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Merry Christmas everyone. Hopefully 2021 will be a better year than 2020 and we all can make films again.

12 minutes ago, IronFilm said:

Are you going to do any mods to it? Like for the gear rings (is bonkers that Sirui doesn't include this! As after all this almost exclusively intended for cinematic usage). Or the 2x oval adapters. 

I think where these lenses will really shine is in more artistic/stylistic usage, like on music videos where you will deliberately mess around to play to its strengths(flaws). Backlight everything!

There are gear rings included with the 35mm. Not for the 50mm though.

I'm planning to shoot weddings with them next season (if there ever will be a wedding again, who knows). And I just finished writing a 20 page short film that I might make in the next months if I can find enough people who are enthusiastic about the script. And if the fekkin virus and the government let me... Really would like to work with the Sirui's on a real set and project. Which seems like not many people are doing yet.

I know that you can put an oval insert at the back of the lens, but that's apparently not so easy to do. I'm also not quite sure if I would like it. Yes, it would look more 'anamorphic' but I kind of like the 'in between' look that the Sirui 1.33x provides. Makes it more suitable for more types of shooting whereas 2x lenses look instantly more like a (vintage) Hollywood blockbuster.

Let's see how I feel about that after I used them on an actual project.

23 hours ago, zerocool22 said:

The blue flares dont do it for me, neither does the 1.3 stretch. I have been waiting for years for a new anamorphic player, but it just doesnt seem to happen.

I had a kowa bell and howell and slr magic anamorphot.  But I guess the next step up is huge pricewise to 10k for 1 atlas orion lens. Which is a lot of money + they are huge(but I guess all cinema anamorphics are)

I get what you mean. It's no vintage 2x anamorphic look with beautiful flares.

But, let's look at it another way. I recently received the lenses and they really surprised me. The build quality is outstanding. All metal. Smooth rings. Nice weight to it. Amazing.

Ok, you won't get the extreme oval bokeh that a 1.8x or 2x lens offers, but since you would use these lenses on 16:9 in stead of 4:3, the horizontal FOV is similar to using the lenses with the bigger stretch. You get a 33% increase in horizontal FOV. That's really what anamorphic is all about. Put a 50mm 1.8x on a 4:3 crop of the same sensor as a 50mm 1.33x on 16:9, and you end up with the same FOV. So no difference there. The horizontal flares are there. Ok they are blue. And the oval curved bokeh is there, especially on the sides of the frame. 

So while I get the critics of die hard 2x lovers, I think these lenses don't get the credits they deserve. They are very well built, handle nicely, single focus, plug and play kind of lenses. And when used on 16:9 you get a nice 1:2.37 ratio with a 33% increase in FOV for a given focal length including some anamorphic characteristics. 

Just saw a testvideo that really looks great.

I wont be my fault. 

Over the years i bought a gh3 with lenses, gh5, gh5-s, 2x S1 and an S5. Oh and a panny 24-70.

I have always liked panny. Since the moment i saw footage from the gh2, wich was miles ahead the massively more populair canon 5d / 7d.

With the s1 they made such a leap. The iq is great. The buttons feel great to push. The evf is great. And with the future update it will be good for years to come. 

Too bad their AF and their brand building arent as good as the rest. The name Lumix sucks. And it doesnt mean anything to anyone. Photographers havent even heard of it. It seems that only videographers do, since the succes of the gh5. 

But i wouldnt want panny to go out. They always pushed the specs forward, on every release. Always ahead of the competition video wise. 

Panny stay strong. 

Didn't mention that I was calculating with a s35 (1.5x crop) sensor.

Can someone tell me if this is correct, and if not, correct it?

1. When using a 1.33x lens on 16:9, you would end up with 33% more FOV on the horizontal axis whilst keeping the original fov on the vertical axis. So, a 50mm would act like a 37mm horizontally, and stays 50mm vertically. This would make a 1: 2.39 ratio.

Correct? And how would this influence the DOF and 'compression'? Does this still behave like a 50mm lens? Or is it somewhere 'in between' 37 and 50?

2. When using a 50mm 1.8x anamorphic on a 4:3 sensor, one would also end up with a 1: 2.39 ratio, right? But what does that do in terms of FOV? Let's say the sensor size is the same as above. Is it then correct that the FOV would be the same as in the example of the 1.33x on 16:9, because 4:3 is less wide than 16:9 to begin with.

Thanks!

For photography you will be fine with either camera. For videography the A7SIII is the only way to go. Talking about AF only here of course.

Impressive. 

And how is it for video? 

Probably cannot do all these tricks on the fly in video mode yet and still look great. But... Give it a couple of years and it will be able to. 

Computational cameras are the future. And everyone will have an alexa micro in their hands in a couple of years. 

With probably a lot of tools that aid regular folks to make better shots. 

Does it work with any camera? My panny S1 and s5?? 

Does it do or support eye / body af? Or can it only track an object in the middle of the frame in afc? 

I definitely 'know' what you mean. When I see a good image, it's obvious. But most modern mirrorless can look awful and pretty good, but never have that 'pop' that 'real' video camera's have like BlackMagics, C300's, Alexa's, Varicams, etc.

But is this the processing of the image? Or the sensor? Or both?

I think it's the processing because almost all modern mirrorless camera's take damn good photo's in raw. And when you edit them in lightroom the color 'thickness' is definitely there. But in video mode that is different. So the fact that the same sensor can look great and 'meh' at the same time, should point to the processing part. But then again, I'm sure an Arri still looks better at 50 mbps than a GH5 with 10 times the bitrate. 

So where / when is the 'secret sauce' introduced? And are manufacturers themselves aware of this? And is that the reason they will never put their top of the line color science / processing in their 'cheap' mirrorless camera's?

My friend has an A7s3. Played with it a little bit yesterday. 

First impressions:

- the viewfinder's FOV is huge. Almost like rea life with added information on screen. Amazing.  Much bigger than that of my s1's. 

- build quality feels solid, but boring. Soulless as Sony is often being accused for.  The S1(H) and even the S5 feel much more pleasant to hold and use. The way the buttons feel. The placement. Etc. 

Same goes for the menu system. It looks like a DOS text game from the eighties. 

Footage i cannot comment on. But having the option to shoot full frame 60 fps 422 is very nice.  I am a bit jealous of that since my Panny's can only do that with a crop. 

From the other hand, that s35 mode with no quality loss also comes in handy sometimes. And i would miss that option on the a7s3 as it can only do that in 1080p.

Sounds to me like what you really need is a 2nd shooter 🙂

- Sigma 50mm f1.4
- Rokinon / Samyang 50mm f1.4 - A bit softer in the corners at f1.4 and probably a bit more CA

You guys know that I was being sarcastic right...

I'm just going into other people's heads and explain why many folks have a desire for full frame. And I think a part of that isn't the technical blah blah but simply the fact that it is FULL frame. And everything smaller than that is simply an inferior product that was only viable because of full frame camera's often didn't come with the same features. And now that they do, most people are 'upgrading'. It's the 'final destination' for most people I guess.

3 hours ago, SteveV4D said:

Thats odd as S35 cinema cameras cost a lot more than many fullframe hybrids..   and I'd rather have the money to buy a C300, a Red Komodo or an URSA 12k over a fullframe A7C,  or any other fullframe hybrids for that matter... 😆😆

You must have a very large penis. 

I think many people are after full frame not only because of 'techiniqalities' (i spelled that wrong) but also simply because of the term FULL frame. As that is the only format that sounds 'complete'. And the smaller formats are just 'crops' of that. It's even called a 'crop sensor'. 

Now which self respecting man with the funds doesnt want the FULL frame to work with it. The end station. And he definetly doesnt want use MICRO four thirds. What micro? 

For that same reason men want a large car with a big engine. And a FULL television, not a cropped version. Or a complete house, not one without a toilet. Or mancave. 

And now that full frame camera's are becoming mainstream, affordable and packed with features, many folks are 'upgrading' to what they always wanted but didnt because of financial reasons or because the features werent there yet. Finally, the full image to work with. 

But do they need to be specifically made for this camera or sensor? 

I mean, those are pretty generic full frame sensors. Cant we just get an olpf from any manufacurer on and glue it on the sensor and call it a day? 

(im kind of kidding) 

So, is there a way to buy a third party OLPF and install them on a camera's sensor that doesn't have it out of the factory? 

I have 3 camera's which I need for my work. 2x S1 and soon also a S5. 

The only thing bothering me about these camera's is the moire I see everywhere. Now replacing these 3 camera's with S1H's isnt an option for me. Way too much money. 

So I was wondering if any company makes OLPF's for full frame sensors and one could install them on the sensor. 

Anyone knows anything about this? 

What's going on with the pricing?

It's $3500,- in the US, but € 4200,- in Europe (Netherlands). And 1 dollar is 0.85 Euro.... So the difference is even greater. Usually, items are similary priced in Dollars as in Euro's. 

And, none of the US retailers ship this camera to Europe... And that's also not the case usually. 

So Sony has some weird strats going on here. And we are getting pretty much screwed in our European anusses. 

Anyone knows what's up?

1 hour ago, MrSMW said:

@Cliff Totten serious question and I have no idea in regard to the answer but if Panasonic are painfully aware they are lacking in the AF department, why?

These sensors they are ‘given’, who is ‘giving’ them?

They are either making their own or buying them in but in either case they are 100% responsible.

No one is making them not use a PDAF system as far as I am aware?

But I know nothing, especially anything techy. I just like stuff that works and I ‘give’ my money to companies that make things work.

 

Well, it is possible that Sony or whatever manufacturer have 'deals' or 'contracts' in which they sell their sensors to Panasonic, but without PDAF. I mean, when the Sony A73 / Nikon Z6 / S1 came out they all had similar specs. The S1 was even above the other two video-wise, but was lacking PDAF. Maybe they simply aren't allowed to or not getting the sensors with PDAF, because they are going into Sony bodies.

Panasonic sells too few camera's to make their own sensors I think. It's simply a very expensive and complex manufacturing process. And they also sell too few camera's to make high demands when they sign the deals with sensor manufacturers. And therefore they go all out with the other hardware and specs. They have to compensate for the lack of good AF.

The answer is no.

No designated anamorphic mode that will lets you preview the desqeeuzed image.  Also, the IBIS will not take the anamorphic lens into account. I'm afraid only the S1H can do that. Or the GH5 and GH5-s 🙂

Damn these lenses are everything i want and more. But i am not buying because i cant use them on the s1 or s1h. In s35 mode those would be awesome. 

I do own a gh5-s as well but it is no longer my main cam. And doesnt have ibis. And with 1.9x crop i find it not versaitile enough. 

I do not understand why they arent producing them with any mount that can be used on other camera's. Im waiting for the day they release lenses with L-mount or EF mount or Nikon F. INSTABUY. 

4 minutes ago, A_Urquhart said:

There is surely no way that any self respecting  camera manufacturer would get people excited about 8K AND purposely cripple the camera by allowing it to overheat.

This would just give people the idea that you don't know how to engineer a product. 

Cripple it by leaving out the high end features, don't cripple it by making yourself look incompetent!

 

I think a cock up of epic proportions has happened somewhere along the way at Canon, this surely can't be deliberate.

 

Again, if this isnt deliberate, how do you see the alternative playing out? Did they not test the camera's? Did they test them at 3 km high? Did they test them for 5 min and called it a day? 

Canon themselves have released the information about overheating first. They know exactly what kind of product they are releasing. It has an 'overheating management' tab in the menu ffs. 

They jusy want to release the r5 and r6 right now, in their current state. For whatever reasoning. 

Idiots. 

47 minutes ago, Nezza said:

If this was all a calculated move on Canon's part I'd suggest it may well turn out it wasn't that well calculated if it leads to cancelled orders, mass returns, brand damage and potentially class action lawsuits.  

The alternative is that Canon releases not one, but two new expensive camera's without testing them and dumping it on the market as is and now no longer able to change anything to the design. Does that seem more realistic to you? Especially with canon's history of both reliable products and the Cripple Hammer? 

Canon wont fix anything. And people who still think this is all a big 'mistake' or design flaw are clueless. 

This is the Cripple Hammer we were all expecting. Canon is still protecting their C-line. And they always will. 

Now they might have underestimated the damage to their brand and name. But none of this should come as a surprise. Of course Canon knows exactly what they are releasing. And why.