolution and post production capabilities due to the dynamic range, but somewhat doesn't deliver as nice images as I remember from the a7r mk1. feels a little noisier for raw stills. The a7s mk1 makes amazing still images but I always feel 12mpx isn't enough for landscape shots where you might want to apply a little sharpening. None have a problem with colour. I expect if there are wb issues then the slider in camera raw allows for fine tuning. - with 8bit 4.2.0 workarounds need to be
  22. And this is exactly my point. If you have one friend who is always drunk, and you know him well you tend to learn his traits. The same as a camera. You take the time, then reap the rewards of an adaptable lens mount, evf, 4k internal, low cost, small files, and almost 2 stops of usable dynamic range in the highlights than c-log and canon's vastly inferior sensor tech. Those who have adapted to the A7 range don;t need any additional evf solution and they're paying less than half of what canon charge for the c100, while also having full frame and aps-c - allowing for vastly cheaper wide angl
  23. What I mean is that if correct colour is of utmost importance while also reaping the rewards of s-log and small file sizes then it's a necessity to be anal about setting the camera up correctly. I'm not talking about post. if you;ve set your camera up correctly then a simple log to rec709 contrast conversion is all that's required if colour accuracy is important - adjust contrast so highlights aren't clipped and shadows/midtone detail remains intact. rgb should only be touched if a stylistic grade is required, or if the camera was set up incorrectly - thus needing adjustment. if you set
  24. I'd jump in and say that most of the colour problems are a combination of lack of understanding of picture profiles and wb user error. I rarely get 'accurate' colour when I use a camera because i'm busy 'getting the shot' rather than being anal about it. If i were to enjoy moaning about the colour of Sony cameras and be obsessed with shooting s-log when really I have no need to be doing so, to the point where I discard the sony for an vastly inferior camera that doesn't offer true Log anyway. I'd first make sure it's not my own error. If you're using a picture profile without
×
×
  • Create New...