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About Julien416

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  1. Wait a minute. I don't have any opinion on Sony's colors and this thread leaves me bsolutely unmoved. Yet, your comment rubbed me the wrong way. Should I ask for your credential next time you're talking about a movie ? Or a book ? Or a TV series ? Obviously people should react with self-control, but everyone is allowed to have an opinion, how shitty it is.
  2. Using them on personal projects. Plus renting them occasionally
  3. To me, they are basically remade panavision lenses. They use the old Gottschalk design whose patent has long expired. They look exquisite honestly. I am considering getting a series myself with a DoP, trying to figure out if that makes sense financially.
  4. Of course they are different and you can the difference. You own both and you're a gearhead (like myself so don't take it the wrong way). That wasn't my point. No one besides us would ever see the difference if someone were to mix the footage of both cameras in a simple scene. You can argue all you want. Do the test, to a real audience, not pixel peepers arguing endlessly about the motion cadence unicorn, or color science mojo of one brand or another. For all those normal people, the image will look exactly the same. Everyone and their mothers use luts nowadays, honestly the starting color science is less and less important, especially now that resolve is almost free. Furthermore, to the rest of the world color science could be reduced to three groups. Arri - the best by a mile, Sony DSLR color science - the worst, and everyone else in between. In 10 years from now, people will look at the GH5S, Z Cam E2, and Pocket 4K and the footage of all those cameras will look exactly the same to them. Those differences we are arguing about are just a hobby.
  5. Most people wouldn't be able to tell the difference between those two cameras if there was not an A/B comparison. People are arguing about invisible sharpening - that can be desharpened, maybe 1/3 of a stop of DR and easily matchable color science. Most people are just rooting for brand loyalty reasons. And to comfort for own decisions to buy to buy this camera or the other one. For the rest of the world, the image coming out from those 2 is exactly the same.
  6. Come on. I am French as well. 95% really seems far fetched. Maybe 95% of people around you. And still... All the people I know shooting docs use a lot of different gear and many have moved on from the dslr form factor... Fs5 / fs7 / canon c*00 come to mind.
  7. You do understand that French is spoken in a lot of countries right? This guy may be French, but also african. And according to his phrasing, he is clearly not a native speaker. Your message is still stupid and offensive.
  8. That's a pretty interesting lens. It equals roughly a S35 40mm f3 image wise and bokeh wise which is pretty cool especially considering its small size. Image looks really nice, even though I kind of regret the saturated blue flares that looks like a cheap knock-off of Panavision primo's flares. Vazen guys would be really smart to work with some dop's and directors to find a better look. Anamorphic is about the look, it's a very fine line that separates a bad lens from an organic, desirable one. They really need some inputs from pros. Also the non swappable lens mount is a major turn-off as the M43 mount seems in jeopardy on the mid term horizon. Good job nonetheless.
  9. I guess I didn't try enough ? Thank you for you answer though. Beware because I believe S35 and 1:1 readout are different ! However, if the anamorphic S35 mode is indeed a 1:1 readout, my take is that it's most unfortunate. It's a 20% crop compared to the academy size or even the Alexa. A 40 becomes roughly a 50, etc. I can't make up my mind reading the specs on the panasonic site, it isn't crystal clear, really. I can still use the FF anamorphic mode and crop obviously but it would be a lot simpler to have a dedicated legacy mode to match it with academy anamorphic size or even the slighly cropped Alexa's 4/3 sensor size (23,76x17,82mm).
  10. Hi, A question to s1h owners. Disclaimer : it's going to be a tedious one. I havent' been able to find what is the anamorphic crop factor. I believe you can shoot anamorphic in either s35 and FF modes. But what are the windows size? I guess in FF it justs removes the sides to create a 31,7x23,8 window. That is pretty good and unheard of. Now the tricky part. It's not that clear for S35. Is it a 4/3 window cropped into the 16/9 S35 modes (24.89x14mm) ? In that case it would make a 18,66x14mm s35 anamorphic mode. For instance academy anamorphic mode window is 24.89x18.66mm. If that's the case we'd have two modes that do not correspond to the legacy anamorphic size. That would be a bummer. I like a 50mm to be used a 50mm. Or I am completely wrong and the s35 anamorphic mode is more of less the academy size window and in that case Panasonic deserves to be worshipped until the end of times ? I'd be delighted to know. If someone can clear this for me, he'd be the real winner here. Thanks.
  11. There is no free lunch mate.
  12. @Emanuel it's a gear forum. An anamorphic gear forum. Of course people will get heated and talk about silly and useless details. What honestly did you expect?
  13. Let's agree to disagree. On my shootings, I can get any optic I want and will always go with those with aberrations. I am not bragging, I am not directing crazy stuff with dozens of millions, but it's big enough so that optic prices are not a consideration. I am not talking about crazy Lomo style aberrations obviously. But I want lenses to bring textures and imperfections. Of course I only represent myself but I consider myself part of a larger trend. I talk to Dop's, to directors, all the time. I am not so different from them. Open any american cinematographer issue, the vast majority of Dop's going for the anamorphic look will talk about imperfections and texture with wine tasting terms. Arri master prime anamorphics are the most boring lens you can imagine. It basically looks like a clinical spherical lens with an oval aperture. Some may like it. But the fact that Arri eventually created a "flare set" to try to dirty its look (badly) will tell you enough about how successfull it was... If I want a clean look, i'll go with spherical, end of story. If I want texture, I'll go with anamorphic. Why do you think it even still exists ? There is NO point with today's camera to keep squeezing twice the width of an image. None. A quick look on this chart that was posted in your topic should tell you enough. Basically the number one is a clean as fuck spherical lens, and the number 2 is a 55 years old anamorphic series featuring about every single aberrations anamorphic can bring. Tells a lot about the dichotomy of the market.
  14. The genesis is basically a f35 with a panavision logo on it. Nobody uses it anymore. The rent quotes aren't that high, at least where I live. I've worked a lot with them and they indeed are the best of the bunch. Older pana anamorphics are supposedly rebranded minolta / nikon or cookes glasses with from god know where anamorphic glasses (I've read that shiga provided some of them)
  15. Well what can I say ? That's anamorphic. The sole principle is already an aberration. Ask David Fincher about anamorphic, he will punch you in the face and will start talking about the insanity of putting a bent glass in front of his camera. People love anamorphic because it looks weird and funky, not because it looks precise and well corrected. The master prime anamorphic are the not very popular amongst most DOP because of their sterile look ie. a spherical look with elongated bokeh. No breathing, no aberration. A perfect - and boring - look. You have every right to like it. It's just not my cup of tea. Of course I do not pretend representing anyone else than myself but I believe I also have the right not to like. Can I ? And in a world where 90% of theatrical releases are still 2K, 8K sounds silly to be honest. The same world where the new it lens of the moment is the Arri signature, in short old rehoused hasselblad large format lenses. It seems people are clinging on familiar things... DOP's and directors are looking for textures and look. Even if I reckon the audacity and novelty of Sirui's lens, I find this lens lacks for these two factors. But I am glad it exists nonetheless ! The Vazen 40mm looked a lot better (or worse optically), and hopefully Sirui presence will help bringing their prices down. Also the Vazen 28mm looks to be much smaller and manageable for most people. Let's hope the price follows.
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