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If Red can... That's the big question. So far all we see is a chunky phone, with a less than current chipset, that the faithful can't control their eREDctions (yes, lame boner pun) over its sound. I find the concept incredibly interesting, but I want to see more of the ecosystem before plunking down $1200 on a slightly obese Android phone. I'm more interested in the other bits beyond the hologram stuff, because I don't know anyone else that's even heard on Red, much less will buy the phone. People on Reduser are talking about swapping numbers just to be able to holo-chat with someone else. At this point you still have to buy with the hope that all promises made will come to fruition since nothing has been revealed yet. This feels like a more expensive version of "The Coolest Cooler" with even pricier add-ons. If its not widely adopted - like if they only sell in the thousands, or hundreds of thousands, instead of millions like other phone makers - is this even sustainable? Seems like a lot of teething pains for early adopters as its still unfinished. Hope to see more soon. Chris

I've been looking to get a set of LED lights that I can travel with (fly around the world) that are versatile, high quality, powerful, not heavy and not too expensive. In this test I was comparing lights that I want to mostly use as a kicker/practical or maybe key (if I need to). The lights tested are: Boltzen bi-color 30W (3200k - 5600k), Aputure LS-mini20d (7500 k), Aputure F7 (3200k - 9500k), Luxli Viola (3000k-10000k/RGB) Test methodology: I placed all lights 3 meters from a gray card. I set my camera to center/spot meter at auto ISO. 1/50 and F/4 (this is for my needs) and then I read the iso meter. I repeated the reading a few times to ensure there are no strange anomalies. The Aputure LS-mini20d (7500 k) is lighter than the Boltzen. It has much better spot focus ability. But it has two big issues. Just during this simple testing the fan came out. Not loud but audible. However, more importantly I place the 3200k soft gel inside the slot (I guess the slot was for the 5600k hard gel) and it burned. I heard Kaleb talk about the 5600k gel bleaching. Still makes the LS-mini20d a useable kick/accent light. Since I'm planning to shoot tungsten WB and it will give me a nice shade of blue. But it makes it not as versatile as I had hoped. Otherwise it's a perfect light. The Botlzen on the other hand gives you pretty much the same output in 5600K as well as 3200K. It's more powerful on paper, but not having as good as a spot as the Aputure makes the same power but for more weight. On plus side it has not fan, but it uses a heavy heat sink which is why it's heavier. @IronFilm and @HockeyFan12 as promised here is my quick test so far. Boltzen spot: 3200k -> iso 320 5600k -> iso 250 Boltzen flood: 3200k iso 1000-1100 5600k iso 640-800 ------------------------------------------------------------ Aputure spot 7500k iso 140 5600k gel iso 250 +1gel 3200k iso 400 Aputure flood 7500K iso 640 5600k gel iso 1100 +1gel 3200k iso 1250-1600 --------------------------------------------------------- Aputure F7 5600K iso 1000 3200k iso 2000 7500K iso iso 1100 9500k iso 1250 Luxli viola 5600k iso 2500 3200k iso 2500 2 Luxli viola 3200k iso 1250 (I did this, because I'm looking at a Luxli Cello as a possible key and Cello is essentially has 2x the LEDs of the Viola). Here are some images of the shape of the light on the bookshelf where I have my gray card Boltzen full spot Boltzen flood using the barn doors to shape the light to around the book case Apurture full spot Apurture full spot with a 3200k gel on Apurture F7 Luxli Viola So this was my bad, I put the flexible 3200k conversion gel (this is for the Apurture to convert the 7500K light to 3200k) in the slot where the hard gel goes (the hard gel is to convert the light to 5600k). I only had get there long enough to do a flood and spot mode a couple of times. Maybe 5 minutes and it practically burnt right away. I'm not sure if the hard gel for the 5600K would do any better or as Kaleb Pike said in his youtube channel they got bleached. I can see that happening. Which really makes this like a 7500k light that you can use as accent/hair light etc.

It was just over £300. Its about 30-40% off what I could get one in the UK for but the bonus in Japan is how good a condition its in. There is a 35-70mm from the same place which is about £170 that I'll be going back for tomorrow. Same shop has your 55mm f2.8 Nikkor for $90 if you want it! I got a Sigma SD Quattro with 30mm 1.4 ART lens and a 17-50mm f2.8 Its a laughably good camera, especially with that 30mm lens. Just astonishing really and built like a brick shithouse with nice solid controls. As I said about buying used here, they are in such mint condition that they might as well just be described as unboxed. The other camera and lens was a bit more vanilla which is a Sony A6500 with the kit lens. I needed a more elaborate test platform for porting my controller over to Sony than the RX100 so its not a love purchase but more of a necessity and a temporary one at that. The good news is the jet lag means I'm quite a way along with porting it over! One thing I did get for it though which may make me keep hold it for a while is a Metabones C/Y to E Speedbooster, which makes it a whole lot more interesting. I didn't actually know Metabones made one of these but, like their other adapters, they go for really low money second hand here for some reason (certainly compared to the UK at least). Sony do international versions of their cameras that they sell here for a premium so buying new isn't that much of a bargain but because of this there is good value in the used ones as they are locked into the Japanese menus so are much cheaper. When I say they are locked in, thats obviously the theory but as long as its not the A9, A7Riii or the A7iii its not that difficult to hack it so my A6500 is now very much an English language version but with the 30 minute time limit removed as well Total price for the SD Quattro with 2 lenses, the A6500 with kit lens and C/Y to E Speedboster was just over £1300. Against the US prices thats possibly not even any great saving but against the UK prices it will certainly do for me.

Circular argument.

Specifically about the Blackmagic subforum... The general posts are infested with endless speculation and shitposts. Perfect example: this thread is a 100 pages of garbage with maybe 10ish posts that are worth reading. Subforum focus is more on technical info, especially solutions to hardware and software quirks. Juan Melara and some other awesome people will occasionally post in the subforum. It actually works out fairly well. And more often than not a Google search will land you in the subforum. Like a library, lots of good info without the noise.

@blondini No, perspective distortion is only affected by distance from the camera to the subject. No matter what sensor/lens combination you use, if the camera and the subjects don't move, then the ratio of the size of two subjects will remain the same. I did a quick and dirty test to illustrate. It's a little imprecise (the camcorder would NOT focus on the guy in front...) For all three images the camera is in the same place. I suspect the small discrepancies in ratio (2.2% error) are mainly due to moving parts inside the camcorder when it zooms, which changes its actual distance from the subject. But this is an easy thing to test yourself. First image is a 4mm lens on a 1/4 type sensor Second image is a 55mm lens on an APS-C sensor As you can see, the ratio of the figures is the same. You could even use a wider lens and the ratio remains, because the distance has not changed: Third image is a 2mm lens on the 1/4 type sensor. Quote from Wikipedia: Yes, it would. As long as the camera is in the same place, the relative size of the plane compared to the people will remain the same regardless of the lens or sensor. If you don't believe me or my Legos, go try it yourself!

@Andrew Reid Yeah, "directly related" isn't the correct wording, but we mean the same thing. As sensor size increases, you can either increase resolution with the same pixel size, or increase pixel size at the same resolution. You said so yourself in your disclaimer at the end: "For example you can have higher megapixel counts because there’s simply more real-estate on the chip surface to add more pixels." That is why I said "assuming similar tech." The a7r3 has better tech. I should have specified photo-sensitive area, rather than simply "surface area" and would perhaps have been clearer. Wait, you just posted an article about how the 17.5mm f0.95 is comparable to the 35mm f2.0. If you don't have to change both numbers, why aren't you saying the 17.5mm is comparable to a 35mm f0.95? But anyway, I'm just explaining Northup's argument. He claims there is marketing material on their websites that is misleading, idk if that's true but his crop factor equivalence works for the comparison he's making, despite being poorly worded and convoluted.

I added a couple of the Stella Pro 8000 and will add a Stella Pro 5000 as they allow for Profoto Speedrings and Modifiers. Gorgeous light, drop proof and you can dive with them. Couple of stills to illustrate the light. Pricey but on the order of a Profoto or Broncolor flash .... these were through the umbrella at 4000 lumen. Bob

I think for a kicker / accent light the CRI (90) is fine. The thing about the internal battery is that it's so light you can almost forget about it's existence. I haven't verified this, but I imagine the Stella with internal battery is lighter than the Boltzen even without an external battery attached! As to the personality of the CEO, I couldn't comment. These things put me off companies too from time to time, so I can sympathise. As you may know, they are bringing this all to film from their origins in scuba lights, and I think there are some innovations emerging as a result.

Imo nice casual/involuntary showcases of Voigts 10.5/42.5 smooth rendering I remember this one also - more about longer distance shots.

Stella recently upgraded their lights CRI is up 93 and light is much closer to 5600K ... also controllable from an Elinchrom remote ....rather than hijack this discussion I started a new one about the SP 8000s .... snobby or not ... buy what works for you. Bob

The problem here is 15p is the ONLY option. So customers seeing 4k in there buys it and then have fun when they discover they can't even film in 24p.

If you manage to buy Leitaxed (I suppose to EF) version for, say, 250-300e, it could be the special beloved keeper through mounts and systems Well, than to encourage you, maybe check this nice test of CZ 25mm 2.8 - in f4 there's really anything to complain in term of clarity while keeping "vintage" character, assuming that glass is clean...

I guess it's not about having more weight balanced by the gimbal (the Crane 2 is strong), it's about holding all of that with only one hand. I would hate to hold 3-4kg in a single hand (considering the bad leverage when you tilt the gimbal in that hand), we're reaching levels where a two-handed gimbal would make more sense for usability.

Here's a preview of what's going on... VLC Player and Premiere seem to have same result. Quicktime Player and Finder Preview have different result. Camera LCD is in a world of it's own, I'll talk about that later. VLC on left / Quicktime on right: This clip is using Rec.709 colour space in HLG. It appears desaturated in Quicktime and correct in VLC Player: This next clip is using Rec.2020 in HLG:: Behaviour is the opposite. It appears desaturated in VLC Player and more more saturated in Quicktime, which incidentally matches the camera LCD when View Assist is turned on, as if Apple is converting the colour to rec.709 in Quicktime without telling us. The following clip is using S.Gamut 3 Cine as per my new EOSHD Pro Color settings: It is a shot through some grass but you can still see the differences especially to red balance. VLC Player has the punchy, correct colour. Quicktime is desaturated and shifted to orange. So be very careful when setting up colour on your camera, as what you see might not be what you get. By the way, Quicktime changes based on what Color Profile you have selected in MAC OS Display Control Panel. Therefore if the display profile and camera colour space are mismatched, you get the wrong colour in Finder, preview, thumbnails and Quicktime Player. VLC and Premiere do not change and seem to maintain the format of the file. This is stupid behaviour by Quicktime because if you record a mixture of clips with different colour spaces, you cannot keep changing your display profile in MAC OS to match each clip (i.e. Rec.709 if you record in 709, or Rec.2020 if you are using Hybrid LOG Gamma)!!

I must admit, I did make a sharp exit as soon as the transaction was concluded. I'll be putting the running shoes on for an even faster getaway when I go back in there for the 35-70mm

Of course. But I’m a youtuber. All my canon related videos get twice as many views as non canon videos. So I do whatever I can and find anything I can to talk about canon cameras.

The one area where Sony usually keeps ahead is sensor tech. But the days of Sony "leading the way" are kinda past i feel.. they were the laziest this year at NAB by just adding a picture profile to the FS5 and calling it a day with their Mk2. We're still seeing the same 8-bit 100mbs XAVC codec in their third generation MILCs. They took away big features like timelapse from previous gen. Still no AF-S in video. Still color science issues, still same resolution EVF, convoluted menu system...etc. Meanwhile Fuji put a 200mbps codec, DCI 2K/4K options, Flog/Eterna, IBIS, touch screen, top display etc in only their second 4K body ever. Camera has it's quirks but not bad overall improvements imo. Ergonomics & color science wise i also find Fuji is way ahead the competition. But the real battle is going to be at Photokina in september with XT3, A7S3, Pocket 4K as well as much expected FF MILCs from CaNikon.

I've actually gone with the Stella 1000 for this purpose, because of weight. I had originally gone with the boltzen, but it's just a bit too heavy, especially when you add on batteries. The Stella was a pricey buy though.

Would love to pair the BMPCC4K with this.

I feel quite the opposite. While i like the manual dedicated dials for photography, for video it is a pain. The shutter dial especially is not that useful since you have to use two separate dials to get my most used speed 1/50. I shoot mostly in manual mode with autoISO and I frequently adjust the shutter speed between 1/25 and 1/100. And for the ISO dial you rarely need to select one specific ISO value. It is mostly adjusting for exposure or setting it to auto. For video I much prefer the dumb assignable dials. Easier to quickly set a value with just one finger. I have set the back control wheel to change the ISO which also has an auto position. Moreover, I wish every company implements the smooth auto ISO of the Sonys. The exposure changes as smooth as the variable electronic ND of the FS5.

You're like 90% of the way there. See if this doesn't help: The following examples would provide the exact same image, and therefore are "equivalent" assuming the camera is always in the same spot. On a M34 sensor: A 25mm 1.4 lens (and it doesn't matter if the lens was made for FF, APSC, or M43 - this is important) On a M43 sensor: A 50mm 2.8 lens, speedboosted (pretend it's a 0.5X speedbooster). (This is because you're now actually putting a 25mm 1.4 lens on the M43 once you've added the speedbooster, just like #1) On a FF sensor: A 50mm 2.8 lens - - - For #3 the ISO will have to be multiplied by the crop factor squared to get the same exposure. - - - I ran out of likes for today but this is very important for new filmmakers to know I used to think this but focal length has nothing to do with perspective, only the location of the camera and the relation to the objects in frame. The easiest way to test this is to shoot a camera at a chosen focal length, say 50mm, and then shoot from the exact same place with a lens with 2X the focal length (a 100mm lens in this example). Go into an editor and compare the full shot at 100mm to a 2X crop of the shot at 50mm. They will be the exact same image. This is no different from shooting a FF camera at 100mm and a M43 camera at 50mm. This shows how the perspective never changes if you don't move the camera, no matter what lens you're using. Seriously, try it out.

Speaking of detective work, I did some more digging and found an unlisted video comparing the Bokkelux 75mm prime to other top lenses and confirm the Bokkelux - Nisi - Kinefinity chain here (too long to post in the thread): http://kinecommunity.com/a-primer-kinefinity-mavo-lenses/

Off my list, thus far, I've only managed to get the Contax Zeiss 85 f1.4 But, erm.... I've also, thus far, managed to get 2 cameras, 3 more lenses and one lens adapter that were absolutely nowhere near being on my list ! I'm here for a while longer yet though so I'll do post the final score up when I'm done.

Wow. By the standards of the usual responses on there to anything that RED does its not just a lukewarm reaction but positively icy isn't it? I imagine the response to the phone's USP being less than adulatory could do you a favour there and the bolt on modules might end up delivering more for less to compensate. I suspect they don't want the (by their standards) very mediocre response from the flock bringing the vibe down in the main hall of worship. That will likely only get far, far worse as it reaches the hands of normal consumers who tend to have a different perspective on the appropriate response to a missed deadline and/or a less than promised performance or feature set. You don't want the general public showing up with their torches and pitchforks on reduser. It would be a bloodbath !

Oblique rays strike the center of the image as well as the corners. These are aperture dependent and are called marginal rays. The relationship between f-number and the marginal ray angle is given by f/# = sin(theta), where theta is the marginal ray angle. So, at f/1 the marginal ray angle is 30 degrees, and so on. The obliquity of the marginal ray does cause a form of pixel vignetting that perhaps should be called pixel apodization. The effect is that the edges of bokeh blurs - where the marginal ray obliquity is highest - is darkened relative to the center. The good news is that this is the definition of "good bokeh". I think Andrew's two sample images reveal this effect. I would guess that the bottom image was shot with the faster lens.

Its always distance to subjects. If you're shooting a 50mm on FF and s35 from the same spot, you can crop the FF image and the result will be an identical shot. This article clearly demonstrates that with two completely different FL's. https://admiringlight.com/blog/perspective-correcting-myth/

760g body 80g roughly for battery 25g roughly for recording media weigh your favorite lenses Width is the real issue as it's 178mm wide, making it one of the widest cameras on the market. It's as wide as many very big cinema cameras. If your gimbal has both sides with bars on them it's 99% likely it will not fit. Ronin-M/DJI M5, etc. Even single-sided gimbals like Zhiyun crane currently have problems but fixes are being implemented. Currently the Tilta G2X and the Ronin-S are confirmed to work.

I go along with what Metabones says about their gear. Oh and what do you think the difference will be if you look at (say) an M43 sensor through a 35mm f2 lens VS looking at it through a speedboosted 50mm 2.8 lens? (example not relying on exact match). I will leave it there.

@KnightsFan Ahh right, I misunderstood his point then. Fair enough.

Assuming we're talking about the same video, he was saying that manufacturers were erroneously marketing their lenses giving equivalent focal lengths, but not equivalent apertures. Like marketing an 14-42 f2.8 as a 28-84 f2.8. His point was that IF you change one number, you have to change the other. And he did specify that he was talking about equivalent depth of field - his title card for talking about it is "Aperture & Depth of Field." He was using ISO to talk about exposure, which he explained early in the video. In his logic, once you compensate for exposure with ISO, you have to compensate with aperture as well. It is a roundabout logic, but it does account for the lower light gathering power of a smaller surface area, and thus the need for more gain (and thus more noise or lower resolution) to reach the same ISO. True, but the light gathering power of the space is directly related to its size. The SNR ratio of a smaller sensor will be lower than a larger sensor (assuming similar tech), given the same image scaled down. Hence the f0.95 doesn't actually have any low light advantage over the f2.0, if you look at the system as a whole.

At the end of the day you can project the same image into a smaller space. That's physics. What Northrup was suggesting was wrong. An F2.8 aperture is always an F2.8. The optics don't physically change shape when you have a smaller sensor behind it. A lens that covers a smaller sensor at F2.8 is still a wider opening than F5.6 - with the same brightness as a full frame F2.8. So no, manufacturers should not be calling a Micro Four Thirds F2.8 lens a F5.6 lens at all. Using equivalent aperture to calculate depth of field vs full frame, is the only useful use of it. It's for us in our heads to use. It doesn't apply to other aspects. If you put the Canon 24-70mm F2.8 on the Speed Booster XL 0.64x on 1.86x GH5S, you get... A 1.19x crop sensor, practically full frame. An F1.8 effective aperture. 15-45mm focal length on a 1.86x crop sensor, so an equiv. range of 28-84mm. Not bad I'd say. You forgot the Sigma 18-35mm F1.8 on a Speed Booster 0.71x as well. That is a 28-52mm F2.7 equiv. on the M43 SB and Super 35.

For non-narrative where you do want shallower DOF, it's still way easier on FF since there are tons of F2.8 Zooms. For M43 you're getting F5.6 equivalent bokeh and there's really nothing you can do if you want the flexibility of a zoom. Yes you can use the sigma but it's impossible to balance on smaller gimbals, so now you need a bigger heavier gimbal, and the lens itself is pretty heavy, negating the whole small and light m43 thing, plus the AF is I've used GH5 for the last year but I really miss how easy it is to get shallow DOF on FF. F2.8 isn't crazy shallow but it's hella lot better than F5.6 with the M43 zooms. I had to work so hard for it on m43 it just wasn't worth it especially with the useless AF-C

Yep, perspective is only affected by the distance of the objects to the lens. The focal length & sensor size do not affect perspective in any way. A 25mm on a m4/3 sensor with an aperture of f/1.4 will have the same perspective and DoF as the 50mm on a FF sensor with an aperture of f/2.8. The other aspects of the image like distortion or busyness of the bokeh depend on the design of the lens and not the focal length/aperture/sensor size.

I don't bite on this classic argument. Perspective doesn't change (at least it shouldn't) because the camera is set at the same distance, that's why you use crop factor for measurement.

As far as that goes, I used to shoot FD lenses on a cheap $100 Chinese speedbooster. I always liked the look. Clean but not pristine. If you want to get away from the "digital" look, that could be one ingredient in the recipe; worked for me. For those of you shooting manual glass it's an inexpensive way to go, FWIW.

Such a pity that the LX100 resisted all efforts to join the party.

I was suggesting something more along the lines of some sort of compressed RAW via HDMI and Atomos decodes and can recode it as either CDNG or Pro Res Raw - or other pro res non-RAW formats. I don't understand... Isn't that what the a7III is doing? 4K FF Mirrorless for $2K... I don't understand this either... What are we doing here... follow the leader? From my understanding each company (specifically Canon, Sony and Panasonic) leap frogged one another... Yes, it all started with the 5D mark 2... but lets skip ahead to the 4K gen. cameras. I mean I can talk about the GH1 to Gh3.... but again.... lets skip to the 4K DSLRs and 4K MILCs... 2012 -> Canon 1DC - First 4K DSLR. Panasonic said, we can do that and add 1080 @ 96fps -> GH4 Sony took their time but they did have a low-light monster... eventually leap frogged them by introducing 1080 @ 120fps (though cropped in the a7sII) 2016 -> Canon 1dx mark 2 - First 4K @ 60p and 1080/120p (no crop) Panasonic said, oh yeah? 10 bit and 1080 @ 180p No wait... we have more improvements -> GH5s Blackmagic comes in.... and said.... "What? You forgot about us?" Throws the Pocket Cinema4K and mind fucks us. Sony, can't be like... we can match the Panasonic GH5...........

Shot in Rec709 and ProResLT! ha Quick BTS on my YT channel: The final edited result is already up: And this is how a clip looked straight out of camera (you can even hear how I recorded the right track at a lower level than the left track! Intentionally so as a safety measure):

There are some differences that you might not spot on this shots but you might in other situations. One it's how apart objects are from one another in depth. A 17.5mm makes the space wider, this is almost not noticeable in many cases but for example when you are filming a dialog between two actors the distance in depth between then will be different and this will convey another mood to the scene. Also, a 17mm will in most cases have more distortion especially when you are close to the lens, and also focus will be easier on the 35mm 2.0 than on a 17.5 at 0.95 .

This is what I mean by depth: if you would film this with a smaller sensor and place the camera in the exact same place and try to have the same frame you would have to use a different lens, maybe a 1000mm, then the plane wouldn't look so close to the actors.

I'm talking about putting the monitor on the GH5. That would make the camera quite a bit heavier and unwieldy and getting to C100 territory, thus rendering one of it's pros into a con.

jon, when you are working for 12 hours lugging around equipment, shooting handheld at times, believe me, that weight and size is a large drawback. Not everyone has the luxury of filming like you do. I wish it were so but it's not that way.

The C100 hasn't got the sharpest LCD and the angles are limited. I'm considering selling the C100 mk1 and getting the C100mk2 because of the flexible LCD and useable EVF.

Jon, I didn't realise down voting was that important. I did it because you are not offering any kind of help or solution, although your first comment was useful.