Nikkor

A forum user once posted an interesting link http://www.red.com/learn/red-101/cinema-temporal-aliasing

Are you shure about that blooming thing? The blooming I know happens with lower contrast lenses.

It looks like it gives instant cancer.

Nice job, I wonder if he could do the same with the NX mount.

if you take out the battery the screen turns dark and everything is out of focus, i mean you almost cant see anything.

ZF are not cinema primes, just normal lenses.

The important thing is the way it renders when reaching the extremes of the DR and that's where most cheaper cameras have a lot of trouble.

Don't compare the figures they give to film with the ones they rate sensors with. I got into shooting stills with c-41 (portra 400, 160, ektar,etc...) on medium format, developing and scanning them on my own and film (specially portra 400) has impressive DR. I might do a comparison with the d800 (14 stops @ iso 100), but I think portra 400 (motion picture stock is supposed to be a little or much better) has more latitude.

Others would wait 2 years and charge 3000€ for that update.

My question would be, why not these lenses? They are good and compared to new Canon and Nikon lenses they aren't even expensive.

Maybe the camera reads the sensor in 10bit mode because it has to read the whole sensor, throwing away the lower bits.

Wait for andy lee, he will tell you.

85 and 50mm are focal length were you don't have to spend a lot to get good images. The samyang 85 1.4 is the best performance/price wise, and for 50mm there are billions of cheap options. Of course you can also go out and buy a summilux-m 75 1.4 but...

I think it also lets you change aperture in live view, not shure though.

Looking great. Lenses?

If you look at the measurements they made the 1Dx wins in all of them, except dynamic range below iso 400. Nothing strange when comparing between a high end Full Frame camera and a low level entry crop camera.

Interesting subject, why don't you summerize and share your findings with us

The one thing I find totally ridiculous about the A7s is that Sony has no official workflow/lut to bring the s-log 2 footage into a normal looking image. I think that's totally inacceptable. Another thing I noticed sooner today when I had a look at the samples is that the log curve seems to eat fine detail, the reflection on the desk and the wood pattern below the camera are totally gone. Maybe it just wasn't in focus, but if it's really like that I think that's a major problem because personally I find that these faint reflections and textures are essential when you are composing an image (skin for example), why use 4K if the camera is blind to them (or is it just the slog mode).

If you are looking for good AF you will have to deal with the bulk, the 5d mkiv might have good video, the mkiii should lower it's price a lot then. I wouldn't use the A7 for anything video related.

What happens if you turn on noise reduction on the A7s? Without getting into color the canon looks mushy specially in the shadows, but not the blur you get from the low pass filter but the one that comes from canon shadow noise +noise reduction+ codec.

I want to see some night-time shots with the 50 1.2 and the 85 1.2 in the Berliner U-Bahn

If the question is if there is more usable information in a higher resolution image with vintage glass then I think the answer is pretty obvious. Here an example, 50 years old nikkor-o 35 2 @ f2, shot with the d800. I turned off all sharpening and noise reduction. Then I downsampled the whole image to 1920 pixels with bicubig sharper, then I blew it up again to compare to the original file. The lens is not resolving 36mp but if stopped down to 2.8 it gets a lot better, nevertheless you can see smooth transitions and contrast differences down to what a bayer sensor permits. If the question is whether it's better to downscale from 4k to 1080 or to record directly to 1080, then it totally depends on the camera and not on the lens, but usually it will be better to downsample on the computer.

That only works out on paper. When I use vintage pre-ai nikkor glass wideopen on both the D3 (12mp) and the d800 (36mp) the resolution advantage is obvious.

I prefer the mamiya bodies and lenses, the ccd colors and the bigger sensor.

I can see the point if you want to use it in tests, but for 5000 pounds a medium format back like the p45 would add so much more to your gear bag and blow your mind, even if it's only for stills. I hope you can resell it again without much loss after spring.