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EthanAlexander

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  1. All I know is that after the Black Pro Mist had been hyped to the point of legendary (in my head, at least) I bought one and found the results quite unpleasing. I'd rather have a nice neutral, high resolution starting point (using a log curve and recording to a robust codec) and then add the character in post. I can't believe I'm saying that. Maybe with less strength it would have its use but it was only a 1/4.
  2. This is turning into one of the most illuminating threads on this forum. Learning a lot.
  3. I moved on from Canon a long time ago (team Sony and ZCam now) but this has me interested - The one thing that really keeps this from matching, for instance, the A7III isn't the camera specs but the lack of third party mirrorless lenses! The Tamron 2.8 zooms (and now Sigma's 24-70) are what really make the Sony's a great value and size/weight! Tamron is half of Canon's, both in price and weight.
  4. What do you mean? ZCam prices are still well below any of the Kinefinity prices. MFT 4K - Kine: $3500 / ZCam: $2000 S35 6K - Kine: $5000 / ZCam: $3000 FF 6K - Kine $8000 / ZCam: $5000
  5. 8:1 compressed raw now thanks to firmware update! https://www.newsshooter.com/2020/01/23/z-cam-e2-firmware-0-94-released/
  6. RED's reputation has been hurt recently, so it makes sense for them to try to grab lower end customers with a cheaper camera that uses non-proprietary accessories. People thinking "RED sucks it's so overpriced" will probably be ok with the Komodo since it's so much cheaper. People who own one will likely stick with RED and upgrade to something more expensive later. It's what Mercedes does with the CLA or A class, for example - They're grabbing younger people with less income and building brand loyalty for later in life when the same customers have better paying jobs. Arri's reputation has been, and probably always will be, that it's just the best option for most situations. Part of that prestige is that the price makes it inaccessible by all but the highest budget productions.
  7. Thought I'd share some grabs from some 4K60 I did last year. These are graded WITH added film grain. It was too clean without it ? Don't mind the lack of sharpness - I was shooting wide open at T0.95 on an SLR magic
  8. Same! @Andrew Reid Can you add Z Cam E2? And also add my vote for it, cause I already submitted my others... ?
  9. Samsung T5s are known to have all kinds of problems with the ZCam. Seems the buffer is not big enough and the cable connections can be iffy. Z Cam themselves say to avoid it and get a Sandisk or Angelbird
  10. I had similar thinking as I moved from Canon to Sony: with all the traveling I do, I started buying native E mount lenses (for their size and weight advantage) and sold about half my EF lenses... Well, I recently bought a Z Cam and first thing I did was start buying EF lenses again! I love native mirrorless lenses, but the adaptability of EF (or others like Nikon F) really make them desirable simply to keep from being locked into a system. Plus, no focus by wire! ...And don't forget speed boosting...
  11. Sony car: super fast, super range, all the tech, only ugly paint color options. Nikon car: great tech, durable, promised features like "external batteries for extended range" never actually get released. Panasonic car: best suspension, most efficient, doesn't let you look through the windshield when using the accelerator. Canon car: super sexy, built like a tank, "dual focus" lane-keep assist, can't go faster than 10 mph. After firmware update it can go faster than 10mph but only if you never touch the steering wheel.
  12. It's so-so optical quality but yes. If you're never planning to use auto lenses (viltrox compatibility is hit or miss) then this looks like a great option if you're not wanting to shell out for the metabones
  13. Today I learned: Buying the "sharpest" lenses available according to, for instance, DXO Mark scores, doesn't necessarily mean I'll see any of that detail because there are different frequencies of sharpness. "All of the fields I’ve shown you have been at 30 lp/mm frequency, which is a good ‘overall’ picture. It’s important to remember, though, that depth of field, as well as sharpness, varies with frequency. (For those who aren’t up on this, lower frequency is more about larger objects and lower resolution sensors. Higher frequencies are about small detail and higher resolution sensors. If you want a contrasty object on a 24 megapixel sensor, 20 lp/mm is good. If you want to look at leaves or blades of grass on a 50 megapixel sensor, you probably are interested in 60 lp/mm.)" (From the same lens rental link @noone posted https://www.lensrentals.com/blog/2019/11/practical-use-of-field-curvature-graphs-the-50mm-primes/)
  14. Netflix will buy anything if it's quality content - you don't have to use a camera on their list. That's only relevant to shows they produce, not to ones they distribute after the fact.
  15. The Adidas are ok but these are the best by far of all the soles I've tried. Spent a week shooting in NY walking on all the concrete and had what I thought were comfy shoes but I was in pain within a day. Bought these and I'm never going back. I think they're multiple different styles with the same sole which is the "react" part you want.
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