jonpais

Do you have a YouTube channel or blog with 200,000 subscribers? If your name begins with Andrew, we can't give you one, sorry!

Somebody criticized me for speculating that Dan Chung and Kai had shot a lot of footage (in an earlier video) and only shared a couple minutes with us, because the AF-C doesn't always work as perfectly (actually, if you examine the footage they shot together carefully, there is hunting going on, but the wide angle and small aperture hides some of it well), but in this latest video from Kai, he confesses that "It [AF-C] works well sometimes; it doesn't always snap into action perfectly however". And this pretty much sums up what a couple other more frank beta testers have only hinted at up till now.

If by meaningless, you mean that none of the videos we've seen up till now mentioned which settings they used for AF-C sensitivity and speed in video... maybe you're right!

I used to use a set of Tiffen ND filters, they accumulated some kind of sludge or something even while being stored away in my dry cabinet, and they were a bitch to clean. Are the satin filters any better?

That would be 'endangered'. Philip Bloom's set and lighting are mind-blowing.

Let's bring it back to life then.

Mattias should be doing another review shortly.

To sum up the ride down the river Cam, Kai likes the chunky body, the dual card slots, the lack of extra crop in 4K, 50p, IBIS, and no more flash. He wishes for more DR, less sharpening, less aggressive NR, and AF can be unreliable.

The point isn't that the industry doesn't use or need 12bit 4:4:4: it's that complaining that a $2,000 camera doesn't have it that strikes me as out of touch with reality.

And they use plastic instead of metal for much of the lens.

Seems reasonable enough to me...

Incidentally, when purchasing the Fuji 35mm f/2 a while back, the shop didn't have any 43mm Hoya Pro1 UV filters, which I usually get, so I took one of Hoya's new-ish Fusion filters instead. I have to clean my filters at least once a day after or while shooting, it's so filthy here in Ho Chi Minh City; it usually takes several minutes to do, and it often seems like I'm just smearing the grease and dirt around. Fingerprints and grease clean off immediately with the Fusion, so I'm actually considering replacing all of my filters with the Fusion ones.

Oh, and I forgot to mention that they want that quality for free!

AFAIK, there is not a single report of a burnt out motor on the Crane.

You can spend $50,000.00 USD on an Arri Amira package and not get 4K 12bit 4:4:4. And you want this in a consumer priced camera for $2,000? If your company needs it so badly, you could always rent the Panasonic VariCam 35 ($55,000). Would you care to share some footage explaining exactly how 4K 10bit 4:2:2 is holding you back creatively as a filmmaker?

So many in the comments over at 43rumors complaining about the weight, the design, or the fact that the Voigtlanders aren't AF. They just don't get it, do they? it's a miracle that they even make lenses of this craftsmanship in this day and age. But maybe they prefer their plastic Canikons...

You don't get the Crane for smartphones or GoPro. You buy a gimbal made for smartphones or GoPro. Impossible to balance. And much more expensive than a lightweight stabilizer made for phones. Why would anyone want to carry around such a large device for a tiny smartphone?

That's sharper than the macro shots. So is f/11 the sweet spot? Focal reducers are all the craze. Fast native lenses are ideal.

The image is even softer than my Panasonic 12-35mm f/2.8, and I see no advantage over the thousands of full frame or APS-C videos I've seen on YouTube or Vimeo.

Without even pixel peeping, the The Mamiya 80mm f4 Macro + Kipon Baveyes Adapter barely approaches the decency level of resolution.

Agree 100%. Editing and color correction on a 15" laptop alone is not ideal at all. I'll often begin editing a project on my laptop, then do final color correction (and sharpening and stabilization if needed) and final bits on my desktop. Mostly because I can't stand being cooped up in my apartment all evening. But I can see if you're away from home or office and absolutely have to edit a project on a laptop. I will add that my 27" iMac (2013) performs flawlessly for editing 4K, glorified laptop or whatever. One of the few electronics items I've purchased in my life where I didn't have instant buyer's remorse.

Don Kotlos never said anything about buying a stills camera to shoot video. What exactly is Mattias going on about? These are hybrid cameras, meant for both stills and video. The SL is clearly marketed to professional filmmakers as well as photographers. Anyhow, I'm not rich, so I shouldn't even be looking at this thread...

lensrentals.com published MTF charts for the 18-55mm T2.9 for anyone that's interested.

This has already been posted in Lenses. ? Fuji has been supplying TV and cinema lenses for almost as long as I've been alive. But to answer your question, if I consult my crystal ball, now that Fuji has embraced 4K video in its line of mirrorless cameras, I can't see them letting the video side stagnate while they continue to innovate in the stills department. Which leads me to my next prediction: Fuji will use a sensor similar to that of their GFX, which in turn will enable IBIS; the X-T3 will have a fully usable touch screen LCD; F-log will be available internally; and finally, it will still have a million quirks to drive users nuts! But by the time the X-T3 is released, all of Panasonic's midrange m43 cameras will have 4K 60 internal and 4K 25 10-bit 4:2:2. ?

Does this mean that when shooting with a full frame lens like the Sigma 50mm f/1.4 with a MB SB on the G85, diffraction will no longer begin at f/8?