jonpais

I guess he's on a budget. I paid some $1,200.00 for the Olympus 45mm f/1.2, and it was worth every penny to me - and the Sony 85mm f/1.8 only cost half that!

Red Gemini looks dramatically better on my display.

You don’t give viewers enough credit.

Info for “Afterschool” by Jun Areia Another shoot of mine with the Pocket 4K and model Bonnie Lee in Seoul! (Instagram @iambonnielee) Thank you for watching! I went out the other day for a quick comparison between the Ursa Mini Pro and the Pocket4K in order to see how they can be cut together. While the results of that comparison will be out in a future video, I took the chance to shoot some extra shots and put together another video for the Pocket4K. Since I have done most of the popular tests in my previous videos (Dynamic Range, Low Light, Moire, Motion Cadence etc.) this time I decided to go a little more careless and harsher on the camera. While shooting out the sun is always a nice test for dynamic range, I wanted to see how the camera behaves when the sensor is starving for light in those unpredictable nighttime city shots. When different street lights of various colors and intensity blend together, creating interesting lighting environments with irregular shades. I knew that slow motion could give a nice feel to this particular concept but I wanted to keep it at 24fps as I think this could help a lot of people see the camera’s performance and feel, in shots and environments that you would typically see in feature films. On the first part, most of the time we were under a thin layer of clouds with occasional sun beams coming through. The intro shot is part of the rolling shutter test I have done and I have decided to include it here as a little teaser. There are a few shots without camera movement that were shot side by side with the Ursa Mini Pro and I decided to include them anyways. The rest of the video is on the Ronin-S. All these shots in this part were shot at ISO400 and had minimal exposure adjustments. In the second part, we are at a terrace between skyscrapers, near sunset time. These are actually shot at the building that BlackMagic’s offices in Korea are located and I've shot them right after a workshop where I presented my works so far with the camera. These are all ISO400 shots, without any particular adjustments. The next and final part is the most interesting as I have put the camera through some very challenging situations. From ISO1250 up to 5000, I filmed without caring what direction the lights are coming from and how it should be filmed professionally. I just filmed it – video logging style. There are many parts that we are filming against lights and Bonnie’s face is completely in the dark. In all the footage though you don’t actually see the reality of the environment. You see, when I film at about f2 and at ISO3200, the camera seems to be seeing brighter than what my eyes can see. The environments I have filmed, especially the walking shots with the fruit and the flower and even worse the one by the river are environments unthinkable for filming. Mobile phones just show black screens and we can barely see where we are stepping. Yet, somehow, we managed to film. Some lights might seem bright and mistakenly make you feel like there was some kind of light; the reality is that those lights were much dimmer than what they appear to be in the footage. At one shot by the river, I have opened my 50mm lenses at f1.4 (f0.9 exposure, f1.7 FF equiv. FOV via speedbooster) for some bokehlicious shots and I wasn’t disappointed. Finally, at the alley part, there were some very harsh shadows but it was still really really dark. It was that combination of random street lights in the dark that I wanted to try. I was really satisfied by the roll-off on Bonnie’s skin, especially at such a high ISO. Yet, I have escaped with clean usable footage that after a slight chroma de-noise was ready to go (the camera doesn’t apply any kind of de-noise). I have intentionally left any luma noise untouched as I think it’s aesthetic and reminiscent of film grain. Like my previous Pocket 4K footage, I have shot everything on my own. I haven't used any additional light or lighting technique such as diffusion or reflectors. I didn't use any filtration except the NDs. There were no particularly planned shots as we were running through ideas and filming freely. Color grading wise, I applied some basic contrast and saturation and then did white balance adjustments to taste. Finally I applied a touch of my favourite film emulation. I didn't do any further color correcting such as skin refinement, power windows, sharpening and so on, as I liked people to see the result that was coming out of the camera without any particular coloring.

Actually, super 35 has taken off since the ‘90s mainly because the lenses are smaller, faster, and cheaper to rent; there is a crazy abundance of glass to choose from; and it allows for high quality theatrical releases in practically any aspect ratio. Some directors find the look of LF cameras more immersive, but owing to their cost, they will likely be restricted to big budget productions for the foreseeable future.

If we compare it to other premium lenses in my collection, like the Olympus 25mm f/1.2, Olympus 45mm f/1.2 and PanLeica 12mm f/1.4, it can be considered a bargain. It is also reasonably priced when compared to its direct competitors.

I’ve had the exact contrary impression - most Sony shooters I know of prefer shooting with native Sony/Zeiss glass over Sigma. And not one I know of has found Sony lenses inadequate. Quite the opposite in fact. Their 24-105mm f/4, 16-35mm f/2.8, 35mm f/1.4, 50mm f/1.4, 55mm f/1.8, 85mm f/1.4 and 400mm f/2.8 have all received wide acclaim - and I’ve no doubt the soon-to-be-released 24mm f/1.4 will too. Really, I find the whole notion of not purchasing the a7 III if Sigma lenses didn’t exist preposterous.

If I remember correctly, the reason Sony took as long as they did to release their superb 85mm f/1.4 had to do with trying to achieve the best bokeh possible, which involved molding special aspherical glass to much higher tolerances, helping rid bokeh of the ugly onion rings still seen in some high end productions. The development of their XA aspherical lenses took somewhere between two to three years. They use the same procedure in their most recent 24mm f/1.4 G Master, as well as the same super high speed AF motors used in the insanely expensive 400mm f/2.8. This from Diglloyd, who I thought was smitten with Nikon’s Z mirrorless only days ago: By the time Nikon and Canon get to 10 native lenses, Sony will probably have 40. If Nikon and Canon are smart, they’ll heartily encourage 3rd-party lenses. I deem lens adapter a crummy solution in most all cases. The Sigma FE DG HSM Art lenses strongly reinforce that thinking even though they are native lenses—top-flight DSLR lens designs adapted to mirrorless are large and heavy and awkward. As well, Sony surely will have a Sony A7R IV and other sibling out before long, which might well leapfrog the CaNikon offerings right out of the gate. Accordingly, I dislike the idea of buying into either the Canon EOS R system (30 megapixels = no way) or the Nikon Z7 (good but not groundbreaking) at this stage in the game, because both offerings will be outdated in a year (my prediction). - end of quote And, I might add, Tamron, Voigtlander and a dozen others will continue to pump out E mount lenses for the most demanding photographers in the meantime... I’d also faintly hoped Sony would release a set of three superb ultra compact f/2 primes like Fuji, but as long as they continue to focus on producing compact affordable designs like the 85mm f/1.8 and the soon-to-be released 24mm f/1.4 G Master, which can be flown on the original, inexpensive and highly portable Zhiyun Crane, I’m not going to quarrel. And I tend to agree with Lloyd Chambers: adapting huge-ass Sigmas to mirrorless is no solution for me.

Yes. Supposedly Fuji will be refreshing the app in 7-9 months, but can’t say whether it will be able to record 4K. ?

according to the OP they edit just as easily as the ones from the M50.

Yup, looks pretty basic to me.

smh

I wish people didn’t act so human.

I’ve got no idea what he’s gone and done, but Matti’s managed to make Sony’s AF malfunction worse than just about any camera on the planet in that video. ? Is he using some ten dollar lens and adapter? I didn’t see any info in the description. Might help too if there wasn’t rain all over the lens. Was he intentionally trying to make the camera look bad, or are all of his videos hastily thrown together like that one seems to be? He says it’s taken him a long time to get used to the camera, but aside from the convoluted menu system, coming from Panny and Fuji (whose menus are both complicated too), I’ve found shooting with the a7 III to be pretty straightforward. I always transcode X-AVC to ProRes, which takes just seconds on my 2017 iMac. Why not just download some clips or borrow a friend’s camera and see how your computer handles the files yourself? Or PM me, and I’d be happy to send you some clips. Edit: I just read the comments section and most seem to agree that he’s clueless. ?

yep, it's a sure thing for me as well. priced right, compact size.

The new 24mm is silent, has the ability to de-click aperture, focus breathing is minimal and manual focusing is linear.

Same here. I think it was at the beginning of this season, there were a lot of shots from inside the refrigerator, stuff like that. A little bit goes a long way! I was also wondering what they’re shooting with now. Let us know if you find out.

They already sent me a ‘review’ copy! ? Seriously though, I’ll probably have to get one when they arrive here.

New Sony 24mm f/1.4. Small and relatively light (approx. 16 oz.).

I don’t want to pay for one. I hear BMD is giving away cameras for free. ?

.

1. Compensation of distortion is optimized in CH shooting with electronic shutter. 2.The phenomenon is fixed that the mechanical LOCK of some SD cards is not recognized. 3.Fix of other slight defects

Looks like all Veydra lenses are backordered at B&H and Duclos is sold out of several of them. Will Veydra perish or survive? Anyone here own a set?

Link’s broken.

I guess Resolve has a pretty powerful face refinement tool that looks like it works quite well. I first saw a demo of it in Dave Dugdale’s BRAW video. Edit: it might be buggy, I’ve never used it myself.