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Towd

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  1. Like
    Towd reacted to Andrew Reid in Z9 on test - N-RAW no better than H.265?   
    It is time for a good old fashioned EOSHD article. Everything you’ve seen so far on YouTube is meaningless - yes it is.
    Check out a new novelty on the web... with my WRITTEN BLOG POST!
    https://www.eoshd.com/news/is-n-raw-real-raw-nikon-z9-under-the-spotlight-at-eoshd
     
  2. Like
    Towd reacted to Dave Maze in Panasonic S5 II (What does Panasonic have up their sleeve?)   
    my vid is up! outside of the review aspect, i would love your feedback on my edit/ tone of this video. 
     
  3. Like
    Towd reacted to hyalinejim in Panasonic GH6   
    Well, the first thing that's worth mentioning is that I got USB power bank that I can hang from my tripod in its little bag. Now I can shoot all day (from a tripod!) without changing battery or getting into rigging. So that's cool.
    The other thing is that I had been shooting a bit in DR Boost in order to get extra highlight range and to help with shooting indoors in natural light. BUT! I noticed the midtones were quite noisy so I did a little investigation. I shot a step wedge (from +1 to -8 in whole stops) at various ISO levels, slapped on the VLog to V709 conversion and looked at where the noise is, in a bid to figure out whether I should be aiming to shoot at 250 or 2000DRB in general
    Here is ISO 250 and it's a familiar noise pattern. Midtones are clean, shadows are a bit noisy:

     
    Compare this to ISO 2000 with Dynamic Range Boost on:

    The extreme shadows are cleaner up to around stop -4, where noise is similar to ISO 250. But from stop-3 all the way up to stop +1 this is clearly much noisier than ISO 250! It's noisy in the midtones and clean in the shadows. Weird! And it looks a bit weird when you see it in a real world clip.
    For comparison's sake, here's ISO 2000 without DR Boost:

    Right around the midtones, from stop -1 to +1 the regular old ISO 2000 is cleaner than with DR Boost. Below that point the shadows get noisier in a way we are used to seeing.

    So what's the conclusion? Well, I use some colour treatments that really push visible noise a bit, especially chroma noise. If I'm going to shoot with DR Boost on I get some distracting looking midtone noise. It depends on the shot but sometimes it's really quite shitty looking. NeatVideo's temporal settings do a good job of cleaning it up, though. So my conclusion is that I'm going to start using a bit of noise reduction again, when I need it.

    DR Boost is not simply "one stop extra in the highlights" and that's that. It comes at the cost of noise in the midtones.
    PS: all shots were long GOP
  4. Thanks
    Towd reacted to hyalinejim in Panasonic GH6   
    I need more time to get a feel for it.
    We've just moved back from NZ to Ireland and have been preoccupied with finding a place to live. I mainly shoot video for corporate work that I do, very little for family stuff or for pleasure/creativity. Since we've returned I've done one major job but I used the GH5 as I didn't want any curve balls that the GH6 might throw my way.
    So I've really only pressed record on it a handful of times, doing a few tests. From the little I've shot with it, it seems like the battery life is really shit compared to the GH5 and a USB power source will be necessary. I don't use rigs, so I was thinking even just having one in the bag to charge up the last battery when it's been used. That might be enough to get me through a half day shoot.
    DR boost gives you an extra stop in the highlights. That's it. So if you think of your average GH5 scene and where it clips, then DR boost will give you one stop more info, at the cost of using heavy NDs in most situations. I've got as far as a 5 stop Tiffen solid ND to stick under my SLR Magic Vari ND II, but am considering the Nisi True Colour to replace the SLR Magic as it probably has less colour cast (which is not so important to me) and possibly slightly less polarisation (which is the real ass kicker with vari NDs, I think).
    I've satisfactorily matched the colour from the GH6 and GH5 in V-Log, and the image is thus practically identical for my purposes when not using DR boost. If you set the GH5 to minimum sharpness and noise reduction it's the same as the GH6 in terms of detail/sharpness/artificiality/organicness (except there may be differences in noise which I haven't examined in great detail), so the choice to use one or the other for me now comes down to functionality and ease of use.
    I do miss the easy 2x digital zoom for HD like on the GH5 as discussed previously in this thread.
    Having said all that, there are a few things that I really like a lot about the GH6:
    - Red frame when recording. This is a lifesaver. I've often lost shots from having gotten into the wrong record/stop button pressing cycle
    - Punch in while recording to check focus
    - Luminance spot meter. This is not for everyone but it's amazingly useful for me as another exposure tool
    - Usable AF using Panasonic lenses (anything I've checked on the Speedbooster is hopeless). Maybe once a year I need to do a static shoot of people walking down a corridor towards camera, chatting. The AF will do a better job than I can and give the 2 or 3 seconds of usable footage that I need.
    - Confidence that I can shoot in low light if needed. Previously I've never needed more than 3200 ISO (most shots are on a Tamron 24-70 2.8, which is f1.8 on a Metabones XL) but that was a bit noisy on the GH5 and on the GH6 with DR boost it's much cleaner.
    Ha ha! Here are some more negatives though:
    - The build quality doesn't feel as good as the GH5.
    - Some YouTuber was complaining about the silly mechanism on the memory card door and I agree with him. There was nothing wrong with the door on the GH5, but the GH6 is now finicky to open.
    - The stupid light streaking thing which I have seen, when I deliberately tried to recreate it.
    - The whole DR boost thing is voodoo. I've got noisy results in daylight using it, which worries me. I need more tests to suss this one out.
    And finally, here are some mildly shocking things I've learned when comparing to the GH5:
    - GH6 is slightly wider angle of view
    - GH6 gives slightly darker image
    - There is quite probably an overall colour cast imbalance. Almost certainly when using the same WB preset or when dialling in degrees Kelvin, and possibly also even when doing a custom WB on the same target. Need to test this more. It might just be the difference between my two units.
    Honestly, if you have a GH5 there is no huge reason to upgrade unless you definitely need the higher resolution, codec or frame rate specs. The output is going to look pretty much the same. It's not like the jump from the GH4 to the GH5, which added 10 bit and made V-Log usable. More like the GH5 to the GH5 II - a better camera to use but your client/audience won't see anything diferent.
  5. Like
    Towd reacted to M_Williams in Olympus OM-1   
    My review is up at Petapixel for those interested. Been using the camera for the past month and a half and I love it. Video quality is really very good. Amazing color.
    https://petapixel.com/2022/03/29/om-digital-om-1-review-the-best-micro-four-thirds-camera-ever-made/
  6. Like
    Towd reacted to webrunner5 in Steve Huff On The Camera Review Game   
    Yeah I was into to it also for 10 or more years.  High end audio is like owning a 40 foot power boat, endless money pit. And what is funny by the time you can afford to do it you are already losing your hearing. So a big waste of time and money.
  7. Like
    Towd reacted to Marcio Kabke Pinheiro in Panasonic GH6   
    Specs and a HUGE 32 minutes in video leaked, showing the camera in detail. S1H-like hinge and vents confirmed.

    https://www.43rumors.com/full-panasonic-gh6-specs-and-new-images-leaked/
     
    GH6 specs

    25 million pixel PLF-less sensor
    100 million pixel high-resolution shooting
    5.7K video
    Sensor read up to 300
    fps High-speed read at 4K resolution 120 fps
    Suppression of rolling shutter
    Computation processing capacity is about double
    New Intelligent detail
    New 2D noise reduction
    High performance 3D-NR (video)
    Improved AF performance Processing speed is 3 times faster than before DFD performance evolution

    New recording mode
    4K120p 4: 2: 0 10bit 300Mbps
    4K 60p 4: 2: 2 10bit 800Mbps /
    600Mbps 5.7K 60p 4: 2: 0 10bit
    300Mbps C4K 120p 4: 2: 0 10bit
    300Mbps C4K 60p 4: 2: 2 10bit 800Mbps / 600Mbps

    Recording file method supports Apple ProRes in addition to MP4 and MOV
    5.7K 30p Apple ProRes 422 HQ 1.9Gbps

    Card slot: CFexpress TypeB slot, UHSII compatible SD card slot
    Weight: 739g
     
    Dynamic range boost function: It is possible to shoot a wide dynamic range image at a maximum of 60 fps by synthesizing an overexposed image and an underexposed image in real time. Achieves a dynamic range of up to 13+ stops approaching the full size. The minimum ISO sensitivity is 800, and when using V-log it is 2000, so an ND filter is essential.
    Image stabilization: Adopts an ultra-high performance gyro sensor and a new algorithm, and has a correction effect equivalent to 7.5 steps. Smooth image stabilization that is ideal for movies.
    Dark place performance: High-sensitivity noise is much suppressed compared to GH5II while increasing the number of pixels. It can be used normally up to ISO3200.
    Built-in microphone evolved from 16bit to 24bit. 4 channels can be recorded when using an XLR adapter.
    Phase-difference AF is not installed, but AF is much better. The AF calculation speed has tripled, the background omission and tracking performance have been greatly improved, and the AF speed has also become considerably faster.
    There are 315 AF points in the full area. Human, face / pupil, animal + human subject recognition can be used in all AF modes. The focus range can be set with the focus limiter.
  8. Like
    Towd reacted to stoneinapond in Just bought a new camera for 2022 - the small but mighty GX85   
    The Panasonic GX85 with the 12-60 f/2.8-4 is a wonderful combination, both for photography and video. I've had the combo since they both came out and have yet to be disappointed by the results.



  9. Like
    Towd reacted to BTM_Pix in Just bought a new camera for 2022 - the small but mighty GX85   
    Its not a lens that many people (including myself) have regretted buying.
    Best to consider it as a constant f4 though, partially for convenience of exposure, but also because it doesn't stay f2.8 for long in the zoom range.
    Very convenient all rounder but would I have bought it if I had the 12-35mm f2.8 ?
    Maybe not for me personally as the 24-70mm equivalent range is ideal for me and if I want to go beyond 70mm then I would prefer to go a bit beyond the 120mm equivalent and have a faster option too.
    So I would be looking at something like the Olympus 75mm f1.8 to supplement the 12-35mm and also benefit from the constant and faster apertue versus the 12-60mm.
    If you're shooting in a situation where you can't spare the time to change lenses though then, as I say, the 12-60mm is not something you'll regret having in that role.
  10. Like
    Towd reacted to kye in Just bought a new camera for 2022 - the small but mighty GX85   
    The more I use the GX85, the more I like it.  I've taken it out with the 12-35/2.8 a couple of times now, including a street festival on the weekend where I got a bunch of shots of a friends kids running around non-stop, and the camera and lens kept up, even at F2.8 the whole time.
    Some beach visit sample images from the 12-35mm F2.8 (probably wide open)..


    and the festival outing, also 12-35mm f2.8 wide open, but this includes some shots using the 2X zoom mode too..




    and a couple from an outing with the Cosmicar 12.5mm F1.9 wide open (and cropping into the image)...


    The 12-35mm images are almost SOOC using the Natural profile (I hadn't put Cine-D on yet), just with some slight tweaks in post, but the Cosmicar ones above have been graded under a Kodak 250D / 2393 emulation process, which did surprisingly little to the colour actually.
    The more I use the 12-35mm the more I appreciate a zoom lens for just getting shot after shot in fast situations, which is pretty much the key to having lots of options in the edit and keeping an edit fresh with lots of different types and compositions of shots.
    I'd really like a longer lens as I got quite a few shots at 35mm with the 2X engaged, so I'm contemplating the 12-60mm F2.8-4 which seems to be a good match from the reviews I've seen.  Curious to hear others thoughts on this.
    I found the Cosmicar a little challenging to work with as I composed for the screen and was then surprised in post with how much crop I needed to apply, so had a few shots where I was chopping peoples heads off etc.  I've ordered a cheap 28mm F2.8 m42 lens to go with my m42 speed booster, which will give a 43mm FOV, which is a little tighter than the 12.5mm Cosmicar which gives about a 35mm FOV once you crop into the image circle.  
    I'll have to see how I go with it.  I'll need a 22mm lens on the SB to give a 35mm FOV and those aren't super common in m42 mount!  The alternative is my 17.5mm Voigtlander which is 38mm on the GX85 but isn't exactly vintage, so I'd have to look more seriously into filters to get similar flare characteristics (which is the part I love about vintage lenses).
    The stabilisation is really good, and in combination with the 12-35 is just spectacular, and my regular camera is a GH5 so I'm guessing I'm not easily impressed.  It really makes me feel like shooting.  Great stuff!
  11. Like
    Towd reacted to kye in Just bought a new camera for 2022 - the small but mighty GX85   
    First light, and thought I'd go old-school:

    I've managed to set it up relatively similarly to my GH5, which is awesome.
    Two questions:
    Is there any way to set the shutter button to record video instead of take a still while in C mode? I've set the rear dial to be exposure compensation, which only works while not recording - any way around this? Initial impressions are actually pretty awesome.  Obviously it's not a GH5, but it still feels very capable, and the IBIS is quite impressive.
    A couple of 4K frame grabs from the Cosmicar (wide open):

    and flaring:

    Obviously I'll have to crop into the image a bit in post, but totally fine for a 1080p timeline (and would be fine for a 4K timeline too - just add a touch of sharpening).
    ......and then the Helios with Speedbooster:

    Screen grabs (also wide open):

    Flaring:

  12. Like
    Towd reacted to John Matthews in Just bought a new camera for 2022 - the small but mighty GX85   
    So I received the Panasonic 45-150 (newer version) and I can say it's better than the Olympus 40-150 f/4-5.6 if you were wondering. It's better built, comes with a lens hood and has IS... for only 10 grams more... also about the same price on the used market. I have a Sears 70-210 FF lens (Cosina crap maybe?)... it's good for Lomography or "who cares" type shots, but well built. I much prefer the more modern results.
  13. Like
    Towd reacted to kye in Just bought a new camera for 2022 - the small but mighty GX85   
    Got back from my trip and the GX85 had arrived!  (In fact, it was delivered about 45 minutes after I left, but all good).

    To greet it, all the trendy MFT gear had a welcome party, including:
    GH5 GF3 OG BMPCC BMMCC 7.5mm F2 12-35mm F2 12.5mm F1.9 14mm F2.5 14-42mm kit zoom (not really trendy, but came as the BMPCCs +1) 15mm F8 (also not really trendy, but came as the BMPCCs +1) 17.5mm F0.95 42.5mm F0.95 Helios 58mm F2 on M42 0.71x Speedbooster An honourable mention that also couldn't attend is the 28mm F2.8 m42 lens I've just ordered as it's still in the UK, but I'm hoping that combined with the M42 SB it will make a great compliment to the Helios.  The FD70-210mm F4 got drunk early, fell over and rolled away - lucky it's tough as nails!
    All audio equipment declined, being too finicky and claiming it didn't want to be seen with any "vintage" equipment.  It mumbled something disdainful about poor quality but all I heard was "8-track".
    So many great combinations here, but the most notable ones are:
    Standard travel kit: GH5 + 7.5mm + 17.5mm + 42.5mm (FF - 15mm/35mm/85mm)
    Combined with the 1080p 10-bit 24fps and 60fps modes and the 2x digital zoom function, this setup can work pretty quickly and in almost any environment (two days ago I was shooting wide open in a cave in torchlight)
      Low-fi pocket setup: GF3 + 14mm (FF - 28mm)
    The only video mode is "auto everything" and so it features very short shutters (which stabilises wonderfully in post), softer image quality (which looks very cinematic!), nicer colours that it has any right to have, and with AFS it's easy to use and was, at one time, the fastest (mirrorless?) AF available.  It's also shooting with a single prime, so comes with all the artistic integrity that that brings.
      Most anticipated setup: GX85 + 12.5mm + 28mm/SB + 58mm/SB (FF - 28mm/43mm/90mm)
    Small and not attention-seeking, but a stabilised set of fast vintage primes with nice 4K which can be cropped into in post if required.  It's a very appealing thought to be able to look through the viewfinder and be recording gorgeous, dare I say "cinematic" images, but just look like a happy-snapping touristy dorky-dad.  I should buy a sling bag to keep the lenses in and to sell the whole tourist thing.
      Minimalist "nice" setup: GX85 + 7.5mm + 12-35mm (FF - 17mm/26-77mm)
    Small and not attention-seeking, the 12-35 will be very fast to work with and can get almost every shot, and the 7.5mm can get those grand wides when required.  Setup will also be very small, with just GX85 + 12-35mm + wrist-strap, and only 7.5mm lens and a couple of spare batteries in the pockets.  Very streamlined!  Potentially I could put my Tiffen BPM 1/8 on the end as well and get a bit of flaring in there too! Thinking of camera and lens combos makes me much more excited that it really should 🙂 
  14. Like
    Towd reacted to BTM_Pix in Panasonic Profile Stepper App   
    Funnily enough, I actually used the stepper app in anger last year to go through all the profiles in an FZ2500 stepping through -5 to to +2 in contrast with saturation going from -5 to +3, so there were 72 permutations in all per profile.
    I didn't bother with stepping through the sharpness and NR parameters as it wasn't relevant at the time as I was just looking at colour and contrast.
    The idea was to see if there is any unconventional wisdom to be had such as using untapped settings such as Portrait with -4 contrast and +2 saturation etc as the end goal was to make a profile that could be used as an out of camera look that would play well on its own or to create one that played well with a particular emulation LUT.
    I've always had this nagging thing about giving away too much colour and contrast in the capture because thats what everybody does to get a flat image and then has to add it back post capture with all the artefacts that can bring.
    What I found interesting is that with everything except the two Cine profiles, there were some terrible artefacts happening (particularly in the sky) in some interactions between lower contrast and lower saturation and in fact the only way they cleared was when the saturation was actually boosted to +1 or +2.
    That made me think that my suspicion about giving up the goods saturation wise potentially being a folly was quite accurate.
    The two Cinelike profiles don't seem to share these issues but, of the two though, going by trying to retain saturation in the capture, I actually favoured what I saw from the usually less fashionable Cinelike V profile.
    The net result was that with the stepper app, I ended up with a single video file where it was easy to see all this laid out and whilst the Cinelike V being preferable to my eye than the Cinelike D was a bit of an eyebrow raise, the process quickly let me eliminate the possibility of there being any particularly revolutionary permutations with the other profiles.
    It saved an absolute shit load of time and as time is money then I used the saving to buy the V-LOG upgrade for the camera 😉 
     
  15. Like
    Towd reacted to androidlad in Sony CineAlta Venice 2 8.6K Cinema Camera   
    https://www.sonyalpharumors.com/leaked-new-venice-2-digital-cinema-camera-with-a-new-8-6k-full-frame-image-sensor/
    8.6K 3:2 30FPS Full-Frame
    8.2K 17:9 60FPS Full-Frame
    5.8K 6:5 Anamorphic 48FPS Super 35
    5.8K 17:9 90FPS Super 35
    It shares the same 8.6K sensor IMX610 (but no DRAM) with Sony A1 mirrorless camera.
  16. Like
    Towd reacted to kye in Just bought a new camera for 2022 - the small but mighty GX85   
    Just bought a GX85.
    It's purpose is to serve double-duty, as an inoffensive little camera that I can stealthily take anywhere, and as a 2nd / backup cam for travels.
    Travel is one of my great pleasures, and if COVID has taught me anything, it's that I need to get better at travel near home.  This has resulted in my Go Shoot project, which essentially involves trying to have small, low-zero cost adventures close to home, and to film them as little videos to try things and make memories.  The key thing for this kind of thing is having a small unassuming camera that doesn't attract attention.  I've been using my GF3, due to its tiny size, but its lack of tilting screen or stabilisation are rather inconvenient and it 17Mbps 1080p is a little lacklustre to say the least.
    These projects are about story first and image second, and are finished on a 1080p timeline.  This means that if I take the 100Mbps 4K image and crop 2x then it becomes a 1080p at 25Mbps image, which is still acceptable (and still better than the GF3!) so that means that the GX85 and 14mm f2.5 combo would be tiny, but with the 2.2x crop factor in 4K and cropping in post, would be 31-62mm equivalent, and the f2.5 combined with the downscaling in post should mean it'd have reasonable low-light ability too.
    GX85 with 14mm f2.5 for a tiny setup:

    If I want to work quickly and have a more doc-style of shooting, I can pair it with the 12-35/2.8 and get 26-154mm.  In extreme low-light (like caves), I can take the Voigtlander 17.5/0.95 and get 39-78mm.  If I want to go vintage, I can use the Cosmicar 12.5/1.9 for a 28-56mm range.  Lots of cool options available.
    Once we get back to travel, which is likely to happen later here in Australia than elsewhere in the world it seems, I'll also use it for a 2nd / backup camera to my GH5.  I find that often I will be on a balcony or terrace in golden hour (either dawn or dusk) looking at a spectacular view and wanting to record three things simultaneously:
    Time-lapse of the whole scene as the light changes - super wide-angle and deep DoF
    This will be my action camera, which by taking 8MP (in 16:9) Jpegs, which are around 3Mb each, gives about 600Mbps when put onto a timeline at 25fps.  Not bad! Time-lapse of part of the scene - variable focal length required
    This will be what the GX85 will do, and can use any of the MFT lenses I have. Video of interesting things happening, probably with a wide-angle lens
    This is what the GH5 will be being used for.  People walking, boats sailing, flags waving, etc etc.   The GX85, by being able to share any of the lenses I have for the GH5, also makes a great backup camera in the instance that the GH5 is out of action.
    Is anyone else using a GX85?  or small camera to fly under the radar?
  17. Like
    Towd reacted to Andrew Reid in The end of EOSHD   
    Thanks for all the comments guys.
    Just the motivation I need to try and turn the ship around.
    I can't promise much at the moment. Hopefully I find the energy to do that. Would not like this place just whittle away to obscurity after 11 years so if I do need to change what I do in life, I would look at selling EOSHD and would never just hit a button to take it offline. The original purpose and spirit of picking up a small mirrorless camera and making films is still there today and we need to help one another on that mission.
  18. Like
    Towd reacted to CreativeHill in Why Gerald Undone is wrong about the Sigma Fp-L   
    Dude! This was awesome. I felt the same way about Mr. Undone. I thought it really hurt his credibility (at least, with me) that the Sigma FP L was such a disappointment to him. You hit the nail on the head in every way. Took the words right out of my mouth. Same thing goes for Bloom. I typically love these guys and what they offer but I agree with you that Sigma is doing something different and I appreciate such things. I can put the Fp together the way I want. Isn't that also the way you have to do RED? I was Panasonic for years with my DVX100 then Lumix GH4. Up to the release of the original Fp, I was looking to go Fuji but wanted to be full-frame. Then, Fuji drops the bomb with Medium Format moves. That will be my play at some point. But, when you drop full frame cinema into the mix the way Sigma is doing, you can put together your situation they way you want. Most cinema cameras force you to do manual focus, Fp does but also is ramping up the lens support where the lens provides stabilization. Not to mention, putting the4 Fp on a gimbal like the Weebill S. This is all good in my view and really puts in the throws of being a real filmmaker. That's the point for some of us.
     
    Then, when you add the photo imaging part, this puts the Sigma Fp in it's own little power-packed space. I really appreciated Steve Huff's perspective on the Fp in this regard. This man is a serious Leica guru. Lenses and Cameras and he thought his experience with the Sigma fp was akin to his Leica SL. Yikes! I was like, "okay!". Now, we're talking.  He used his array of lenses on the Fp and the look was amazing. Color science and all. After reading your comments here, I recommend folks add Steve's YouTube review of the Fp. It's here: https://youtu.be/Q01kVaFtkvg 
    So, kudos Andrew. I really appreciate your view and coupled with Steve Huff's view on this, I think it showed how powerful the Sigma Fp and Fp L is in the hands of those who love to be different and know how to put their systems together for their needs.
  19. Like
    Towd reacted to alanpoiuyt in Why Gerald Undone is wrong about the Sigma Fp-L   
    Sorry to post my own stuff again but here's my latest pandemic lock down piece. Confined to my backyard.🙄 The FP continues to inspire.
     
  20. Like
    Towd reacted to LPG in Had an outing with the Panasonic-Leica 10-25mm F1.7 on GH5   
    Yes, it IS a great lens and a great system...
    Even Toneh had to admit this recently when he shot with this lens on the GH5-II... He now says it is the best vlogger combi on the market...
    According to him Panasonic finally fixed the CAF on that camera…
    It is clear that unsubstantiated one-liners do get him a lot of clicks!
    Furthermore he is firmly within the group that doesn't understand equivalence.
    Yes, it behaves like a 20-50 mm in FF terms, and yes it has the bokeh of a 3.4 FF lens, but as aperture is concerned, it DOES behave as a 1.7 as far as the exposure triangle (aperture - shutterspeed - iso) is concerned. Not as a 3.4 lens! How unfortunate that Toneh doesn’t understand this…
    People get confused by the fact that the light-gathering of this 1.7 lens is lower than with a 1.7 FF lens, but that is of course relative to the sensor size. On a MFT sensor you need less light to cover the sensor.
    This actually means that you gain nearly two stops compared to a FF 2.8 lens, and this handily does make up the ISO disadvantage that MFT has compared to FF.
    As to bokeh, it is very dependent on the type of footage one shoots. For my line of work, I am in 95% of the cases perfectly fine with the bokeh of a 1.7 aperture on MFT. Having a shallower depth of field can easily become tricky. My 42.5 mm 1.7 gives me a gorgeous look in the right balance of shallowness. If I want a real FF look, I reach for my 1.2 Sigma zoom (with speedbooster) or my excellent (sharp!) 0.95 17mm Mitakon.
    Only if one needs extrem bokeh, a FF camera with a 1.4 lens will be the better choice.
    The 10-25 1.7 zoom is really tack sharp, and it even outperforms most primes in this range.
    I will be curious to see whether they can make the announced 25-50 1.7 zoom optically as good as this one…
     
  21. Like
    Towd reacted to Andrew Reid in Had an outing with the Panasonic-Leica 10-25mm F1.7 on GH5   
    My first impressions on the blog:
    https://www.eoshd.com/news/panasonic-10-25mm-f1-7-first-impressions-sample-shots-from-gh5/
    Any questions let me know!





  22. Like
    Towd got a reaction from PannySVHS in Rest in Power David Thorpe   
    So sad. 
    He was one of my favorite writers and video bloggers.  With his unique and interesting insights, he could easily entertain even when discussing a mundane camera bag or consumer lens.
    He certainly contributed to my love for the m43 format.  It's a sad irony that as we find new life being breathed into the these smaller cameras, we have lost one of their most talented advocates.
  23. Like
    Towd got a reaction from tupp in Rest in Power David Thorpe   
    So sad. 
    He was one of my favorite writers and video bloggers.  With his unique and interesting insights, he could easily entertain even when discussing a mundane camera bag or consumer lens.
    He certainly contributed to my love for the m43 format.  It's a sad irony that as we find new life being breathed into the these smaller cameras, we have lost one of their most talented advocates.
  24. Like
    Towd got a reaction from newfoundmass in Rest in Power David Thorpe   
    So sad. 
    He was one of my favorite writers and video bloggers.  With his unique and interesting insights, he could easily entertain even when discussing a mundane camera bag or consumer lens.
    He certainly contributed to my love for the m43 format.  It's a sad irony that as we find new life being breathed into the these smaller cameras, we have lost one of their most talented advocates.
  25. Haha
    Towd reacted to kye in Out-of-focus zombies   
    Just speaking for myself here, but if anything is going to push me over the edge into prepping, it's f0.95 in a Hollywood film.
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