Inazuma

Just thought I'd drop my 2cents.. I owned a Nikon d5200 last year for about 6 months before replacing it with a gx7. In April I tested the a6000 against my gx7 and found the a6000 to have no advantages. I became so confident about the Panasonic system that after 7 months of using the gx7 I upgraded to a gh3 (for the higher bitrates, better grip and more spaced out controls). I can't speak for the g6 but I doubt the image quality is much different to the gh3/gx7. Edit: Just to expand on a few things... I had a very hard time leaving my Nikon because the photo quality was just so damn good. The video quality was good too but I always felt it lacked a little something. But there were other problems, like the small viewfinder made it hard to manually focus for stills, especially at night. Changing WB for video was cumbersome. And the lack of dual control dials was a hindrance too.But mainly, there was no cheap and small 35mm focal length equivalent lens (a personal preference). The a6000 felt nice in the hand and had a great electronic viewfinder. However, like previous NEX's it showed a lot of noise in low light, making it very difficult to manually focus. I did a little stills test and the latitude and noise levels between it and my gx7 were very similar, with the GX7 gaining a lead at high ISO's. The video quality was no less disappointing, with the Sony showing more moire/aliasing, less detail and less dynamic range.

I really don't think colour science is a worthy cause to want/not want any camera. I mean people shoot flat with almost no colour or contrast all the time and then put a grade over it. You can get what ever colours you want. More cameras (including the Alphas) are popping up with WB Tint control now too.

Out of curiosity, what camera body are/were you using it on and can you be more specific about the speed of autofocus? I have been wondering since the a6000 has good phase detection and Canon lenses use phase detection.. whether the focus speed might actually be almost DSLR fast.

How much better is the d5300 in low light than the g6, Matt? Have you done any tests? (video and photo)

This cant be right at all

All I know is that there's usually 20% VAT + £10 admin fee. Seller was "kwm55". I would not get complacent though; always be prepared for the duty hit :)

I was prepared to pay the £50+ import tax but luckily the seller marked the value down and I paid nothing :)

I would go with the lens turbo but i need aperture control for my Sigma 18-35 and possibly a future Tokina 11-16

Thought Ã'd give an update :) I bought the Tokina 28-70mm f2.6-2.8 AT-X Pro. Just waiting for it to arrive from Ireland now. The Camdiox focal reducer/lens turbo I bought (which I believe is the same as the "RJ" one) I'm starting to feel disappointed about. I'd say it's noticeably soft around 10% around the edge of the whole frame. And there is some play in the mount to the camera body (it shifts in angle a bit). I returned the Tokina 80-200mm f2.8 and received the Pro version yesterday from Japan. It is in near pristine condition and yet was the cheapest on ebay. The build of this lens is just ridiculous. I've never held a lens that felt so good. Unfortunately, at f2.8 the optics seem a little worse than the non-Pro version. There is noticeable softness and fringing. But I can live with it and maybe if I buy the Metabones speedbooster, it'll perform better.

Just absolutely beautiful footage. I don't mind a bit of noise; it makes the image feel more "real". But in the second video there is quite a lot of it. Why was this?

So after making a purchase of the PRO 80-200mm yesterday, I saw all the talk here about the 28-70mm f2.6-2.8 And by chance there was a listing on ebay that was ending in a few hours. I impulsively put in a bid and just ended up winning it for 202 euros. :o Really poor on my part because it's outside of my budget Really not sure if I should go ahead with the sale. On the one hand, it completes my zoom range (18-35, 80-200 and now 28-70) and its a sweet lens. On the other hand, I don't actually feel like I need this range and it's outside my budget. What to do... decisions decisions.. Andy, any chance you could check those pictures to see if it's even the right one? I heard there's a Pro I and Pro II. Not sure which one is better either..

What is the difference between the Tokina 28-70mm f2.8 and the f2.6-2.8 ?

Yes, my £72 Camdiox speed booster works with manual lenses. You use the aperture control on the lens rather than the adapter. Im sure the other speed boosters work the same way.

I have footage shot in 50p that I'm delivering in 25p. I can conform the footage so that I get 50% slow mo, but what If I want to go ever slower using Twixtor? So I gave it a quick test; put my 50p footage in a 25p timeline, playing in normal speed. Then add Twixtor with 50% slowdown. What I found was that Twixtor doesn't use the extra frames from the original clip, but interpolates like it would do with any 25p footage. This means that getting 25% slomo using Twixtor would be no different whether my original footage was 25p or 50p. Is there a way to change this behaviour?

You can download the original video by clicking the Download button below the player. You can clearly see the fine noise. I really very much doubt the aliasing is from shooting 1080p. I have been shooting with the gh3 and gx7 and never seen such bad aliasing.

It shouldn't rattle. Even my cheap knockoff doesn't rattle. You are an unlucky person :p

I'm thinking the aliasing was due to the editing programming interpreting the footage as interlaced instead of progressive. The noise is very fine so it was probably shot in 4k and i don't think any noise reduction was used. I want to say he used very fast glass but you never see anything out of focus. And if it was any brighter outside I would think the windows would blow out way more. So yeh... Mystery.

I bet you if other cameras under $2000 had as good a sensor readout as the Panasonic's, you would see noise at low ISOs too

Hi, Does anyone have any experience with these? I'm in the market for something cheap but that still wont shake about when I pull focus. Also can anyone confirm whether the plate is compatible with a Manfrotto 577 / Giottos 621?

Are you willing to put up with flicker on electric lights?

I posted a report here: > Hope it helps :)

I was skeptical when Christina suggested Super 8 for weddings, but now im convinced its a bad choice. There is nothing special about Joel Sarrato's work. He does the same boring shots of wedding shoes that everyone else does and his sense of framing in general is poor. Add to that the look of Super 8 (including zooming in and out of shots) and it literally just looks like a home movie. May as well have asked a friend to do it. Super 8 should be left to experimental films.

The edges were just out of focus, surely?

I should have done more research I guess :D However for my needs, this lens is more than good enough and I dont tend to get along with follow focus' anyway.

Hey guys, I just wanted to share a quick report on some new gear I have obtained: Sigma 18-35mm f1.8 (£550) Tokina AT-X 80-200mm f2.8 (£250) Camdiox Focal Reducer (Nikon to Micro Four Thirds) (£72) Handling When the postman delivered them was the first time I had seen either lens in real life. Both of them feel very nice in hand and look great. Pictures just don't do them justice. The Tokina is all metal, which makes it feel particularly nice. The Camdiox adapter feels pretty nice too. The aperture control is very smooth and is clickless, which I hear many video people like - though personally I have yet to find a purpose for that. The throw of the ring is a short 30 degrees (or around that). The Tokina's focus ring, when turned, rotates and moves forward the entire front barrel. So using it with a follow focus is impossible. Neither lenses are parfocal, although the Tokina is superior to the Sigma in this regard. For such a long lens you would think the focus shift would be higher. Both lenses have about a 90 degree focus throw. And the rings on the Sigma have more resistance than on the Tokina. And in both cases, the focus rings are smoother than the zoom rings - as to be expected. I do wish the Sigma's focus ring was smoother though. One fantastic thing about both lenses is that neither of them elongate when you change the focal length! The Sigma is around 850g heavy and the Tokina is 1.25kg. The Camdiox is about 150g. In practice, I would not handhold the Tokina but I would the Sigma. In fact it does not feel all that different to when I used to use the 17-50mm f2.8 with my Nikon d5200. The Camdiox's rear element can be rotated to allow you to adjust focus. I had to do this in order to achieve infinity focus. Unfortunately there are no markings or intelligible way to figure out how much to rotate it by. Luckily for me I got it right the first time. Performance With the lenses adapted, the performance is quite good. I have not used the lenses without a focal reducer so I can't say how they compare, but there is no noticeable vignetting and the CA is fairly well controlled (although definitely apparent when viewing 100%). The Tokina in particular impressed me because I have used several vintage lenses and they all have been prone to flaring, but this lens stays strong. The haze of the sun is only somewhat apparent and things stay contrasty. The blue spot problem does exist with the adapter, but it's really not at all distracting. it's not an opaque spot, but rather a very soft and faint blurred disc. The disc also appears on super bright light sources like the sun, not street lights. Both lenses are sharp enough wide open that I am able to find focus without too much trouble using the GH3's viewfinder (which btw I'm finding far superior to the GX7 and the NEX 6 I had before it). https://vimeo.com/101665729 Tokina 80-200mm f2.8 D mounted on Panasonic GH3 via Camdiox Focal Reducer. First image 80mm, second image 200mm. ISO 800. Auto WB. No iDynamic. Neutral PP -3 -5 -2 -5. Might have missed focus on the third shot. No sharpening has been applied and Vimeo makes video look softer than it is. Some photos straight out of camera. Lenses wide open. First two Tokina, second two Sigma. Click to enlarge.