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Jonesy Jones

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Everything posted by Jonesy Jones

  1. There 's a 28mm built into the Sigma 18-35mm.
  2. I love this idea Don. Can you teach me more about this? Or point me in the direction of a chart or something that references focal lengths to degrees? This would be super helpful. I hate the whole s35 or FF thing because it's so dang confusing. Throw in anamorphic and I'm totally lost. If I can get a reference for the degrees, I for one will start using degrees instead of focal, or at least use them together.
  3. Ok. I understand what you are saying now. My theory, and obviously this is purely my opinion, is that there is a bit of instant gratification with anything roughly 75mm equiv and up. Roughly 35/40 and lower is also 'easy' to yield interesting results (or just the necessity of a wide FOV to capture the limitations of space). But 40-60 is called normal for a reason. We're used to it. No instant gratification. Again, my theory is that this is why a lot of the traditional cinematographers like this range (28-40 on s35). Anyone can slap on a wide or tele and get interesting results. But with the normals you are forced to use everything - good set, lighting, movement, blocking, etc. The camera and lens get out of the way and the story MUST take over. I feel like this is the heart of cinema. Not everyone will agree of course. There's more that one way to make films. Just my $.02.
  4. Yes, you can use that lens on either, but it will yield a different FOV with each film/sensor size. On Vista the 50mm will yield a FOV of 50mm (and 50mm FF equivalent). On S35 that 50mm will be closer to 75mm. Also, just to be clear the 32mm that Deakins references in the article you posted is roughly a 48mm equivalent, very close to 50mm equivalent... so to each his own. Personally I love Deakin's photography.
  5. 35mm would be different on s35 or FF. Are you saying you like 35mm through 50mm? Because that is about what 35mm is on each one respectively.
  6. Exactly, so on S35 a 21mm is pretty close to 30mm on photographic 35mm or FF. 32mm is equivalent to mid to high 40's. The 28mm you are referring to is like 42mmish. These are not ultra wides and still pretty normal, therefore not too exotic.
  7. Well just to be clear Deakins 21mm is actually closer to 30mm in 35 ff equivalent right? Also he is on the record for saying 32mm would be his choice if he had to pick one. That would be closer to 48mm ff. So those are interesting focal lengths. What I've noticed is that traditional cinematographers like medium wide to normal. This why I love the sigma 18-35. On any crop sensor it gives me that and everything in between.
  8. I really don't know if you are serious or pulling our legs sometimes Zach. I'm going to assume you are serious and take this risky risk. Not including lenses, tripods, and other gear that would be necessary for any camera rig, I see the URSA mini costing roughly $8K for the box, media, and accessories (including the viewfinder). Shooting 4.6K raw at a 4:1 compression, a 2 hour feature (at a shooting ratio of 15:1) will cost about 15TB. 4TB drives can be had for about $150... times 4 (16TB) brings you to $600 for 1 copy of all your footage. Multiply that by 3 for triple backup brings you to $1800, plus the $8000, and you're looking at just short of $10K for the camera and storage. Not sure where your $20K estimate came from. I also don't know anything about Kinemax, but I know that I'm way more comfortable with Blackmagic from a customer service and repair and company history standpoint. Something to think about. EDIT: the above data costs I believe are based on a 30P fr. Assuming you shoot at 24P you should see a 20% savings on data, which probably won't save any $, but give plenty of room for overage.
  9. These images look awesome for commercial shoots, TV, and docs. But I don't prefer it for a cinematic look. I will be interested to see what raw looks like with this camera. Do we know if anyone has tried this yet?
  10. Because when you are one of the first to actually receive the camera you can make a 'short film' with random shots of cool buildings and old broken down cars and leaves blowing in the wind and flowers and sweet rack focusses with super shallow depth of field and slider shots and pro status money gimbal shots and then you'll get like a thousand extra views on Vimeo and then the world is your oyster. That's why.
  11. I'm too lazy to open Premiere and look but I suspect it's one of the default LUTs that comes with Premiere. I know Resolve comes with an Alexa LUT, I think the latest CC Premiere does too.
  12. Agreed and I think this is a good thing. Once you break that $2k-$3k mark you start losing consumers and weekend warriors and getting into a group of filmmakers that are obviously more serious. I think they'll sell a bunch of mini's, but your casual filmmaker neighbor won't have one and that's good I think. On another note, Blackmagic seems to be doing what Red promised to do years ago, and then never delivered. I think there were tons of filmmakers who bought into Red's promises and then were greatly disappointed by Red's finally released Scarlet and pricing. In my opinion that was a big mistake for Red and BM is cashing in on it. There's no doubt in my mind Red could deliver a camera closer to the specs and price of URSA mini. Once in a Red package, wouldn't it be natural for filmmakers to upgrade to other Red products? Big mistake. I like what BM is doing. Looking forward to seeing the mini in more filmmakers hands.
  13. Aaron, thanks for your comment. I had not read OneRiver's blog posts. I just did and they are so optimistic that I am very much reconsidering canceling my preorder.
  14. I pre-ordered within 5 minutes of it being available on B&H. I can always cancel. Probably will actually since my funds have dried up a bit. I am really excited though about this one. Can't wait to see some more footage.
  15. That doesn't look that bad at all. I thought the colors were actually very nice. Maybe a hair cool and magenta-ish at times, but pretty. Why haven't we been talking about this thing... I have no idea. Please keep us posted when more footage comes out.
  16. Does Panasonic have a full frame sensor I don't know about? I think there are physics barriers that the magicians at Sony haven't yet figured out how to cross.
  17. I could be wrong here, but my understanding is that this is possible because there is 'no' compression going on. Not to mention they are dealing with a larger body and I assume a larger heat sink. My feeble understanding of this topic is that, at this point, getting full frame 4k 10bit out of a small mirrorless dslr body is faaaar more difficult than getting full frame HD raw out of a large mirror dslr body. I'm not suggesting that the 8bit/10bit won't be used as a barrier between prosumer and pro products, because it probably will. But I don't think Sony could deliver 4K 10bit in that body even if they wanted to.
  18. I think some are missing his point. His statement is reminiscent of the pre dslr era where folks could invest in a camera and not worry about 1000 new bells and whistles coming out a year later without feeling behind. Those days were nice in the sense that you really got to know your camera as it was your buddy for a few years. Not saying it's the perfect camera, but ursa mini seems like it could be that kind of camera for some. Prores and raw. Pro connections. Super 35 sensor. Plenty of dynamic range. Global shutter option. High frame rates. And 4.6k res. It all adds up to a camera that one could live with for a few years. At least on paper. We'll see. But my point is that I think I know what Carter is getting at.
  19. To reiterate Aaron, Blackmagic is already doing this. But what I think you're looking for is full frame 10 bit 4k in the body of a dslr, and I think you are going to have to wait a couple generations for this. Heat seems to be an issue in the A7rii. Imagine if it was 10 bit.
  20. Been there done that. But banding and the thin 8 bit footage that it comes from is just something I don't want to deal with again. I'll take a $500 dollar 16mm sized sensor camera with 10 bit or raw over a full frame 8 bit camera any day.
  21. What the A7ii won't have is 10bit, and therefore not a competitor to the fs7. And for me virtually nothing else matters. I just abhor banding.
  22. The banding in the blue skies is why I don't think I'll even consider this camera. I guess it has its place. I don't think for me though.
  23. The only thing worse than Americans acting like Americans, is Europeans acting like Americans.
  24. Is it possible the photographer discussed by the OP is suffering from 'fresh is more' syndrome? I do this all the time with everything.... design, video, photography, color, etc. I'll look at something from a while ago, or something new, and feel like it's way better than what I'm doing now. Then come back to what I'm doing now, months later when I'm doing something else and I'm like, dang, that was great. Sometimes moving to a new system, project, environment, whatever, gives us a fresh perspective after looking at the same thing for weeks or months or years.
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