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Michi last won the day on July 23 2019

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  1. The 18-35 is almost parafocal, at least the one I have... zoom outs are no problem, zoom ins... stopped down a little that works too. Please sigma, don‘t listen to him. You have been there, in that dark area when people only bought your lenses for budget reasons. The art lenses are the best thing sigma ever did. Sure, they come at a wheight. But they perform equal to lenses 2-3 times more expensive. Let other brands cover that cheaper, less sharp segment...
  2. Michi

    Music for screen

    My favorite Morricone score.
  3. True that. Maybe it‘s the wide aputure combined with the zoom-factor that affects size exponentially?
  4. Very true. Maybe lazyness of canon/sony/nikon? Or other priorities like reducing size, weight... I have no actual knowledge about this things but considering how rare and/or big fast wide angle lenses are I‘d assume the wider part of such zooms is the challenge (anything from 11-18mm)? Maybe someone with mor knowledge can chime in...
  5. I‘m with you, such a lens would be great! But look how big, heavy and expensive the 28-70 F2 and the 24-35 F2 are already. So for fullframe a 22-45 F1.8 would probably be gigantic. Now for apsc it’d probably be doable. But who other than video shooters would pay a premium price for such a lens? Not the casual hobby photographer that paid 300-600 for a slr/milc and is happy with a kit-zoom... Look at the cameras canon and sony offer for apsc: nothing there gives hope for a high quality lens such as the sigma 18-35 or canons now very old but still great 17-55 F2.8 IS... But still the sigma 1.8-zooms are the two lenses i love most. Great IQ, very easy to pull manual focus without a follow focus but also with good working AF (on canon cameras). Only downside for me is the lack of IS and the heavy breathing of the 50-100. My hope is for falling prices on S35 cine lenses when everybody moves to fullframe...
  6. I would be ready to pay a grand for a 18-35 follow-up with IS and possibly a little more range. But I fear you‘re right. None of the manufacturers seem to care about APSC in this time. While I have no intention to switch to fullframe anytime soon, many seem to do just that. So the market might just be to small...?
  7. That‘s what I did too. Capture One instead of Lightroom and all the Affinity apps instead of Photoshop and Indesign. Works great. And one day I‘ll take the time to learn Fusion... There are good alternatives to Adobe, most of them cheaper. And yet, if one wants to be hired as a freelance editor here in continental Europe it‘s probably impossible to avoid the CC suite as it‘s sadly still the most used...
  8. I‘d bet this is not true if your completely new to video editing. If starting from scratch, you’ll learn faster in fcpx than in pp in my opinion. Its easier but very powerfull too. now if you want to get hired as an editor premiere is probably a must - and that i find very sad. Not many things can cause passionate hate. but for me premiere can.
  9. You can have that, just with a crop... Presumably a 1.3 crop if it‘s a 1:1 pixel readout for 4k. If it was a bigger crop the 4k would need to be upscaled.
  10. True... I guess we'll find out soon enough. And now that I have scanned through the whitepaper I see there's no C-Log2 and C-Log3 on the 1dx3. It seems those are supported only in Cinema RAW light...
  11. On the official canon site they state 30min recording limit (7.5min for 120p) https://www.usa.canon.com/internet/portal/us/home/products/details/cameras/eos-dslr-and-mirrorless-cameras/dslr/eos-1d-x-mark-iii/
  12. So they introduced a new raw-format too then? I might be mistaken but the numbers seem more or less in line, don‘t they? 5.9k (19mp) = 2.1 gbs 5.5k (16mp) = 1.8 gbs 4k (9mp) = 1 gbs
  13. I dont think so. Compare it it to the datarates of the c500 2 and the sigma fp (that has uncompressed raw): sigma fp 4k 8bit 24p: 1.6 gbs sigma fp 4k 12 bit 24p: 2.4 gbs (those are the numbers Mr. Reid states in his review) canon c500 2 5.9k 12bit 24p: 2.1 gbs I just saw 50/60p drops to 10bit on the C500 2 too, so the 1dx 3 is canons only camera offering 12bit raw in 50/60p...
  14. This is RAW lite (as in the C200 and C500 2). The 9mp for 4k on the c200 is 1gbs, the 16mp for 5.5k on the 1dx3 the corresponding 1.8 gbs. Other than on the C200, 50/60p raw is not 10bit but also 12bit, meanig datarate is even higher at 2.6 gbs. Higher raw compression is probably not possible because of the red-patent...? Pretty impressive camera.
  15. Are you doing projects where audio isn‘t crucial? Or have a sound-guy to handle that? As a one-man-band Audio is probably the main reason a DSLR/MILC could never fit my needs for an A-Cam... The C200 would remain my A-Cam even if I‘d get a 1dx3 for free...
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