seanzzxx

Thanks a bunch!

Can I ask something? All these options are greyed out for me in the management section. What am I missing?

Damn, that's some amazing cinematography.

I'm 99% certain Steve Yedlin, without mention the article or the author, is talking about this article when he once again has to whip out his explanation of large format fallacies: http://www.yedlin.net/191106.html Here's his visual explanation: http://yedlin.net/lens_blur.html

My sweet baby boy, if you really think the Pocket 4k has 13+ stops of usable dynamic range I have a bridge to sell you (and this is coming from someone who owns and loves the Pocket 4k!)

Wait, you know you're not going to get the full dynamic range on rec.709 recordings, right?

The calculation is very simple. Let's say you use a 50mm. Your metabones reduces the crop by 0.64. 50*0.64=32. Your Pocket has a crop factor of (in full sensor width) 1.88. 1.88*32=60mm (rounded down). That's pretty close to the full frame equivalent already, but your new crop is (60/50) 1.2 times. So if for some reason you absolutely NEED to shoot at exactly the same equivalent focal length all the time (instead of just framing your shot slightly different), you can take your full frame lenses and divide them by 1.2. 50/1.2=42 equivalent perspective (rounded up). You could do that for all lenses. You want to match your 14mm on full frame's perspective with the Pocket+speedbooster? 14/1.2=12mm, etc. Does that make sense?

Good to hear you're safe, Anaconda. @Newway12My 11-16 does vignette at 11 (even without hood), on the viltrox. Do you shoot the full sensor with?

Well, this is a bit shocking:

Right now it only works with USB 2.0 on Windows, that might be it?

Just a quick question - in Davinci Resolve in Color Space Transform, Input Color Space still doesn't have a Pocket 4K FIlm option? Am I missing something? Thanks!

That's a really common problem with the Viltroxes, and it seems to be a quality control thing. I have the same on my 18-35, from 1.8 it's really sharp but at 1.2 it's a ridiculous washed out glow, totally unusable. I didn't bother returning it because I'm 1) lazy and 2) never shoot below f1.8, but it's still annoying. Can't complain for the price, though.

Yep! It's an awesome feature that came at the cost of DR and noise so they dropped it like a brick for the 4.6K, which has a superior image. People don't give a hoot about rolling shutter as long as it's minimal enough. P4K, GH5S, Ursa 4.6k have all reached that point imo.

No problem! Just to clarfiy, the 1.44x crop of super 35 is against FULL-FRAME (again, in 4k your 1dx mark II is not the same width as full frame). Full frame sensor width is 36mm. Super 35 film width is 24,89mm. 1dx mark II in 4k sensor width is 27,5mm (give or take). 36/24,89= 1,45. So the crop of super 35 compared against full-frame is 1,45x. 27,5/24,89= 0,91x. So the crop of your 1dx mark II in 4k compared against super 35 is 0.91x. You can do this in all directions. 24,89/27,5=1.10x. So the crop of super 35 when compared to the 1dx mark II in 4k is 1.10x. Again, this is all theoretical, because a 1.10x crop is meaningless.

So Super35/the Arri Alexa (90% of movies you will have seen will be shot on those formats) have a crop factor of around 1.45 (I got this number wrong at first, updated my earlier post), unless they were shot anamorphic in which case we get into the story of horizontal crop factors and we get really freaky, which we will not do now. Your 1dX II has a crop of around 1.3, so the angle of view is WIDER. If you don't want to exceed 18mm angle of view when compared to s35, you'll have to put a tighter lens on your 1dx mark II. In your case the crop factor of a 1dX II when compared to super 35 would be around 0,9, so you wouldn't want to go wider than a 20mm roughly. However, to make your life easier: in real life a crop factor of 0,9x is is so incredibly, insignificantly small that it really doesn't matter, just go for the same lenses you would use on Super35 and you'll be fine.