mercer

Same. I think the smart play would be between $1300-$1600. The BMPCC 4K put a wrench in a lot of cameras. So unless the FP shoots internal Raw at around the price point of the P4K, I don’t really need it. As a hobbyist, I only NEED 1080p Raw. I already have FF Raw with my 5D3. And I have S16 Raw/ProRes with my newly acquired BMMCC, so to upgrade to 4K Raw, the FP would have to be competitive with the P4K. The next year should be pretty interesting. If I’m being honest with myself, I probably won’t upgrade my cameras for another year or two, so hopefully by then all of my boxes will be ticked for $2500 or less.

That’s right, I forgot about that but if I remember correctly, there is a way to tell if it’s a Japanese market, Angenieux design... I don’t remember how though?

A couple days ago I wrote in the Lens section that I was bummed out that Sigma joined the L-Mount alliance because I felt it signaled that they would not produce a camera with video functions. I had thought for a long time that they could be the first to offer raw video in a MILC. And then the next day they announce a FF mirrorless camers that shoots raw video.... possibly internally. I think we’re witnessing a very specific strategy by Leica, Panasonic and Sigma to corner a very large slice of the MILC video market with an upgrade path for both lenses and cameras while simultaneously offering an alternative to Blackmagic. Think about it, Panasonic has too large of a user base to offer Raw Video at a BM price point but have definitely been affected by the competition. I can only imagine the loss of sales Panasonic has had with the GH5/s once the BMPCC 4K was announced. Through the L-Mount alliance, Sigma can offer a competing product as Panasonic sells the extra features of the S1H For all we know, Sigma could offer V-Log with the FP. Either way, the FP and the S1H are the most exciting cameras on the horizon and if the price is right, and the internal specs, I may just move from EF to L by the end of the year. Btw, do we know when the S1H’s full specs will be announced and when the camera will be released?

I hate to be the bearer of bad news, but based on your photos of the lens, you do not have the Angenieux version. The Angenieux version is the f/2.6-2.8 version, not the f/2.8 version. Now some folks suspect they’re very similar, so you may have a gem.

Yeah it’s pretty awesome but I was poking fun because BTM was the one who discovered it.

@BTM_Pix I even heard somewhere that there’s a CineLikeD hack available for the GX80/85.

Thanks for the input on the 30mm 1.4! As far as M lenses... why not just get an S1? I know they’re not as small as the A7 series or the Z6 but what Panny is doing with Leica and Sigma, especially after today’s Sigma announcement, seems to be a great system to buy into for the future.

Price and internal raw will be the deciding factors for me. Even if they can pull off FF CDNG at 2K 60p for $1299, it’s a pretty sweet deal.

Yeah, wow!!! Any word on price?

I believe the point of most coatings is to reduce flares and ghosts. I hadn’t heard that the T coating makes skin softer, but that makes sense. I noticed a softer skin with the Zeiss Classics as well. As I’ve said a dozen times, or more, I love the skin texture that Raw video affords me, so the softer skin was kind of a turn off for me. In fact, I usually try to make the texture pop even more by adding a little Midtone Detail in Resolve.

Yeah I think curvature is a big flaw in wide angle that adds some character. The Zeiss Hollywood and even the newer Classic model suffers severely from it but it’s also what adds that 3D Pop. The T coating is nice but in some ways they may have perfected it too much. I found it almost impossible to get any flare with their newer lenses. I have pretty much given up on them, though. The money they cost compared to Nikkors just don’t justify it. Of course, Nikkors tend to be warmer but that’s an easy enough of a fix. I still have one more to test though... the 35mm f/2. If it’s amazing, I may keep that as a one lens Zeiss option... Or I may sell everything and go back to just my Canon 28mm 1.8... That lens is a notoriously good lens... especially the Japanese market version. I believe a lot of Anamorphic shooters use the 50mm 1.8 as their taking lens... partly due to quality and I believe because the front element is so close to the front of the lens.

That’s a good point. I’ve already forgotten about wides on a crop sensor. On FF, 2.8 or even an f/4 can give reasonable separation and bokeh. As far as ultra wide angles, why not look into a zoom... Tokina makes a few... or even a Rokinon 14mm? Yeah, that does suck. I really don’t like this triumvirate between Panny, Leica and Sigma. I was hoping Sigma would eventually make a video centric camera but the likelihood has dropped now that they’ve joined forces. I think Panny probably had to make a deal with the devil to get Leica to go along with their FF plans. To back pedal a sec... that shot of yours looks pretty amazing in FF. I love the background separation... minus the aspect ratio difference, this reminds me of old VistaVision films. Hmm... @BTM_Pix

Yeah that is quite noticeable... But since I shoot 2:35 with my 5D3, it could just work... This could just work. I actually like the vignetting and imagine it would be great in a b&w noir. And yeah, it’s pretty sharp. At more than half the price of the 35mm 1.4... this definitely is an option. Thanks for running the test for me! I wonder how well it would match with their 50mm...

@BTM_Pix here are some shots I found online from it... https://www.fredmiranda.com/forum/topic/1541382

I remember those shots... they’re beautiful. I wish I had half of your talent! When I read that that lens covers the FF sensor of the 5D3; I became instantly intrigued... there’s a slight vignette but I often add one anyway with fast wide angle lenses... my lazy exposure cheat. Please do! Of course, now I have to go take new shots so I can try and make it a fair comparison... maybe I should just send you the Nikkor. Ha.

I agree. The 18-35mm is a beautiful lens and if I was shooting S35, I’d own one. Honestly though, I’d never use a speedbooster with S35. Super 35 has such a rich cinematic history that I don’t really see the need to deviate from it. With that being said, Nikkors are awesome lenses and are the cheapest path to a “cinematic” image IMO. Even the Series E lenses aren’t bad. In fact, the 50mm and 100mm Series E lenses are downright excellent. For me, I’ve learned that I only really use 3 focal lengths... 28mm, 35mm and 50mm in FF terms... so I’m trying to build One/Two lens sets by a few different lens makers to give me some options for the upcoming slate of films I’m shooting over the next year.

Thanks for the link. Honestly, I found it to be a wash with no clear winner between the two. If I had to pick one, I think I preferred the Canon. So far on Flickr, there’s hundreds of pages and I’m only a dozen in, Canon is clearly better in my opinion. With that being said, I don’t know if I can justify the cost of the Canon when the f/2 is half the price and affords me IS. Thw Sigma is interesting me. I recently contacted the fella that made that ML Raw video I posted a while back... the one at the WW2 re-enactment and he said the lion share of that video was shot with the Sigma Art 50mm 1.4. So, I am contemplating trying the older EX version and then possibly getting the 30mm 1.4... or testing the 30mm 1.4 first and then later on picking up the 50mm. Also, I paid so little for the Nikkor 35mm 1.4, it doesn’t make much sense for me to sell it... especially since I like it so much...

Haha, I can’t seem to get away from concert photos on Flickr. That sample from the 35mm looks great. I’m gonna keep a look out for one. I prefer 35mm lenses over 28mm but I can only justify so many... right now I have the Canon 35mm and the Nikkor 35mm 1.4. I’m thinking about upgrading my Canon to the 35mm 1.4 L if I can find one for a reasonable price. That lens seems to be on a different level. If I do find one, I’m going to sell the Nikkor 35mm 1.4 and then maybe build a small “D” set or a set of ai-s f/2 lenses.

Sorry for all the posts but today was my weekly opportunity to look at some footage and do some color massacre... lol. So here’s another shot from my Nikkor 28mm f/2 lens test...

Well, we both know the more fun option there. It’s funny though... when I used to shoot 4K, lenses didn’t seem to matter as much... everything was sharp... but now that I’ve been shooting Raw, I notice a huge difference between lenses. So far, it seems the newer Canon lenses are the sharpest, but they lack the character of my vintage lenses. The Zeiss classics I’ve tried seem to be an okay mix but they’re not really that fun to shoot with. I’m hoping to be happy enough with my Nikkors... they are such a joy to shoot with. I may have made a mistake in my processing... I dropped the default sharpening in the Resolve Raw Panel from 10 to 5. I kinda remember reading somewhere that the default is 10 for a specific reason... I was looking at the 35mm f/2 D on Flickr and it seemed a lot sharper and modern than the ai-s lenses but I assume the mechanics aren’t nearly as nice. Btw, I keep trying to find a reason to sell my Canon FD 50mm 1.2 L but I just love the lens and I understand why it’s considered one of the best manual 50mm lenses ever made.

@BTM_Pix I like the lens, but I’m not sure. I’m looking for something sharp but with some character... Do you know if the Nikkor D lenses are a lot more sharper than the ai/ai-s lenses?

Please do, I’d love to see Brighton, or wherever, from the view of a Leica... or maybe a Micro? Here’s another one from the Nikkor 28mm f/2...

Hah... how much does the 28mm go for there? It’s definitely not cheap but it isn’t too bad... I think I paid $175 for my mint copy HC version. Speaking of...

It’s actually the “K” non-ai version. I’m sure one of you guys could really make her sing. Btw, @BTM_Pix ... I don’t know what camera you ended up with there... but damn... you’re gonna give everybody a run for their money.

Here’s a frame from one of the cheapest lenses around... Nikkor 50mm f/2. The lens is fairly sharp and contrasty wide open but since this is was a wide angle shot, I stopped it down to f/2.8...