Nikkor
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Everything posted by Nikkor
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Now you can have 40mbit/s on the d5200. Make shure to read the instructions and forum before asking. https://nikonhacker.com/viewtopic.php?f=2&t=1985
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You are right, the important thing is to have an opinion, no matter what. Cheers!
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Why don't you tell us why it's wrong, write your 101. http://en.wikipedia.org/wiki/Perspective_distortion_(photography) Note that linear perspective changes are caused by distance, not by the lens per se – two shots of the same scene from the same distance will exhibit identical perspective geometry, regardless of lens used. However, since wide-angle lenses have a wider field of view, they are generally used from closer, while telephoto lenses have a narrower field of view and are generally used from farther away. But hey, I guess this is all wrong and you know something secret. Why don't you update the wikipedia entrance?
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A speedbooster does make the sensor virtually bigger, otherwise it wouldn't compress the larger image circle. If the speedbooster would be a perfect system, there would be no differences at all between using a larger sensor, or using a small sensor plus a focal reducer, so it's actually the worst example to talk about sensor differences. Anyway, I don't think you are actually interested in discussing this.
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I'm not talking about shallow depth of field but the way dof works. Actually it's pretty clear that if the movie had been shot exclusively with s35 it would have lost a lot of the visual appeal it has because he either would have used teles or he'd just sacrificed the overall look. An example for wides: If I for example take a 28mm @ 1.4-5.6 on FF and stick it up to the face of someone, I will get something from shallow to pleasing dof, but I will never get the whole head or face to be in focus and it will look like thouse tipical "kid with a 5D shot" . If I'd do the same on 6x7 with a 50 f4 I will get something very different, something usable. On m43 it's just worse. Of course you can stop down, but then you loose the contrast between details and everything looks flat, or difffracted which is even worse.
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If your happy with your Iphone, that's wonderful for you and for your pocket. About malick,it's not the first time this is being mentioned, and it's bullshit. Just take a look at this first: http://evanerichards.com/2011/2407 The only deep focus there is is when they run around or some landscape shots. No deep space at all. then read the tecnical specs: http://www.imdb.com/title/tt0478304/technical?ref_=tt_dt_spec oh wait, what's this? Dalsa Evolution IMAX Cameras Panavision 65 HR Camera, Panavision System 65 Lenses Maybe this is the reason why everything pops so much, beside the zeiss, but hey, why use that if you got an iphone.
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What are you trying to say? That a speed booster turns a aps-c into fullframe? Shure, that's the whole point.
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I don't see why perspective should change from the same viewpoint. Anyway, you have some reason in what you say. I am an architect, and while being an ignorant student I always wondered why professional architecture photography and specially old photography always looked so much better compared to what I could achive with my aps-c camera and wide angle optics (and I'm not talking about straight lines with a shift objective). In the end I've come to the conclusion (I haven't really dedicated too much time investigating it deeper so don't take this too seriously) that the problem comes from the distortion or corrected fields from retrofocus designes that first SLRs and then digital sensors (telecentricity,lightangle) introduce into the image. This makes the images look bad, I can't really explain it. But when you get into longer focal length this problem disappears (55-135mm) and thats why with FF sensors these are the most pleasing focal length (at least they are too me). So yes, perspective kinda changes, but as I said, it's not exacly the perspective what changes. Something similar must happen with anamorphics, the perspective doesn't seem to be the same when cropping to the same equivalent, I guess that is related to the uneven stretch and/or the way the light changes direction. I wish someone with accurate knowledge would explain me the exact reasons.
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Perspective is the same on all focal length at the same distance, the crop doesn't matter either. The only thing that changes is distortion and the part of the perspective you get to see. You could take a picture with a 50mm and crop it to get the same compression as if it were taken with a 200mm. But the rendering is obviously a lot different. The explanation about why larger formats rock is rather easy, but I want to explain it also with mathematical formulas so the "I have no live and talent at all" trolls don't eat me alive. Btw, have you ever shot with a pentax 67? It's amazing, I got used to the weight in one day and ever since I don't want to touch my little nikons...
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I guess you will be able to record in cropped mode but it will look worse than fullframe. As I said, it might be a good choice to use a teleconverter (1.4,1.5x) to increase the image circle and match it to the Fullframe sensor.
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Also the smaller the sensor, the shittier the DOF behaviour. Someday I will write a text on the reasons because I couldn't find any online. This means that 24 f0.95 will not look as good as 50mm f2. neither will 24mm f2.8 look as good as 50 f5.6. But for now, trust me ;)
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Thouse are 5Dmkii, but in this pic its a 1DC, you can even see the red "C"
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Thouse look more like a 1DC because they have a built in grip. Arri + Zeiss Master Primes = crazy Unforunatly they are 20.000-30.000$
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If you want to use super35 glass I think you will have to look for compatible teleconverters (1.5x).
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2300€ + Recorder... They will have to lower the price soon enough.
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They landed a big one by offering the first serious 4K camera that doesn't cost several thousand of dollars. And Sony just comes up with external 4K...
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This guy wants to shoot thousands of buildings, forget about raw.
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ML RAW for an archival setup is total madness. The A7s will come out in June-July and is way better than the 5D mkii for video.
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Canon 24TSE + A7s =sharpest 1080p and best possible setup. Only problem, the A7s is not available yet. http://www.stevehuffphoto.com/2014/02/03/the-sony-a7r-with-canon-17mm4-ts-e-architecture-dream-team/ If you are only going for 1080p video you could try the samyang which is cheaper. The d5300 you have will look almost the same as any other option in 1080. It might be less sharp to some degree but it will have less moire. I would wait for the setup explained above.
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Thanks John, I almost bought one of these (the schneider) once but I was looking for something more compact back then, they are pretty cheap 30-50$. Btw, what's the widest you can go with these? I guess 85mm.
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Thanks Bioskop, but how big are the diameters actually? My ultra star is 51mm, but the optics are actually 42mm (the rest is metal housing and rings). This leaves me with f2 on 85mm and f3.2 on 135mm which is ok but sometimes I want more.
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John what are the options for big rear elements. The iscorama 54 is out of my budget. I have the isco ultra star but the rear element isn't that big either.
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Could thouse be autofocus pixels?
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I hope this camera gives the same nice smooth picture like the live view on the D3/D700 and not that hyper saturated shitty highlight rolling off stuff like the d800 and the rest of the new sony sensors. If it would have 10bit external and sub 2000$ there is no excuse to not buy it.
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Kendy Ty and the T2i - one guy doing amazing things with a 5 year old DSLR
Nikkor replied to Andrew Reid's topic in Cameras
Lol, seriously? There are a lot of things that are far from perfect in that short, but it's still great. And it's impressive if we keep in mind the shitty camera it's shot with, and that he basically is a 1 man team.