BTM_Pix
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Posts posted by BTM_Pix
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Obviously, after asking about your budget I'm going to completely disregard it !!!
If you can push the budget and don't mind it being fixed then this 400mm f5.6L is a good value.
If you think you might be in it for the long haul then one of the best routes to 400mm if you are only looking at the f5.6/6.3 area is to get a 70-200 f2.8 and a later generation 2X convertor.
The advantage of that is that you get a much better and more flexible lens for when you're not doing this assignment and then can match the reach and quality of the sort of lenses you're looking at with the 2X as and when you need it.
You can usually pick up a 70-200 f2.8L in decent condition for around £700 if you shop around and a latest generation 2X convertor for around £250.
Another alternative is the Sigma 120-300 f2.8 and their 1.4 convertor which you can often pick up as a package for similar money.
There are 3 generations of it but this one (the 2nd) is the best value for money version of it.
However....just for balance
If you are looking to upgrade later and just want to get in the game for this assignment and don't mind it being rough then you can save yourself a few quid with this Sigma 120-400mm
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What is your absolute top end budget?
And when they say "nothing less than 400mm" do they mean up to as well (i.e. do you need a zoom to cover below that as well or is 400mm the minimum starting point) ?
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Some 260fps footage by Philip Bloom.
- johnnyd, andrgl and Matthew Hartman
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8 minutes ago, mercer said:
Think about it... on a technical level... 8K Red should obliterate Alexa footage, but it doesn’t...
When they're both being viewed at 8K it might well do
I still think there is additional human mojo at play that is wrestling that extra performance out of it but there is a ton of subtlety involved - particularly familiarity of how to shoot it to its best advantage - that is added to the mix. You could also factor in that the extra resolution might even work against it subjectively as far as our own reaction to it goes.
I could make them both look identically bad in my role as the anti-Mojo of course
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1 minute ago, mercer said:
Honestly, I think you’re looking at it wrong. Find a camera and lens that feel good in your hands and makes you want to shoot.
This.
The thing to look for isn't so much Mojo but Mego as in it makes you want to go out and use it.
That's what concerns me about the A7iii as its a great spec but the only thing I ever feel like shooting after picking up one of their cameras is myself, with a large calibre pistol.
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In the interests of balance, I went in another dealer in London and they had sold out of all of theirs.
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9 minutes ago, Tim Sewell said:
Seeing as arguing is the new co-operating here at EOSHD:
The most salient point about Ringo (especially in the context of this analogy) is that he was the best drummer FOR The Beatles even if there are some who maintain he wasn't the best drummer IN The Beatles
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I'm not sure how such a personally subjective term as "Mojo" can reasonably be expected to be attributed to a piece of hardware.
There are finished images you like and there are finished images you don't and I'm fairly confident that the the least significant consistent part of the whole process will have been the camera.
Skilled people find the right ingredients for that whole process by making sure ALL of it is complimentary. The capturing device does not exist in a vacuum so in and of itself it can't really be considered to have whatever passes for Mojo.
The Beatles had Mojo aplenty but they also had Ringo on drums remember so its always about the sum of the parts.
Everything in front of the capturing device from the lens type, focal length, aperture, lighting and, lest we forget, what the whole thing is actually pointed at makes the final image have Mojo.
And as I said earlier, ALL of that comes from the internal circuits of the creator NOT from the internal circuits of the capturing device.
Trying to define which particular camera is going to offer instant Mojo (when it is merely an interchangeable part of the whole) isn't, in my opinion, isn't anywhere near a definitive process.
If you buy any camera on that basis then I'd definitely say it was a case of buyer beware.
Or Caveat Emptor as we say in English contract law.
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Interesting.
I just went into a large camera dealer in London and was surprised to be offered one from stock as they've had pre-orders cancelled by people switching to the A7iii.
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In my experience, the most significant part of the mojo of most cameras still resides within the circuitry of whoever is operating it.
I've made enough bad images with good cameras to recognise it.
7 minutes ago, anonim said:"You can" is not order - accept maybe in English contract law is written something else.
Prefix it with "Then" and it will be interpreted as such but honestly I'm just not going to engage any more with this.
Its no coincidence that every thread that I open that you are involved in might as well start auto playing the theme tune from Rocky.
English may not be your first language but antagonism might well be.
- iamoui, Tim Sewell and Castorp
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22 minutes ago, anonim said:
Than you can tell @Kye immediately how briliantly an logical you understood sentence with ES - and simply succeed to be a human at your best level
The only thing I'll be doing "immediately" and with "brilliant logic" is completely disregarding this and any other orders you might feel like giving me altogether.
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4 minutes ago, anonim said:
I don't understand ES also. Is it so hard to answer politely if someone ask you something?
I don't know also who The Bangles are, but I believe it is part of base education which some of us here lack, when @jonpais find it so funny to put a lovely smile...
But it didn't help @Kye who ask - except he now know that you didn't want to answer him.
He didn't ask ME directly to be fair, I was just offering it as a possible meaning to what Jon meant. Which it was up to Jon to confirm really.
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6 minutes ago, anonim said:
What for stands abbreviation ES in English - Enough said? (imported but often used so) En suite? Erase Screen?
I think the ES that @jonpais is using is "Errata Sendorum", which is an old Latin phrase used in English contract law in reference to failing to deliver an SLR Magic Rangefinder
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I'm having this hearty sausage and bacon on toast and a mug of tea.
It has to be hearty as it is so cold here in London that it is literally blue outside.
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This community based rental service might be an interesting proposition as it grows.
Renters are vetted, your gear is covered by insurance and its already got a strong network in Belgium that they look to be expanding as they are opening a UK version this week.
I have NO affiliation with it and have NEVER used it so do your own research but its worth a look.
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2 minutes ago, webrunner5 said:
This a is all true, but..if you want to keep this camera Long Term, you might be screwed. More and more places are going to require true 4k. That is probably why the Ursa mini Pro is 4.6k, why Kinefinity makes a 5k, 6k model. Heck even the GH5 is larger than Just 4k. And probably for a damn good reason.
I am not going to buy a Kinefinity, you guys know my stance on new company's. But I just don't want people to blindly go into this either. There are real consequences down the road I see with this particular model maybe. It's your money, not mine.
I think you doth protest too much about this camera. You want one really don't you
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Definitely a case of crossing that bridge when you come to it with regards to what to use when commissioned for a Netflix Original production.
The only Netflix spec that I have to concern myself with meeting is the £7.99 a month payment
- IronFilm, Tim Sewell and Mattias Burling
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So, I managed to brave the elements and get to the BVE show and have a look at it.
First impression is that it was much smaller than I was expecting it to be. Took a snap of it next to a 5D MKIV for comparison and weight wise it was similar too.
The interchangeable mount is interesting and the one pictured is the locking EF with in built ND and they also have a speedboosted EF and PL.
The crop factor with the speedboosted mount is 1.3 but 1.8 without. That surprised me as I just assumed it was 1.5 to be honest.
There is an E Mount adapter too (which wasn't on show) and that option has become more interesting now with the Sigma E Mount ARTs and Fuji doing their cine ones in E Mount too.
The dual iso is 800 and 3200 and they told me it's pretty clean at 12800 as a consequence but the proof of that etc...
The rear module gives you all the additional SDI connectivity, V Mount battery capability, external power tap, XLRs etc but it the camera is still operable without it if you want to keep the weight/form factor/price down.
It has full size HDMI on the main unit so you can connect whatever EVF/Monitor you want.
If you go for the grip then it also holds a battery as per the RED handgrip its obviously modelled on but unlike the RED it uses regular Sony NP batteries rather than an expensive proprietary type. The grip does feel like a cheap version of the RED one (cos it is!!!) but its great as a way to keep the cost down power wise as you save the cost of the rear module and the V locks. Power time via the grip is about 30 mins apparently.
Talking of non-proprietary, it also uses regular SSD media and does internal ProRes. However, the RAW format IS their own format (but can be transcoded with their own tools) but I'm not sure if its a supported format within Resolve?
Talking of BM, I was told that Kinefinity are pitching the camera as a direct competitor to the Ursa Mini Pro though its more RED form factor to me.
With regard to support, the plan seems to be swap out units at least during the initial period and I think that's fair enough. Its worth bearing in mind that for those of us who were outside of the US when being early adopters of the RED ONE it is no different.
First impression is that if you are in the EVA-1/C200/URSA Mini Pro then its certianly worth looking at Kinefinity if you have a distributor in your country. People are very wary of the support aspect but to be honest, the distributors who take it on are WELL aware of that and so, conversely, you might well end up getting BETTER service as they seek to overcome that objection.
Bottom line is that if this camera had a different name on it then there would be a LOT more buzz about it.
Full details of packages here
https://www.proav.co.uk/cine/cameras/kinefinity
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This thread though
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I shoot in 8 bit.
The 2 extra bits I don't have are talent and skill.
Those are the bits I need most to be honest.
400mm on a budget
In: Cameras
Posted
Of its type, the Sigma 100-400 does seem to be the favoured one.
The scratches on the glass are generally always less of an issue in actual use in my experience. People pay good money to have plug ins that emulate that kind of "character"
I haven't done any A/B stuff between Sigma and Tamron lenses in that range as they're both too slow for my application but I can definitely vouch for that 120-300mm f2.8 as I've had one for quite a few years. It is a very good performer even up against the Nikon 300 f2.8 I was using when I bought it. It uses Sigma's 1.4 TC which is smaller than the Nikon/Canon equivalent and has no discernible impact on AF and barely any on IQ and is giving you 420mm at constant f4 whereas you will be at f6.3 with the 100-400 at the long end and for most of its range. I don't know what your application is so whether that is going to be an impact for you either light gathering or separation wise I don't know. You'd also have to factor in that with it being a 300 f2.8 its a bit of a bigger lump so again that may or may not be as much of a factor as the price.
Or maybe you should just cave in and buy the Canon 200-400 f4 with its in-built switchable 1.4x TC for £10K and have done with it