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Jimmy G

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About Jimmy G

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    Lower Hudson Valley Region, NY
  1. Sony Other = a6300 Panasonic Other = FZ1000, my gal's G9 Something Weird (which I interpreted to mean "other") = iPhone 8 Plus, GoPro 3 Notes: S1 solved my needs and desires for the no-IBIS, low-light-capable GH5S, curse Panasonic for no flippy screen though...WTF, over?!
  2. This immediately reminded me of an incident from some years ago when my (then teenage) nephew grabbed both my brother's and my twin DCR-TVR820 Hi-8 Sony camcorders and began walking around holding them together, best he could, filming everything at a family event...his goal was to be able to shoot a "stereo 3D movie"! Interestingly, my brother later took that footage and was able to create some single-frame stereographs! I love watching this sort of out-of-the-box experimenting! Regarding 8K/10K footage...too bad Panasonic didn't provide their S1R with enough electronic horsepower to give us some out-of-the-gate 8K UHD (7680 x 4320) or Cinema 8K (8196x4320) with that gorgeous new (8368 x 5584 Photo) sensor...though I expect this is all in the pipeline for future model releases. (...rolls fingers...)
  3. Hi Alex, Always best practice (IMHO) to do one's own homework when encountering unsupported claims on the internet. Case in point, the, um, observation that "despite to be F1.4, most of them have a 1.8 or 1.9 transmission (T-stop)". If one checks out Sigma's own web site where we find that their entire line of f/1.4 primes all turn out to have T1.5 (advertised) Cine variants... FF High Speed Prime Line | Products | Cine Lenses | SIGMA GLOBAL VISION: https://www.sigma-global.com/en/cine-lenses/products/ff-high-speed-prime/ ...but is that advertising correct? One can try and do a calculation, as suggested in Gerald Undone's above linked video, where we can determine (roughly) the light transmission of a given Cine lens where it has a photographic counterpart (such as the Sigma Primes)... f-Stop/T-Stop = squareroot Transmission %. Therefore 1.4 ÷ 1.5 = 9.3333, therefore 9.3333 x 9.3333 = (roughly) 87.1% light transmission. (Similarly, the Canon Cine f/1.4 Photographic Primes equated into 1.5 T-Stop variants.) But those numbers are based on advertised claims. Now, the folks at DxO have been publishing their own Lens Transmission measuments and they can be sifted through here... Lenses Database - DxOMark: https://www.dxomark.com/Lenses/ ...using filters for f/1.4 and 24mm we generate a chart like this... ...where their results show results closer to what you asked about. Again using the above fstop-to-tstop math we find with the EF Sigma 24mm f/1.4... 1.4 ÷ 1.8 = 0.7777, square that and we see the DxO claim works out to 60.49% Light Transmission?! Can this be so? Any the, um, "lowly" Samyang has an impossible-to-achieve f/1.4/T1.4 100% measured transmission? Hrmm. :/ Let's read as to how they perform this measurement and what that method tells us... DxOMark lens testing protocol and scores - DXOMARK: https://www.dxomark.com/dxomark-lens-camera-sensor-testing-protocol/ ...where they state... << We chose the light source for its remarkable stability. It is exactly the same source as for our ISO speed measurement: A halogen lamp filtered to achieve a daylight color temperature of 5500K. This is worth noting because we use ISO sensitivity values in the T-stop calculation. We measure the luminance of the diffusing surface (about 140 cd/m²) with a certified luminance-meter. Knowing the entrance light flux, the sensor response, and the shutter speed, we can then calculate the T-stop of the lens for a given focusing distance. We place the camera at a distance equal to 40 times the focal length of the lens (for example 2 meters for a 50mm lens). We take one picture for each aperture of the lens using full-stop increments. To compute the transmission score, we measure the T-stop at the largest possible aperture iat each focal length. We then average those values over the range of focal lengths to calculate the final score. >> ...so, in a nutshell, a 5500K f/1.4-16 average, which doesn't explain the anomolous Samyang test result. But, their results being what they are, as cinematographers/videographers is a single-color-temperature test helpful to what we need to know about any given lens? What about color shift, character, MTF, etc? Seems more homework needs doing (well, for my needs). Turns out the folks over at LensRentals have an ongoing blog about their lens testing methods and I found this article (with some results) about testing Cine lenses using full-spectrum testing very informative and helpful... Lens Rentals | Blog: Looking at Cine Lens Color Shifts Using Spectrometry https://www.lensrentals.com/blog/2018/04/looking-at-cine-lens-color-shifts-using-spectrometry/ ...there we find actual Cine (vs photographic variant) Lens tests and the Sigma Cine lenses weigh in at >80% transmission from ~430–720nm (and greater than 90% in mid-ranges)....right up ther with Canon, Veydra, Schneider, Zeiss and, yes, Samyang, too. Also, a couple of comparative color swatches showing color tones for several of the lenses. Anyhoo, just some food for thought as you consider and do more homework on lenses. To your other questions, since both the Photographic and Cine versions of these Sigma lenses incorporate the same optical designs the light transmission and bokeh should be indestiguishable...barring any optical coating differences. IME, there's always a lot to learn, hope this was helpful, Jimmy G P.S. Not sure if I did reverse squareroot correctly?
  4. Speaking only about purchasing used and/or refurb...I've had great success (luck) with B&H, Fred Miranda's Buy and Sell board and Lens Authority (best to be price savvy when using all). Haven't heard of MPB until now (thanks, where have I been?!). As for selling or trading in...my daughter has seen to it that I've never had to concern myself on that matter! LOL :D
  5. "Gear of the decade"? That's a tough one, the '10s have seen a lot of technological advances move through my hands... I started the decade rocking the Canon 5D Mark II and 7D thinking I was "riding high" with internal HD recording in a DSLR and glad that such an all-in-one solution meant "no more seperate dedicated stills and video cameras in the field for me!" Attending the 2010 Canon Expo at the Javits Center in NYC and seeing my first 4K display I was totally blown away and felt I had seen the future, so I invested heavily in EF-mount glass (read: Sigma 120-300mm OS and 300-800mm both in particular for my wildlife birding needs) over the next several years awaiting the move to super-high resolution on a Canon system. When their 2015 Expo arrived with no more new 4K product beyond their 1C, I began to lose hope that Canon was going to be the platform to take me into the 4K promised land. Enter a Sony a6300 and Panasonic FZ1000 mid-decade to fill that void and yearning. Later I grabbed an a7sII which turned out to be a big disappointment for me (along with that a6300) as I had gotten spoiled by the image stabilization that was clearly possible with my FZ1000. The a7sII also fails me miserably with its thermal noise (purple edges, anyone?). And the ergonomics on both are pitifull, IMHO. So I once again found myself seeking refuge, but from Sony this time. Enter the Lumix G9 (my gal's) and and then, later, S1 (mine!) and I am now in stabilized 4K low-light heaven (only took nearly a decade since seeing that first 4K monitor!). Final "gear" on my list would be my new i9 iMac (replaces a well-aged 2011 3.4GHz, haw!) that I'm tricking out for FCPX (and possibly Resolve), my college classes start next month. I suspect 8K and HDR will be the de facto standards by the close of the next decade in 2029! :)
  6. Hi BTM_Pix, There's an ongoing thread over at Samsung's Community forum regarding the T5 not working in Catalina (MacOS 10.15)... Solved: T5 SSD not working with macOS 10.15 Catalina - Samsung Community - 860123: https://us.community.samsung.com/t5/Monitors-and-Memory/T5-SSD-not-working-with-macOS-10-15-Catalina/td-p/860123 ...and even though that thread's title states that the issue is solved apparently plenty of folks are still having issues after applying (or trying to apply) the solution... https://us.community.samsung.com/t5/Monitors-and-Memory/T5-SSD-not-working-with-macOS-10-15-Catalina/m-p/939900#M3042 ...(TLDR: Install Samsung v1.6.6) not encouraging news. Please keep us posted as to how you make out, I just purchased two of these (1TB's) as gifts for my gals for the holidays to use with their iPad Pros and MBPs and now I'm thinking that maybe I should be looking at another brand's SSD for them. Oofah. Best of luck, :) Jimmy G
  7. Jimmy G

    Cheap-o laptop

    A little better guidance on your brother's actual price-range would be helpful. Having said that, if, after looking at non-Mac alternatives your brother decides he wants to stay within Apple's ecosystem, one can comfortably stay in the Mac realm for well-under a grand with an Apple refurb... Refurbished Mac - Apple: https://www.apple.com/shop/refurbished/mac ...(link posted for informational purposes only, I have no affiliation with Apple. Mod kindly inform and remove link if I'm in violation of TOS.) Wish I could offer some suggestions on the PC side of things, but I'm Mac-only since '95. Hopefully some other posters will chime in with suggestions?! :)
  8. Firmware 1.3 seems to have solved both problems as seen here in Nick Driftwood's tests... Panasonic Lumix S1 Firmware 1.3 Beta Test - after images Improvements - YouTube: https://www.youtube.com/watch?v=__FtAEkMrLo Lumix S1 Blue / Yellow Light Improvements: FW 1.3 Beta = Better colour matching to Varicam & EVA-1 - YouTube: https://www.youtube.com/watch?v=iifX5bP46Tg
  9. Well, I don't consider this one "click bait"...I found it while searching out how well an iPhone 11 Pro would work with my S1 (mentioned within)...thought it informative and unbiased... iPhone 11 Pro vs Sony A7III - How Pro is the Pro? - YouTube: https://www.youtube.com/watch?v=Y42eY0bxx2A
  10. Grateful for continuing good health as I wade deeper into my 7th decade. Grateful for the people I love...and that they love me back. Grateful to be residing on a comfortable planet that also just-so-happens to have chocolate. And, as relates to this forum, grateful for the nifty imaging toys available at this moment in history, with which I'm looking forward to learning how to image in wide-gamut HDR. :)
  11. Interesting scenarios, however, by my reckoning, this might all just come down to more-benign "plain business sense" reasoning between two entities engaged in investing (read: millions) in proprietary and complimentary techologies. I should think that in creating the complimentary tech, in this instance of "acquisition/creation device" (read: RED camera and RED RAW format) and "deliverable/processing platform" (read: MacPro, OS and FCPX), that both companies would need to both understand and establish the appropriate, er, guardrails that define the lanes in which their tech does and doesn't drive as well as define how they work together in their partnership. Sort of like "establishing the table ante" for any other potential "smart money" players (read: competitors) in the industry, as well, as I see it.
  12. Hrm, it's looking like things are being conveyed as being rather warm-and-cozy between the two parties here... << According to RED’s president, Jarred Land, this was a part of a standard due diligence process performed by the two companies so they can proceed further with development. As stated by RED: “We are pleased to see our REDCODE patents withstand another challenge. RED integration with Apple’s METAL framework for realtime R3D playback is coming along well, and the work that the two teams are doing together is exceeding expectations. We are very excited about the new Mac Pro and the new XDR pro display and the power they bring to the entire RED workflow. To be clear, as I mentioned before, this never really was Apple vs. RED. It has always been APPLE + RED, and this was all part of the process defining how we work together in the future”. >> ...from here... RED REDCODE Patents Withstand Apple’s Petition - Y.M.Cinema - News & Insights on Digital Cinema: https://ymcinema.com/2019/11/10/red-redcode-patents-withstand-apples-petition/ :)
  13. Looks like the Metal API is producing some serious speed gains... A New Metal Engine in Final Cut Pro X 10.4.7 Gives A Big Boost https://barefeats.com/final-cut-pro-brucex-mojave-vs-catalina.html ...though it would have been nice to see them incorporate the more-common in-built Pro 580X and 560X GPUs found in the latest iMacs and MacBook Pros (repectively) in their tests.
  14. Looks like Apple has moved FCPX over to Metal 2 with some nifty new functionality (read: Multiple GPU usage, HSL color mask adjustments) and overall performance boost... Final Cut Pro X — What's New in Final Cut Pro X 10.4.7? Speed, HDR improvements and much more! - YouTube:
  15. Nice find, kye, certainly made me homesick for upstate! :) Regarding that footage...(amongst the numerous things I'm getting "familiar with" with my S1) I'm trying to work out the "where's" and "how far's" one can utilize the IBIS in the camera. There is a free-floating nature to how the imaging sensor is mounted in the body (whether one is using IBIS or not) and depending on user shake and/or pan speed and/or user jerkiness one can elicit unwanted (corner bouncing) image effects. One shot in particular jumped out at me here at the 3:49 mark (looking out of the lean-to)... Hiking Alone in the Adirondack Wilderness - YouTube: ...where the frame corners sort of bounce around as the sensor seeks stasis. Clearly IBIS has some caveats (especially with FF sensor size) that I'm going to have to get "familiar with" and learn how to "work with", just another thing to learn with this particular body. Though, if one could master evoking that effect I'll bet one could create a drunken-woozy slo-mo look to one's footage where needed, kind of like a "rotating a tilt-shift lens" effect only better since it would bounce around based on the physics of it! Ha! Oop, did I just give away a "killer idea"?!
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