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About Laurier

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    Videographer/CGI artist

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  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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 .
  8. If you want something sharp I will go zeiss I think, the russian 28mm is slow , and I did not try the FD.
  9. 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.
  10. I don t think that true, I can go 55mm with a cinelux 2x + rectilux on full frame . You should be able to use a 28mm if you don t use a speedbooster.
  11. 1. modern glass, so native high quality M4/3 glass from Panasonic or Olympus or veydra. 2. cinelux ES 3. Rectilux HCDNA You will get oval bokeh and some corner distortion ,that will be very sharp but sterile . You should rather consider vintage primes as taking lenses, you will get less sharp results but something with more live in it.
  12. The raven is horrible in low light I can tell you that , I graded a short shot with it recently and there was already Some noise at iso 500 , pass 800 it was really nasty.
  13. You can already get most of the Venice color science using the venice Rec 709 lut if you shoot Slog2/3 or HLG Like for the Alexa and Reds a lot good amount of the color science is in their log to Rec 709 lut, I did a HLG to Venice 709 lut for my A7iii ,using LUTCalc, that work extremely well. But Z cam won t have auto-focus and sensor stabilization
  14. They just introduced a 8k sensor with 4k 4.4.4 binning on sensor with fast readout. The sensor is 8k you output true 4k straight out of the sensor ready to encode. The A7iii already downsample 6k to 4k with reasonable rolling shutter. They also have 8k TV to sell I believe, so that would make sense. But I would take 4k 60fps without crop/line skipping over 8k . If you look at the XT3 and the GH5s , they don t have sensor stabilization, that make a big difference in heat dissipation, the GH5 is also larger than a A7 camera. But personally I won t mind if Sony make a bit bigger body to have better specs
  15. Sony have the tech to do it on smaller sensors , they provide the sensors for the GH5s and the XT3. But the A7 have both autofocus and sensor stabilization, plus a larger sensor in a smaller body . If you look at the very last sensors they publicly released ( that are not yet in used in consumer grade cameras) the approach is to get a lot of the processing directly on sensor for faster readout and pixel binning . Beside you have the specs on paper, and what you get out of the camera, from my grading experience, the image out of a A7s (2014) externally in 8 bits is still more solid that a 10 bits images from a GH5/GH5s(2018) and that from a much older sensor. ( but the rolling shutter is still bad ...)
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