j.f.r.
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Posts posted by j.f.r.
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The field of view argument makes no sense to me. If I want the field of view a 24mm lens offers me on my 36×24 mm sensor, then I just use a 12mm lens on my 18 mm × 13.5 mm sensor. Done.
Please show me an equivalent 11-24mm lens (FF Field of view) in MFT Format comparable to Full Frame........... You simply cannot achieve the extreme wide field of view, dof and asa of a full frame sensor in MFT format.
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In what other way than shallow DoF? I find the RAW and DR from the BM cameras opens up way more creative possibilities than simply using a larger format.
DOF, FOV, ASA,
Many people forget field of view as a main benefit of shooting Full Frame. A 24mm lens is equal to about a 12mm lens on MFT format, so basically you can achieve great wide shots in FF much easier than smaller sensor crop cameras.
The benefit of having a 3200iso base in S-Log in Sony A7s allows you to attain very close to 12 stops dynamic range which is very close or as good as many other professional cameras.
Personally you can own multiple cameras and use them all for many benefits. Imho though I would definitely leave the MFT format for the new Sony A7r
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I'm on a selection committee for a film fest. Honestly, we see a lot more creativity from people working with a lot less. Point is, this film is lame. I'll agree with ya.
Anyway, a good aspiring film maker will recognize that it's not the camera failing here. Of course, many aspiring film makers don't always know what the hell they're doing, so they could be swayed negatively with lousy films.
I mean, "Reverie" wasn't exactly great narrative, but at least it used light in a good interesting way. Yvonne's cinematography is sterile and ... well, just bad. Samsung should've pulled the plug on this film and left it alone. --And putting it on YouTube with an open comment section? Whooo-weee....good luck with that.
Almost as bad if not worst than the GH4 released film as well, has very little to do with the camera...........
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Yes, once you use a Full Frame camera it opens a new creative world simply not possible on smaller sensor......
Black magic are great/excellent cameras but outside of the Ursa they do not shoot anything above 30fps, so if you need any kind of slow-motion or 60fps in general you cannot do it on the Pocket,Cinema or Production Camera.
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Not sure why I am replying to someone who thinks you can easily match GoPro to Alexa colour anyway
We matched C300/C500 to Alexa footage, also you're digging way too deep into this. Sure there is a difference, my man point being though you can match colors and get very close and most importantly most audiences will not notice.
GoPro 4 recoding in 4k to a ProRes recorder can give you really good results. No need to argue this has been done
peace
Why didn't Sony use this sensor in the FS7? Surely heat would not be a problem? They could have easily gotten 60fsp or maybe 120fps at 4k. Apparently, the only one moving to FF is you my friend. Not to say the new A7 series doesn't look promising... Just keeping it real.
Video production world and Film is very different, for Films large format will be the standard (Big Budget). The New Mission Impossible movie is being filmed in 65mm and so is Star Wars Rogue as stated. Yes it cost a lot of money, but the films that can afford it will shoot in that format as it comes with many benefits. I suggest any and everyone to read on why RED went large Format as well as Arri + the benefits of using this
Peace
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Exomonkeyman - do't listen to any of the bullshit coming from the wedding photographer.
Those lenses are fine, and usable at t 1.5. Don't buy a zoom, working with primes makes you a better DOP.
I have shot a bunch of stuff on the samyang lenses, paid stuff, shortfilms, documentaries - they are very good value, with focus gears, smooth aperture control and an ok built quality.
Check this out my friend studying cinematography shot on those lenses and a black magic cinema camera:
Digital Noise/Grain looks horrible.............
I've worked with top Cinematographers in the business, we've used Primes and Zooms neither makes you better or worst so your comment about zooms is 100% false.
The advantage of having a 24-105mm is for run and gun purposes and being one person shooting or limited crew/time. If in the middle of a shot you need something longer/wider with a prime you have to change lenses, with a zoom you snap to your focal length. I use both and recommend both, Zooms especially those of higher quality cost much more than any Prime lens and are used in Films.
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You really like to use opinion as fact, don't you.... #Fact
99% of the top end film industry still uses s35. Perhaps more. A few people like Nolan experiment here and there, but that hardly shows a seismic shift towards large sensor.
The film industry is moving towards larger sensor #Fact
Inform yourself , Arri just released their Large Sensor camera which they are shooting Star Wars: Rogue One, Red with their "Weapon" Camera have also gone large format. 65-70mm film has always existed, but you can assure in the future we will continue to see this format much more even though many films which have been in production for years were shot on S35 sensor cameras.
IMAX with Interstellar showed the world how amazing an image can be. Red Weapon will carry that torch ad Arri with their Large Format is going to revolutionize the industry. Quote this...........
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I can see you love fulI frame, but is not S35 the defacto standard in film? And the Samsung sensor size is aps-c/s35. Also the Samsung is 6k down-sampled to 4k. The new model is rumored to have better DR, and 60fps 4k. With the h.265 HEVC this should be feasible. I would not be too sure that no one will cross shop the Samsung and the Sony.
The film industry is moving to larger sensors #Fact
Also outside of S35 crop format the Samsung lacks, dynamic range and color to even be anywhere close to considered a film camera.
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j.f.r. Thanks for the help, i'll keep zeiss lenses in mind in the future.
Honestly with the Sony A7s you can use an F/4 lens and basically accomplish 90% of the shots you need. I would not hesitate to sell the Rokinon lenses and buy the Canon 24-105mm F/4 which you can find new for around $600-$700 and will be an all in one lens.
My setup would be Canon 24-105mm and a Canon 50mm 1.8
With those two lenses you can shoot basically anything narrative or commercially.......
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If it can't it's sales will be cut short when the new Samsung NX1 successor is released, because it's very likely to be packing 60fps 4k.
No One who is considering buying a Sony will buy a Samsung camera...... Honestly how do you even put the two in the same class
Sony A7s is a professional tool being used already in productions around the world with excellent dynamic range, asa and most importantly full frame. NO non FF camera will ever be a substitute. Same like the Samaung will NEVER cut into the Mark III sales, it just doesn't happen. 4k is great, but Canon is still the #1 seller and they don't even have that in any of their consumer/prosumer cameras.
Samsung needs to work on dynamic range and asa which is more important than simply resolution a GoPro shoots 4k at 30fps and while the resolution is very helpful it's simply used for another aspect of filming. Personally I think the Samsung camera didn't even sell and might be discontinued, specs aren't everything..... Samsung NX1 has sold poorly, has received price cuts and it's basically selling for $1300 and no one wants one..........
The 1080p Blackmagic Micro Cinema Camera with internal raw recording on SD cards and global shutter for less than $1,000 says "hi".
Blackmagic is a very intelligent company that worked on their dynamic range/color science / compression before just wanted higher resolution and frame rate. Blackmagic is the future, the only problem I see is still not very good asa, but other than that it's ticks A LOT of boxes. I plan on buying an Ursa Mini or Sony Fs7 sometime in the near future, but the Micro Camera is definitely an amazing tool at an Amazing price coming to everyone just like the Pocket Camera was. My serious drawback was I need 60fps, luckily the new Micro Camera will give us that.
Sensor crop ,1080p and Low Light Performance though is still a reason why 5D Mark III and Sony A7s will still sell though......
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At this point I am 99% convinced the a7s will do 4K at 60fps.
100% absolute positivity this will not happen with A7s II........ At most A7s may do 120fps at 1080p, it is quite insane to even think they can get 60fps at 4k when we will be lucky to have it at 24/30.
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Thanks for the great feedback. It was meant to be a profile on the person, I didn't really want to veer too far into the cultural aspects of hinduism and focus more on his story. I see your point with the music track, I didn't have it in there for the first draft and the piece felt a bit like a lot of loose ends tied together. I did wonder whether seeing people play instruments and not hearing them might be a bit odd though..
I would lose a lot of the random shots and focus solely on him and the temple. I also agree that having some sound effects combined with the music playing would be more interesting. Another thing I didn't like was all day time scenes, would have been great to have some "personal" low lit mood scenes, taking advantage of the amazing Sony a7s.
Overall I think it's pretty good, but could definitely be edited down + add some ambient sounds and natural ones to immerse the viewer more.
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here is a short doc video I did for the state historical society where I used a GH4 on a tripod for some of it, and a Gopro 4 with a Zhiyun Z1 3-axis handheld gimbal to add some moving shots. It was a bit tricky getting the correct balance between the GH4 footage and the "protune" color from the Gopro. Does it work okay in your opinion, or are there things I should be doing to better balance the footage from the two cameras? thanks for any comments.
You should convert your GoPro footage to ProRes, very bad compression artifacts letting me know you are editing off of the internal H.264. Yes this will create massive files, but it will make your footage look that much better. H.264 is NOT an editing codec even though many people make that mistake. This is one main reason why shooting on RED,ARRI,BLACK MAGIC, etc the internal codec is of much higher quality but even still 99% of the time if it's not recorded in ProRes it's god to convert to it or other similar codecs if you're in "PC" world.
*Color balance looks pretty close, GoPro footage just needs more contrast. Also I agree that you should shoot in medium field of view mode for these types of specific shoots. I usually use the Superview when doing aerials as I love the slight "fisheye" effect.
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The A7S hasn't even been out for a year.
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Hey guys thanks "paulraymaekers,Julian,Ebrahim Saadawi,Mattias Burling" so much this helps massively!
and btw "j.f.r." Really off topic and you sound a little rude just throwing facts about how bad the lenses are i bought. as an indie filmmaker i don't have or really wanna spend $700+ on lenses when being honest at a certain point in my style of filmmaking it comes down to how much i can push the image in DR and the range in the camera than the lens. (also i'm using the 35mm t1.5)
For a canon 60D in video mode (it takes very blury video) i think this is pretty good (:
http://cl.ly/image/2W42340g373p
Thx for help guys!
The only thing "rude" or Lack of respect is when someone doesn't take advice from someone who is more experienced. I speak first hand and tell you those lenses are not very good and a cheap 50mm Canon 1.8 (new model) cost less than $150 and is a much better lens than anything in the Rokinon lineup. Now since you're a "filmmaker" continue making films then I guess , but then again you want to upgrade from a 60D to a Sony A7s.........
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neat video does the job!
This, be careful though as it does ever so slightly soften the image, so make sure you shoot with really sharp focus
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Where did he or anyone else claim it to be sharp and who said anything about shooting at T1.5?
Just trying to see the point of your post.
His thread title/post....... He's worried about losing sharpness with these lenses on Sony A7s, my point being he already is losing sharpness as those lens are not sharp to begin with, especially shooting at T1.5 which those lenses should not even be rated as, as you really cannot use them until T4 and above, specially if he is using the 24mm lens which is their worst lens in the series.
Honestly all of the Rokinon/Saymang lenses are very bad/poor with horrible onion bokeh, ca, purple fringing, etc.... You want to shine on the Sony A7s go and grab some Zeiss lenses like the Loxia, Batis or even the Sony FE's. Heck I would even use the Sigma 18-35mm in APS-C mode for an excellent sharp image. Personally I would not be using Rokinon lenses at all due to their inconsistency from lens to lens.
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Hello there forums (:
Iv'e been gathering a lense collection of samyang/tokina t1.5 full frame manual video primes before i decide to upgrade to an A7s from my 60D (So i will have a good lens collection to actually use)
Sadly there all on the canon Emount and i'm curious if there is anything really important i should know about such as (Sharpness loss, more chromatic aberration, blurring of edges, vinyetting & perhaps even 24mm being pushed to a 20/28mm due to the the distance of the lens and the mount?) before i decide to use an Emount adapter on a Sony A7s.
Or is there no difference?
Any knowledge would save me a bunch of time and effort.
P.S
Samuel
Samyang/Tokina lenses are NOT Sharp especially at T1.5.........
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I was a colourist for 4 years. If you think the Sony colour is as good as any other camera, great... But it is your opinion, not a fact. I know some of the best colourists in London and they all generally dislike Sony... Yes, you might be able to match, more or less, footage from an F55 with an Alexa... But you will spend more time doing it. Their colour science is not their strong point.
Sorry to hear that in 4 years you didn't learn the basics of color correcting........ You are only further proving you have no idea what you are doing
I work with all cameras from all files over the world, I can match GoPro footage shot in ProTune to an Alexa or Canon or Sony......
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I disagree 100% with the suggestions , A GoPro shooting at 4k will look much much better than a Hacked GH2. Not only that there are several other benefits of shooting 4k, if you have a GoPro that shoots 4k that would be my #1 choice.
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OK, I don't quite get the excitement here and on other forums. Isn't NX1 at $1,500 already doing much of what a7RII is doing at $3,200? Yes, a7RII has stuff like log and higher MP stills, but then only NX1 has 120fps 1080p. I take it the jubilation is over FF vs Super 35? Doesn't quite seem worth the over 2x price difference, especially for video. I'm sure there's more, can't wait to see hands-on reviews.
Does the NX1 offer in camera stabilization , high iso performance and an S-Log image with good Dynamic Range, that seems like more than enough reason for price and lets not talk about the befits in the "photography" department...........
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My main concern is colour... I don't care what you say about s-log, luts etc... The colour on the a7s just isn't great. For cool colours, it is nice... For natural or warm colours it is a pain
100% False , do a search on some images I've posted. If you understand how to color correct / grade you can push the S-LOG image anywhere you want. Learn the tools before posting false information. Canon DSLR have their color profiles baked in, you can achieve the same exact look with the A7s if you learn to read scopes......
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BM pocket, and Micro Cinema Camera could benefit from this as well.
Personally I like different crop sensor cameras, shooting FF, S35 or even S16.
The most important thing I consider in an image is dynamic range and colors, resolution not so much as long as it's 720p. Blackmagic Ursa Mini will be my next personal camera, I really don't see myself buying any new non 4k camera, 4K camera simply gives you a greta advantage when downscaling to 1080p which is something I wouldn't want to lose.
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C and D looks best to me in scene 1 (part 1).
In part 2 scene 4 camera "D" looks best, it's not even close how bad the image looks in all of the other cameras.........
Should I switch from Lumix Micro Four Thirds line to Sony AR7 II?
In: Cameras
Posted
No cinematographer has ever said I want a smaller sensor for deeper DOF.......... Regardless you can easily stop down to F/11 or so on a camera like Sony A7s or deeper and bump the iso to 50k if needed, name me one other camera in the world that can do that and have an acceptable image.......
The Sony A7 camera can also shoot in S35 mode as well + you have 800mm FF Lenses that you can adapt as well which is more than enough for 95+ % of the people if you were to need something so extreme. The whole point that you cannot use long lenses on FF is false........