TheRenaissanceMan

I hate to keep being this guy, but the SLR Magic is an extremely comparable alternative to the Voigtlander. Mercer, great results. Cats at windows are just the perfect test subjects. Sucks to hear about the seller misrepresenting the item.

Guys, let's not get personal. That doesn't serve anyone. Keep in mind, this is Andrew's house. You have the right to criticize, but keep it polite and constructive.

Wow...that's cryptic. Anyone know if there's a performance difference between ProRes and DNxHD in Resolve 12?

Wrong topic. Post this in the sticky "Gear For Sale" topic.

Makes sense. I use a variety of different cameras, including some with passive mounts, and good electronic adapters aren't cheap. I prefer 100% analog whenever possible. Organic is a qualitative term that means something like "natural." It's a pretty commonplace term these days. I read a thread a while back on RED User where a member had shot the same scene with Leica R glass and Contax Zeiss. The Leica R exhibited higher contrast and blew highlights/crushed shadows more readily than the more forgiving Zeiss. This was easily observable both in the image and on the waveform. The Tokina 11-16 and Sigma Art series are also known for reducing DR in this fashion. Again, a relatively commonplace idea among shooters I've spoken to.

@kidzrevil, I just found out this short was shot on the Kinemini 4K with the Contax Zeiss AE 28mm f/2 and 50mm f/1.4 (and Aputure lights!), so there's a sample for you. Looks pretty high-resolving to me.

Oh, I forgot the Tokina 28-70mm f/2.6-2.8 AT-X Pro. It's an Angenieux design--creamy and beautiful, with excellent skintones.

The DSO Trumps are definitely "organic" in their rendering. That mismatched set you listed isn't exactly ideal for serious work, though.

Indeed. The problem is that ZEs require electrical contacts to control the aperture, and ZFs focus "backwards." Contax Zeiss are the newest Zeisses for DSLRs that have aperture rings and focus the correct direction. Plus, the coatings are a little less contrasty, which helps preserve DR and a more "organic" look for video.

Yeah...plus, Russian quality control was pretty iffy. You have to buy a few copies to make sure you get good ones, which inflates the cost. That's why I'm buying the CY Zeiss set.

Canon FLs, Contax Zeiss AEs, and Russian glass read the most "organic" to me. I've worked with the Contax a bit and could answer some questions, but you should really pick through the Contax Zeiss Survival Guide on RED User. Lots of experiences and samples from 4K and 5K sensors.

No idea what you're on about. In terms of price, capacity, and speed, SSDs are the best media available. Plus the enclosures Video Devices use double as USB 3.0 drives, which makes offloading fast and painless.

I think it's an issue of processing power and heat.

I saw a great video of a VD Pix recorder being run over repeatedly by a truck, then picked up and used like nothing had even happened. Their speed drive SSD enclosures are so smart, too. If I ever get around to picking up an external 4K recorder, it'll be one of theirs.

Totally agreed...it's like night and day.

I actually agree that the codec produces great results. Unmatched by any other 8-bit image, really. But in terms of efficiency, you have to admit it's an absolute card hog.

The ancient fucking codec for sure.

Their 25 and 50 are excellent as well. In fact, every side by side I've seen has shown the 25 to be a hair sharper than the voigt, and with smoother bokeh. I was also turned off the voigts by the 42.5's occasionally harsh bokeh. It's charming to some, but not really my style.

I'm a fan of the SLR Magic primes, myself, but the Voigtlanders are boss too. Nice work, kidzrevil.

I actually noticed yesterday while watching some videos, "Damn...vimeo compression looks really good." And I've never thought that before.

$400 sounds fair. I think one with a broken HDMI port went for that on BMC User a while back.

Ditto the RX10. Any of them. No interchangeable lenses, but the stabilization is quite excellent for run and gun.

That camera basically exists. It's called the Kinemini 4K.

I switched from premiere to resolve when 12 came out and couldn't be happier. Great editor, powerful color tools.

Nice! I assume you're using the 672Ws? Do they have enough oomph for moderately sized locations, or do you wish you had a Lightstorm?