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tupp last won the day on September 18 2017

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About tupp

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  1. You have to set the focal length for each manual lens you use. I think that the GH5 asks you about the focal length when you turn on the camera.
  2. Possibly relevant links: Complaint that Panasonic requires customer to pay repair shipping; Lower heating element replacement; Comment on how to replace lower heating element.
  3. Very interesting to see the Kipon MF focal reducer combined with the Mavo LF! Is there any footage available? As nice as it is to see the Kipon-MF/Mavo-LF combo, I must say that the car mount rig shown Instagram link is "ugly" (in grip parlance) and that the motorcycle/ratchet strap stretched on the edge of the car window is alarming, as is the lack of a lens support for the MF lens with the Kipon focal reducer and the Kinefinity E-mount adapter. I hope that they at least attached a lens support for that rig before they drove over any bumps.
  4. What are the dimensions on the sensor of the 4k and 2k crops?
  5. It's not going to do any good if both of us to keep repeating ourselves. I'll try a different explanation. In the first place, dynamic rage was originally a property of analog systems to indicate the useful amplitude range rated in decibels (not "stops"). It is similar to the property of signal-to-noise ratio in that it gives some idea of the useful amplitude range above the noise floor. DR now applies both to analog and digital systems. Bit depth on the other hand is strictly a digital property that simply gives the number digital level increments mapped to an amplitude range (usually including the noise floor). So, the useful amplitude range (analog or digital) and the number of digital increments mapped to the entire amplitude range are two very different, independent properties. The noise floor of the sensor and/or ADC determines the actual dynamic range at that point in a camera's signal pipeline -- not the number digital level increments mapped (log, linear, whatever) to the signal's amplitude range. Or perhaps we are confusing usable capture contrast range with dynamic range.
  6. There are a zillion different 12-bit capable ADCs/cameras, but they all don't have the same dynamic range. You can map 12-bits (linear, log or whatever) to 200 "stops" of dynamic range or map 12-bits to 3 "stops" of dynamic range. Dynamic range and bit depth are two different completely independent properties. The E2's low noise mode may take advantage of the 14-bit depth (I would say that the E2's 14-bit depth takes advantage of it's low noise mode), but, nevertheless, ZCAM could have just as easily mapped 8-bit, 10-bit or 12-bit to that low noise mode. Bit depth and DR are independent properties. Okay. I haven't kept up with the progress (doesn't sound like there has been much 16-bit progress in the last ten years).
  7. No, it doesn't. Dynamic range and bit depth are completely independent properties. Now, an ADC might be part of the signal pipeline that constricts DR, but that has nothing to do with bit depth. Again, the bit depth of those ADCs don't have anything to do with the DR. Those ADCs could just as well be 4-bit with the same DR. By the way, 16-bit ADCs exist.
  8. Folks, just a friendly reminder: Dynamic range and bit depth are two different and completely independent properties. A change in dynamic range does not affect bit depth, and vice versa. Bit depth and dynamic range do not correlate -- period. They are completely different properties. Exactly. You can also make a 16-bit camera that has 2 "stops" of DR. In addition, you can make a camera with a given dynamic range that allows one to choose 8-bit, 10-bit or 12-bit depths (many such cameras actually exist). I can think of a few scenarios in which an 8-bit encoding would be more desirable than a 10-bit encoding of the same image -- if the 10-bit encoding has a lower resolution than the 8-bit encoding, the 8-bit image could exhibit more detail. Furthermore, if the resolution of the 8-bit version has over four times the resolution of the 10-bit version, the 8-bit version will have more color depth than the 10-bit version. Keep in mind that color depth and bit depth are not the same: color depth = bit depth x resolution Also, an uncompressed 8-bit version could very well have an advantage over a highly compressed 10-bit version.
  9. Looks like a nicely performing cinema/broadcast camera. The F-mount is interesting. The B4 mount suggests a crop sensor mode (but there might also be magnification optics in their B4 mount). Perhaps, in regards to S35, Blackmagic is starting to think a little outside of the EF/PL box. However, from the photo it appears that the internal NDs are permanent and this is yet another S35 camera from Blackmagic with an interchangeable lens mount that will not accept lenses and adapters requiring shallow mounts. So, there are countless nice, interesting lenses that cannot be used with this camera, nor will interchangeable FF-to-S35 focal reducers work with this camera and nor will special adapters (such as tilt/swing/shift, continuously variable ND, etc.) work. If this camera has a crop sensor mode, it would be great if it could accept M4/3 and C-mount lenses. On the other hand, @lucabutera's internal Magicbooster insert might work inside the camera's EF mount, even with the camera's internal NDs.
  10. The TechArt E-mount adapter with a speed booster (as suggested by @BTM_Pix) is one way to go. Or you could simply go FF-to-FF and just use the Kipon MD-to-NZ adapter. Which MF Minolta lenses do you have?
  11. Just use one of the Kipon Baveyes MF-to-FF focal reducers made for the Nikon Z-mount. As an added benefit over straight MF, you get an extra stop of brightness.
  12. Use a matte for your establishing shot with walls painted the same/similar color as the walls in your live shooting space. Stay tight for most of the other shots and only show the running water partially in a corner of one of the shots. Here are some underground mattes. Here is a tutorial.
  13. Kipon has it, without the ND: Looks like they have made a few additional Z-mount adapters, including some tilt/shift models. Also, they seem to have made four focal reducers for medium format lenses on the Nikon Z (they appear to offer the same models for the EOS R). Has anyone tried the Kipon "Elegant" lenses on the Nikon Z?
  14. I wonder which one of you is correct... 😎 Actually, if the camera does get released, I would imagine that it would happen sometime in between your two projected times. It probably won't happen "soon," as the guy in the video announcement didn't give any prices, and also note that the images of some of the camera models are CAD renderings. Two more camera models? That's even more ambitious than two guys producing a single camera. Somebody needs to go to the Ximea site and see if they are offering additional cameras with similar features to these two additional models. The footage looks pretty good to me, especially the properly exposed shots showing sunlit areas juxtaposed to deep shadow areas. However, the only way to get an accurate assessment of the DR is to conduct a proper test with proper charts. I don't see any indication of "trolling." They appear to actually be making progress. On the other hand, this recent announcement is probably premature.
  15. In addition, the Ikonoskop camera and the original EOSM can shoot with 16mm and/or S16mm lenses, plus there are many 2/3" cameras that can use 16mm lenses. Also, I seem to recall seeing an Aaton S16mm digital camera at NAB awhile back.
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