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Jerome Chiu

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  1. Linus Tech Tips has pre-ordered six (6) of them, and I sorta understand their reasoning.
  2. Other things being equal, 28mm f1.4 on GFX has shallower DoF than 24mm f1.4 on FF; likewise 105mm f1.4 on GFX has shallower DoF than 85mm f1.2 on FF. It's physics. As for "few and far between": how about Sigma Art 20mm f1.4 (on GFX 100 4K UHD 0.92x crop, wide open at mid- to close distance or stopped down at infinity), Sigma Art 24mm f1.4 (ditto), Sigma Art 40mm f1.4, Canon EF 40mm f2.8 STM, Sigma Art 50mm f1.4, Leica Summilux-M 50mm f1.4 ASPH, and pretty much every FF lens with focal lengths equal to or longer than 75mm? Of course, many people don't want to deal with the soft vignet
  3. First and foremost: you could forget about AF, as of now, if you do it. Currently, I could think of 2 ways to do it: (a) EF to E Speedbooster, then E to Z adapter (yup, the notorious Techart, my friend!); (b) Kipon Baveyes EF to E, then (again) E to Z. Onto your question: yes, and a bit more as well. A one-stop focal reducer introduces a 0.71x crop factor, so we get a 0.71x crop for stills, a 0.76x crop for 4K DCI full-width, and a 0.8x crop for 4K UHD. In other words, we get roughly the same crop factor for 4K UHD with the focal reducer in FF as the GFX for stills. Only as a rule of
  4. 24mm f1.4 on FF gets an approximately 26mm angle of view with the 4K DCI full-width crop, and about 27mm with the 4K UHD crop. I'd recommended the Sigma Art 28mm f1.4 for use with the GFX 100 for a roughly equivalent angle of view, viz. 0.92x28= 26mm. Yes, it does cover the 0.92x 4K UHD crop inside the current GFX 100. As for the 85mm f1.2: about 91mm (4K DCI full-width) and 96mm (4K UHD) respectively. Both Nikon and Sigma have, each of them, a 105mm f1.4. It would yield a 96mm angle of view (FF equivalent) image in the 4K UHD crop on the GFX 100. You could put the 300mm f2.8 onto th
  5. 8192x5462 yields 44, 744, 704 pixels, i.e. very close to the rumoured 45mp of the R5. If so, then that means a 2.13x crop for 4K DCI, pixel-to-pixel. If I have to guess, I'd go for it having a very short burst for 4K 120P, like 2 seconds. I'm more interested to learn whether it does 2K 240P, even if it'd likely yield a crop up to 4.26x for it with a burst of 1 second. Chance to put S16 lenses to good use!
  6. Don't forget we already have the Metabones Hasselblad V to GFX Speedbooster, with which we get 0.56x crop for stills, 0.62x crop for 4K DCI, and 0.65x crop for 4K UHD. The Hasselblad 110mm f2 would thus get the equivalent (to full-frame) angle of view of 62mm, 68mm, and 72mm respectively, and one stop faster (i.e. about T1.6). The image characteristics of this lens attached to the GFX are thus very roughly equivalent to 62mm f1.1, 68mm f1.25, and 72mm f1.3 (in full-frame) respectively. You could do your own calculations for other Hasselblad V lenses. The shutterless F and FE lenses c
  7. Everything that Andrew has said in reply to you, plus: 1. Metabones Hasselblad V to GFX Speedbooster. It brings real medium format to digital! Good choices (for stills as well as video) are (a) 50mm f/2.8 F (forget about the FE versions -- the electronics won't communicate, and they are more expensive) (b) 80mm f2.8 F (the CF or C versions are also good, and optically the same; but the F version focuses closer, and could be easily de-clicked) (c) 150mm f2.8 F All three above are excellent optically, could be easily de-clicked, and surprisingly affordable. I have
  8. Now this is interesting. Mike Johnston, as Chief Editor of Photo Techniques, commissioned a series of three articles on bokeh back in the 1990s, and he added an "h" to "boke" (Japanese "boke-aji", lit. "quality of the blur") so people wouldn't pronounce it as rhyming with "broke". It has caught on -- I mean, the spelling with the "h" -- in the English language enormously, while the Japanese have moved on, nowadays, to a different term, viz. "outto fokasu". Go figure. He could also be credited for anointing Leica's 4th generation 35mm Summicron (last generation pre-asph, designed by Walter
  9. Some calculations. A "pixel-to-pixel" 3840x2160 crop from 3882x2912 yields a 0.87x crop factor. Good news for owners of native G lens; much less so for owners of full frame lenses. But I guess most FF lenses except super-wides should cover it in practice, i.e. wide open at portrait distance or stopped down at infinity. For those looking for the MF look: 0.87x0.71 roughly yields a 0.62x crop factor, i.e. 6x6 and 645 lenses with one-stop speedboosters should all have image circles big enough to cover it. The Cooke Anamorphic/i Full Frame Plus Series has the following focal lengths
  10. This is exciting. 0.79x0.71 gives us roughly a 0.56x crop , very close to the entire image circle of a 6x6 lens. The 16x9 crop of this sensor is around 0.92x (on the current GFX 100 - a 16x9 rectangle cropped from open gate would yield a slightly larger crop ), i.e. most FF lenses should be able to cover it. A 645 lens with a speedbooster (0.92x0.71 => roughly 0.65) would cover it, too.
  11. Kinefinity Terra 4K can do 4K 125p and is definitely under $15000.
  12. UHD 60P 102Mbps DCI 4K 24P 237Mbps Presumably then, DCI 4K 60P ProRes RAW over HDMI to Ninja V should be doable, right?
  13. I'd also go for the M9. If so, the lens is 61 years old, i.e. was produced in around 1957. A rigid 50mm Summicron?
  14. Exactly; and it isn't only Cinema5D over Andrew Reid, it's also Cinema5D over Philip Bloom (who lives in London, AFAIK). We've known for ages that subscriber count doesn't count, nor does view count; what counts is the number of buyer decisions positively influenced by practitioners like Andrew Reid and Philip Bloom, who both have large and trusting followings. Both speak their minds, but that hasn't stopped, e.g., Kinefinity from asking Bloom to test their new cameras, and this has been key to Kinefinity's becoming a presence in this very competitive market.
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