jonpais

I’d like to see some documentation of this. Correct me if I’m mistaken, but manufacturers like Fuji and Panasonic, for example, only rather recently released or are about to release long fast telephoto primes. And if Sony’s intent was to kill off CaNikon, longer lenses would be a must I would think. And from the reviews I’ve seen, Sony’s 400mm is a killer optic.

At $1,099, the X-T2 offers more bang for the buck than the X-H1.

My two observations are entirely consistent with what I’ve posted in these pages since owning the GH5.

Thanks for sharing your experiences, @ajay. My own thoughts are that (1) highlight rolloff on the G9 cannot compare with the log profiles of the GH5; and (2) CDAF is completely unreliable for video and cannot begin to compete with Sony’s superb implementation.

I guess there are still only minor differences in performance with DaVinci and Premiere Pro.

Nice job - but I’ll stick with spherical. ?

Almost any display today can reach VESA’s minimum requirements for HDR, so it’s rather meaningless. It is not HDR. Plain and simple. It is not possible to grade HDR content on an iMac without an external monitor. So no, it is not a good enough set up.

Yeah, it’s the same story with any lens in video mode - turning the focus ring for magnification only works for shooting stills. Assigning a fn button for focus assist isn’t the end of the world though. I’ve got a little Manfrotto Pixi that I really like - I might try using that to help with the shakes. It doesn’t give me more points of contact, but when folded up I can get a nice grip on it.

@kye Today I replaced the APO-Lanthar with the Sony 85mm f/1.8. Granted, I don’t normally hold the grip with my index finger, but the barrel of the lens near the mount is about the same diameter as the Voigtlander, so bigger hands may feel slightly cramped; but the Sony feels like a tiny m43 lens compared to the Voigtlander. First disappointment - in video mode it is not possible to activate focus magnification with the focus collar on lenses. Also, IBIS is not nearly as effective as the Panasonic, which matters if you’ve got tremors as bad as I do. As I stated in my video, unlike shooting HLG with the GH5, you’ve really got to protect the highlights when shooting Cine2. They are unrecoverable if overexposed even a tiny bit. I still have to try out Slog2. Finally, I hate those stupid locking lens hood buttons, because if you’re one of those who actually uses hoods, every time you replace a lens, you’ve got to remember whether it’s got one or not. But perhaps the silliest is the screw lock on the Nocticron.

Thank you, Kye. I used PP1, Cine2, Cinema, Detail -7, increased saturation a bit in post.

Even on the lo-rez 4.7” screen of my iPhone 7, the difference between the 45mm f/1.8 and 45mm f/1.2 Pro is immediately apparent.

Yes, I do. And I can assure you that the files you watched at the shop were not HDR.

I’m just using the focus magnification button at the moment.

I just discovered being able to punch in focus while recording and it’s awesome!

Well it’s easy for him to say, since he’s shooting with an Alexa and Angenieux lenses, but I’ve just got a crappy old mirrorless. ?

@Charlie Don’t get me wrong, I admire your work and all, but how does your video put an end to all discussion of cameras and lenses? I’m clearly missing something here. ?

I edit with a 2017 iMac 27” and your findings are inaccurate. There is an enormous difference when viewing HDR values as RAW on the machine because the screen is not HDR, not even close. Therefore, this machine is only good for grading HDR when accompanied by an HDR monitor. Also, I’d pass on the Fusion drive - imho, SSD is so much better.

according to macrumors, Apple has also confirmed that all four Thunderbolt 3 ports on the new 13-inch MacBook Pro with Touch Bar are now full speed, compared to only the two left-facing ports on the equivalent 2016 and 2017 models.

Just to add some nonsense about Voigtlander vs Olympus Pro ?, part of the experience of shooting with the Voigts is the sheer pleasure of handling a device that is made with old world craftsmanship and knowing that with proper care, it should last for decades. And there’s this: that because video AF-C with micro four thirds cameras as they are currently made is pretty unreliable, I often find myself focusing manually anyhow. And if you’re shooting a film, which is going to function better with a follow focus unit? But still - I prefer Olympus Pro! ?

I recruited some new models this afternoon, hopefully I can do some shooting at the park next weekend and get an idea.

Reading that, I got flashbacks.

More skin tone samples. a7 III. Mixed lighting daylight/fluorescent, ISO 800, Voigtlander Macro APO-Lanthar 65mm f/2 lens. No color correction in post: I just played with the luma curve a bit. To be quite honest, I'm pretty satisfied with both Caucasian and Asian skin tones straight out of the camera. I shot these in PP1 using Paul Leeming's recommended settings, but no LUT applied. I'm also impressed with the accurate white balance when doing custom WB, the easy to see chunky zebras, and the superb focus peaking which makes pulling focus with manual lenses pure joy. Images

One of the most insanely beautiful series I’ve seen in recent memory, The Night Of (HBO), was shot with the Leica Summicron-C lenses.

Anyone who’s followed my posts here is aware that I’m quite the fanboy when it comes to Sigma lenses. And reading tests of their lenses is usually pretty much guaranteed to put you to sleep, because they almost all say the very same thing. But for whatever reason, I found myself reading Roger Cicala’s write up of the 14-24mm f/2.8 Art. His findings were almost a forgone conclusion, but the addendum, where he talks about QC, is well worth reading.