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About Laurier

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    Videographer/CGI artist

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  1. Most cine camera are still EF or PL, beside there are no affordable and relatively compact cine primes made for super 35 on the market in those mounts. Yes there is Rokinon for EF but the built quality is terrible. ( the barrels get loose and you cant tighten them up because they are plastic.) Still lenses have terrible throw in the 24mm and wider focals, and are usually 2.8 I quite interested by a set that finally have a relatively fast and affordable 18mm .
  2. I think 1899 is too much money, you can get a a7rii for 1200 new nowadays, beside the Raw codec ( that is nice on paper, but probably going to be unusable in production ), a a7rii will do everything else better. That camera should be priced between 1200-1500$ to be competitive. Sigma should have made a native EF version of that camera ( they should have gone for EF as well for the Sigma sd Quattro ), because you need to spend and extra 250 to use common glass on it. I don t see anyone jumping on the L-mount system just because of that camera.
  3. Not really, Arri never lied about their sensor, they still lead technological developments, from light, to lenses, to camera, to gimbals. I m a blackmagic user (ursa mini G2), but it took almost 10 years for other companies to do something almost as good as Arri. I don t think they are overrated, they are just not accessible to the mass.
  4. I think I read that the Ursa mini 4.6/pro/G2 use the same approach but with two 11 bits signals rather than 14 from the Alexa, but I m no expert. I would not be surprised if the power consumption/heat is greater, or if the cost of the sensor is not higher. But modern Dual gain architecture is something different if I understand it properly, it was developed by a third party company, and they licence the technology to sensor manufacturer and I think it s both a software and a hardware thing, it I think it map the dynamic range in a different way, you loose in the highlight but gain in the shadows. I think the sensor only do a single readout with this technology.
  5. I found that video not very impressive to sell a 10k camera , it could have been shoot a A7iii, the colors and the DR look very similar from what I got from the A7iii I had. Since I switched to a ursa G2 I realized that sony not only have issue with colors, but also with contrast, the skin color range have a lot more of contrast on sony camera, that create a harsh impression of sharpness and make the structures of the facial features more visible, that rarely faltering to anyone. I get the trend/push for full frame, I like the look, but in restricted professional use it is more of an issue than a bonus, It s much harder to keep things in focus, you need to close more your aperture, so then you either need more light or push your iso....the autofocus will help in some case but still, when it jump focus your take is ruined, I found a subject going slightly in and out of focus less disturbing than a jumpy autofocus. I find those mid-range full frame pro camera odd, for super high end production why not ( but then you go for a venice/C700/Alexa LF) but for a small crew I have more doubts.
  6. I find the price reasonable for what you get.
  7. Laurier

    Sigma FP

    Dng are only on external recording, and no 60fps. Once you buy and attach an external recorder it s not that small or (probably) cheap anymore. If the Dng are 4K ( they also mention electronic stabilization) that mean a crop anyway. I think a pocket 4K or a Xt-3 will still give you more value for money. The only benefit I could see is if they include a anamorphic 4:3 s35 mode as a recording option.
  8. Blackmagic already use a sony sensor on the pocket 4k I believe. But honestly what more can people want ? I just ordered a G2, spec and IQ wise it sit between a red and an alexa mini , all for a lot less money. JVC can buy a sony sensor, but that do not mean you will get good motion performance, a good raw codec , internal ND or colors and all the connections. If you look at what they are doing with the 8k M4/3 camera, that still very far from a Pocket 4k in term of potential professional use.
  9. He probably don t pay for the cameras and Red do custom builds for him ( also for Michael Bay), but David Fincher fit really well with the overall red branding, doing tools for bad boys. You don t name a camera dragon/weapon and use indi/arthouse movies to promote it. For the FS7 and C300, from decent size commercials sets, to well produced MV to people run and gunning in the street of London, interviews/corporate ect, on the top end I see mostly Alexa mini and some reds. But yeah , a lot of Fs7 here in london.
  10. I would not be surprise if they also use the A7iii sensor, like the mavo LF and the next Z cam, the specs sound similar to those camera, they already use a sony sensor for the GH5s.
  11. Yes but Arri is also renting equipement itself to large productions, They are able to offer complete seamless solutions. Red is selling luxury marketing, including David Fincher who they sponsor . Nothing wrong with that, it s a business after all, but I feel red is in a awkward position now, I think that netflix trend with red is going to fade now that Arri have the LF and the LF mini, those camera are still very recent and that article don t reflect that. Canon and sony have a more define cine/broadcast department that I believe is profitable overall ( I see FS7 and C300 everywhere) Panasonic is more blurry with that I find. Blackmagic are outputting cinema gear at consumer price and also sell a full post production system to go with it, I think their approach is different , people buy because it s cheap and they are willing to try the product, so whether the client is satisfied or not they still make sales.
  12. Well yeah, they are slowly getting in trouble, they are partnering with foxcon to bring cheaper 8k camera, that a sign that they can t keep up with the market. Almost everything that made RED special can now be find in competitors products for a much cheaper price. Arri have a complete ecosystem of products, from camera to lenses, to follow focus, to stabilizer, to crane, to light ect. Everything they manufacture is made to endure, that a very different approach from a lot of other manufacturer, and that what high level production are paying for as well.
  13. If they expect to sell a Aps-c camera for 5 to 6k, they are mental, you can get a URSA mini G2 for that price. 2k would be a competitive pricing indeed .
  14. If you want something sharp I will go zeiss I think, the russian 28mm is slow , and I did not try the FD.
  15. in video mode with extraction for 2.39, I quickly tested in photo mode and I should also be able to extract 2.39 from it . Basically the cinelux cover up to 42.5mm for 35mm, 4 perf anamorphic ( that a larger area than most super 35mm sensors), once you add a single focus solution in from you mostly cover up to 45mm . https://www.pointsinfocus.com/tools/depth-of-field-and-equivalent-lens-calculator/#{"c":[{"av":"2","fl":42.5,"d":3048,"cm":"0"}],"m":0} I did a data input there so you can see the equivalency per format. That still theoretical as the lens design of the taking prime influence the values as well, but that a good ballpark.
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