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Chris Gibbs got a reaction from richg101 in Arri goes 6K 65mm with the Alexa 65 at CINEC in Munich
This is an age-old still photographers debate and worthy of a Phd thesis..........
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Chris Gibbs reacted to richg101 in Arri goes 6K 65mm with the Alexa 65 at CINEC in Munich
The proof will be in the pudding. I for one hope a good quality medium format focal reducer comes out. But not for the aesthetic benefits - of which there will be none over a good quality 135 format lens. I'd hope if one comes out it delivers good enough optical quality to transfer undegraded the image circles from my hasselblad lenses onto the a7r's 36mpx sensor - which only a few 135 format lenses can fulfil. But i cant see it happening unless suddenly the world's stocks of 110mm f2 planars is multiplied by 1000 and they start selling for £250. only then will it seem worthwhile to manufacturers for the reasons you are hoping to achieve. Even then, on full frame the 85mm f1.4 will be similar to a 110mmf2 + focal reducer.
It's not science or drawings i am using to back up my opinions. I'm just going by my own experiences. We all know an aps-c sensor + focal reducer looks nothing like a full frame sensor. it's similar, but it's not the same IMO. Phase One, Leaf etc wouldnt be making medium format sensors if there were no difference would they?
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Chris Gibbs reacted to richg101 in Arri goes 6K 65mm with the Alexa 65 at CINEC in Munich
the effortlessness of a 100mm t2.2 on such a big frame will be astounding. not much different to a 85mm f1.4 on full frame in terms of shallowness and field of view, but it'll be 10 times more pleasing since as we all know a f1.5 85mm always has rather a lot of fringing on contrasty grads like branches or telegraph poles.
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Chris Gibbs reacted to richg101 in Arri goes 6K 65mm with the Alexa 65 at CINEC in Munich
focal reducers don't give the same rendering as a bigger sensor. the reasons?
medium format + 80mm f2.8 has the dof of an 80mm f2.8. It's still an 80mm lens.
full frame + speed booster + 80mm f2.8 lens = 50mm f2 lens. no longer an 80mm and no longer renders the gradation between in and out of focus subjects. The field of view and dof will be the same. but the rendering will be distinctly different.
The only benefit to a focal reducer on full frame using MF glass is for resolving power. and to make it worthwhile the cost of a high enough quality focal reducer will be thousands due to the fact that there is not enough fast medium format lenses to go round and thus the market is small. As full frame sensors reach 50 and 80mpx the need for such a thing will be more important since a hassy 80mm f2.8 will outresolve all f-50mm 135mm format lenses when compressed down to a 0.7x image circle.
= This is my forbes 70 test which shows the power of a big format - the width of view from a 50mm f2.8 is madness when matched to the dof. -
Chris Gibbs reacted to Andrew Reid in Arri goes 6K 65mm with the Alexa 65 at CINEC in Munich
It's not about shallow DOF, it's the whole rendering which changes especially with wide angle shots.
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Chris Gibbs reacted to Andrew Reid in Official announcement - Metabones Speed Booster ULTRA
Reasons... I dunno... Why don't you try saving my limited time by reading the article to find out!? APS-C mode on the A7S reduces rolling shutter from some of the most severe on any camera, to around the level of a dedicated cinema camera like the FS100. So if you have a shot that benefits from the full frame look but also requires less skew from the rolling shutter, switch to APS-C mode and attach the Speed Booster.
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Chris Gibbs reacted to jcs in Evolving Sony A7S Review (Part 1)
Thanks Chris! Elena replied: "Aaawww thanks Chris! I think the best part is the space battle action in the back :)
"
For those who haven't seen it, >Sea Bass was shot on the GH4 in 4K, our A-Cam for green screen studio shots.
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Chris Gibbs reacted to Erik Naso in Evolving Sony A7S Review (Part 1)
You sir are very welcome. I have been testing the gamma and color mode this weekend trying to really understand what is going on. Ever read the Sony manual? Horrible! Check out this post and scroll down to Picture Profiles.
I'm working next on Color Mode. This camera is tricky to setup and has settings similar to the Sony pro cameras that I'm not very familiar with, so it's a whole new learning curve but it sure is fun!
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Chris Gibbs got a reaction from Michael1 in Evolving Sony A7S Review (Part 1)
You'd have to rent them each, perform some real-word tests and see which meets your minimum requirement. You get what you pay for with glass but the FE 1.8/55 IMO is actually quite a bargain. DXO is akin to a "job interview for a lens" a lenses character is only revealed when stressed under different/challenging shooting conditions. Just like a persons character is!
And by magic, this just appeared over on TOP:
How To Get the Best Performance from Your Camera Lens, Parts I and II (TOP Classic)
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Chris Gibbs got a reaction from nathanleebush in Evolving Sony A7S Review (Part 1)
The FE 2.8/35 is an excellent lens, no surprises, it just performs superbly. Take a look at the FE 4/24-70 if you're using the A7S for video & stills, it really is very good on that body, the OSS is superb for video and it's small and compact. The zoom is as good at f/8 as the prime on the A7S if sharpness is part of your criteria.
On the A7S the FE 4/24-70 really is worth a look at, it performs better on that sensor. Both the FE 2.8/35 & FE 1.8/55 are top flight optics for stills on the A7S & A7R. I shoot a great deal on the A7R and use both primes exclusively but on the A7S I'll reach for the FE 4/24-70 for the OSS.
Chris
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Chris Gibbs reacted to jasondhsd in Evolving Sony A7S Review (Part 1)
Someone needs to come out with a battery grip add-on for the A7s but instead of it just being for an extra battery it would also be a 4k recorder....essentially giving you 4k that you can hold in one hand like the gh4.
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Chris Gibbs reacted to richg101 in Grading the Sony A7S with S-LOG 2 and some EOSHD cinematic looks for download
The handling (with very good evf) allows a 3rd point of contact (your eyebrow). this alone is better than any electronic image stabilisation imo. If you use the battery grip it brings the camera to the perfect height to rest the base on your shoulder which gives even better stabilisation.
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Chris Gibbs reacted to jcs in A more realistic impression of the Sony A7S low light performance at ISO 12,800
5D3 H.264 needs decent sharpening in post: still not super detailed, but is workable if using sharp lenses.
5D3 RAW sharpened in Resolve or (even better), ACR, is very solid for 1080p. A sharpened 5D3 RAW shot compares very well to even a 4K GH4 shot projected on a 20' 4K screen (saw this in person).
14-bit 5D3 RAW still looks great compared to the GH4 4K and A7S (examples so far):
Still no direct competition at that price point for 5D3 RAW color, color science and decent 1080p resolution. The workflow and disk space requirements are another story (I'm shooting mostly with the GH4 now).
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Chris Gibbs reacted to animan in Panasonic GH4 or Sony A7S
a7s is APSC or Fullframe, you can choose in camera, its I think one of the most exciting features, hopefully quality will be equal in both modes at least in 1080p
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Chris Gibbs reacted to demetris in A more realistic impression of the Sony A7S low light performance at ISO 12,800
It's funny how some people they're trying to reduce A7s qualities in favor of GH4... It feels urgent to prove GH4 is finally up there with the big boys...
Right now 1080p is the reality and in 1080p world GH4 is nothing really special. Even a seriously compromised camera like 5DmkIII from 2+ years ago still holds its own against GH4. As for GH4's low light capability it's still stuck in 800 iso from back in the day... However, I really believe that GH4 is a great camera but a bit overhyped. On the other hand A7s is not out yet so we can only speculate. Enough is enough with biased conclusions, it is just a matter of time before we know what is all about.
Be patient 4K is not there yet and by the time it will be there will be much better cameras than GH4, A7s etc.
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Chris Gibbs reacted to Superka in DXOMark rates GH4 at 13 stops dynamic range - 1 stop better than 5D Mark III
Film is better for stills. ;) Simply beautiful. Soft but detailed, lovely colors, and very long highlights.
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Chris Gibbs got a reaction from Andrew Reid in Anamorphic sample footage shot with the SLR Magic Anamorphot - and which lenses does it work best with?
Great piece Andrew! Loved the group, they have a very cool sound -- made me think about Crosby Stills & Nash.