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Everything posted by ozmorphasis

  1. It's too bad that there aren't too many modern lenses in the 17-55mm F2.8 range with really great optics AND handling. The fujinon Mk is awesome but expensive. The Sigma 18-35mm is fantastic and it's the lens that stays on my cameras most often, but in a lot of doc situations doesn't get far enough into a portrait range for my taste...even with a dumb adapter, so I still have to do a lens change that slows things down. For doc work, there is a reason why the 17-55mm EF-s lens is ubiquitous. The optics are decent (but not amazing) for sure, but it's mainly the range combined with the stabilizer that makes it popular. That Angeniuex linked in a previous post looks really intriguing but not easy to find. I find the focus ring on pretty much all of the 17(or 18)-50(55)mm F2.8 to be pretty meh. Tokina, Sigma, Canon, etc. If someone comes out with a killer Fujinon Mk style lens but at half the cost (giving up perfect parfocal and no breathing), but with a fantastic focus ring like on the Sigma Art lenses, they would have a hit on their hands. Basically, Sigma needs to do a 17-55 F2.8 Art lens. 24-70 is not wide enough for most doc work on a crop sensor even speedboosted, but the 17-55mm gives you wide enough and just barely reaches far enough into the portrait range to help you forego the need to carry an extra 50mm to compliment the workhorse wider zooms like the 18-35mm.
  2. Luke, can you share files so that we can take a stab at grading? Thanks!
  3. At least several DP's that I know (and in a couple of cases hugely admire), will choose tungsten instruments when in a controlled environment for any kind of beauty shoot. They have access to the very best of the best daylight balanced LED, HMI, plasma, and Fluo sources, but will still choose tungsten when it's practical. It does look better for skin. I myself am moving toward all LEDs for practical reasons, especially now that they are getting good results. But, the best stuff I've shot has always been in natural daylight or tungsten.
  4. Watching full screen right now. It is definitely still there, although much worse when HD is selected rather than 4k. I'm not talking about the obnoxious over the top aliasing that we see when watching a small embed window. I mean something more subtle than that but still problematic for a client delivery. I'll have to do my own side by side tests now that my GH5 arrived.
  5. Are we seeing the downside of the lack of an OLPF in the GH5 in the roof of those buildings. As a GH4 owner, I've never had to be anxious about Moire. It just hasn't been common enough to fret about it. Your shots of the roof on that building, however, is totally unusable for any of my paid work. Of course, native lenses with their oversharpened look tend to exacerbate the issue, but still. That shot looks worrisome to me.
  6. It's also a bit of misunderstanding that the edges will be easier to tame on a wider lens while moving. It's the opposite. It's true that a wider lens will tame microvibrations and shake better than a longer lens when looking at the overall frame and especially the center of the frame, but wide lenses are stretching a lot more information into the sides, so they exaggerate any movement and certainly any anomalies at the edges. Even with a totally steady setup, try walking with an ultra wide lens or a fisheye. The edges will look awful. Now add to that a bit of shake. Of course, what everyone else is saying about telling the camera the correct focal length is also important for the IBIS.
  7. Does it magnify for focus while recording?
  8. 8 bit 420 vs 10 bit 422 internal. Was this mentioned somewhere in this thread or in the article? I didn't see it mentioned, but it is one of (if not THE) defining elements when having a pro vs prosumer conversation about video cameras. That difference would definitely put the Panasonic in an entirely different playing field despite the nice bit rate and the apparently class leading stabilizer of the Olly.
  9. That's the C300ii bundle you're looking at. and/or C500, but not the C100ii
  10. Agree with everything except: the original art lenses are not focus by wire. If they were, you wouldn't be able to use a Nikon g to m43 speedbooster like I do. ; )
  11. ozmorphasis

    cheap rig

    Yup, definitely do the cowboy studios rig. It's very nice being able to let go of both hands, and the thing just works. It's got some quirks too, for example, your breathing can affect it more than a traditional shoulder rig because of the front pad that rests pretty low on your torso. Having said that, you can't do better in the cheap range, and the thing is indestructible and folds up nice and small - can throw it in a backpack.
  12. Only worth it if you find a really good deal used, which is definitely possible. Otherwise, you're not getting that much more camera than the G7. Does your G7 have the 30 min limit? That's a pretty big one for me. Then again, if you need a headphone jack, you need a headphone jack. Can't argue with that.
  13. If you need it to be wedding gig friendly, I'm not sure what will match. If you need a B-cam that doesn't need to be so camcorder-ish, then any of the cheaper BM cameras will match better than the Sony. Even a bmpcc will look better (more like the 4.6 than the sony in terms of DR and color science). However, they come with their own headaches if you've become spoiled with FS5 and Ursa handling.
  14. Yes, I've also used the 672s with umbrellas. Again, not enough power for a key in some situations, but it does soften it nicely.
  15. The D-Fuse softboxes are great. I own a 672s and the D-Fuse. It will help, but it won't be a truly wraparound kind of softness since the size of the softbox is really not that big. If your subject can handle the light getting in real close, then it will be better. In general, I don't find the power of the 672s to be enough for a key in a lot of situations once you diffuse/soften it. It makes for a fantastic hair light, great for background, and in some situations a good key. I am thinking that I need an LS1s or something similar to be able to soften enough (need to light up enough surface area of a larger source...softbox, diffusion panel/scrim, etc) and still have enough punch to deal with a variety of situations, backgrounds, practicals, and/or distance needed from subject to avoid making them feel uncomfortable and still get foreground/background ratios to sit right. But yes, the D-Fuse are great, and crazy inexpensive. Portability and speed to set up is also really great.
  16. I'm guessing it's not just about weight, but also leverage/inertia. That lens (I have it and want to use it on a gimbal too!) is not just heavy, but also on the long side. Even when perfectly balanced, I can't imagine very small motors being able to tame the whipping force that's generated when up and down motion is introduced right at the weight limit of the gimbal. I had success on the Ronin M, and there are single that take bigger payloads, but...
  17. Of course some of us shoot handheld. By the way, with a rolling shutter scenario, even a shoulder rig can create problematic jello, so stabilization isn't just for freely holding the camera in your hand. If you are on a long enough lens, it can be useful even on a monopod. And then, there are gigs where you want a very discreet belly cam with neck strap because you want to capture people without making them feel self conscious. Weddings can fit that category (even though I never shoot them), but so can evening events (Gala event, dance party, private party, corporate cocktail party event), as well as anything else where it's important to fly under the radar.
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