zlfan

it is called the leica tax. I think m6 is pretty good id shoot film. I have a r8 body, and bought several Kodak color film roll for it. but have not used it for more than 10 years. somehow I like the digital process much much better, convenient. leica digital, probably m9 and s are worthy to have as they are ccd. otherwise, I'd go panny. boy, a fixed lens cam at $7k. it is like gucci, channel, for fan boys.

$7k!

I have more than a dozen 50 mm lenses, maybe two dozen. Some are af for different mounts, some are for infinity af, some are macro 50mm ones. Some are mf lenses, with different rendering styles. Some are medium format ones. Each its own. I just store them in case I need them. It is the same for cameras, even with the same or similar specs, they are different. I used to like KISS, one lens and one camera. Yeh, it is a wish. Actually, the cameras and lenses will be accumulated according to your wallet size. Sorry, buddies, truth hurts. It is never too late to avoid photography and cinematography.

I used canon l lenses and vintage mf lenses on 5d3ml. the color rendering is different, even it is raw. I suspect using one lens on different cam body, there is difference too. will post grading make them all the same? maybe not so easy.

cameras in the 2010-2015 time seem to me are optimized for specific tasks. I almost exclusively use these cameras for landscape, events and streets. canon c100s, c300 og, c500 have very nice sooc skin tones, but not so good for landscape. f3 seems to be good on both, although I don't use it for events due to its ergonomics. I know f3 is good for landscape. fs100 although is said to have the same sensor as f3, it is not as good as f3, but better in color than canon cinema cams. r1mx and epic x mx are very similar in final image rendering, but r1mx has more room in post. the old reds have that kind of look like old leica lenses, not sharp, but high resolution. color wise, for landscape, r1mx is not as good as 5d3ml and f3. for skin tones, from the milk girls, I think old reds are top. f5 looks better than fs7. fs7 has good enough resolution, but that is it, it is below the tier of r1mx, epic x mx, f3, 5d3ml, f5, c500 og. will fs7 or c300 og reach to the level of r1mx? I seriously doubt so. of course, r1mx has issues of being heavy and big, not reliable, out dated media, etc. my copy has a ssd adapter, so media is not a big issue. I rig it for shoulder mount, actually pretty comfortable, almost as good as f5. I have to bring gold mount batteries with me in a back pack. but image itself, r1mx really attracts my eyes. fs7, on the other hand, although has good enough resolution, does not look so appealing. it is like the lens. I bought a samyang 35mm f1.4 lens, as I read from duclos, that it is as good as Zeiss zf 35mm f1.4 (not the later milvus version). I just did not like the samyang rendering. I just like Zeiss zf better. I later donated this samyang lens, and never buy another samyang/rokinon lens. from my experience, there is something unscientific about lens. now, I realize that this is similar to cameras. very possibly, in the near future, for a specific scene, you will have a specific lens and a specific camera, and for the whole shootout, you may need several bodies and lenses, just like in the still photo world. and they are all unique in their own terms.

the question is: if you have only $30 grand, are you going to buy Sony burano, or Venus 2, or Alexa mini lf/65, or red raptor, or this 16k bm? why?

good application.

almost the same weight. why not ff?

a work horse, like fs7, can never compare to the Man o’ War, r1mx.

if looking at the image as a whole, not about the resolution, nor about dr, looking at my previous footage with different cameras that i own, i think r1mx is the best. epic mx footage is not as flexible as r1mx in post. 5d3ml has the most natural colors. f3 has the most color hues. no wonder r1mx was a big hit in the cinema world, at least 10 years ahead of the crowd.

this post makes me to want to have a bmmcc v2. I hope v2 has the gyro info so gyro flow can be used for stabilization.

entry level pro dps spend of most of their time on headshots etc to make ends meet. they are not as good as advanced amateurs like kye. top pro dps have the time and the experience and the tools/toys to do more advanced experiments, so that they gain some knowledge on something that are not normally available to the public, like cooke or leica or arri signature lenses or exotic anamorphic lenses on Alexa 35, etc.

good example. I guess my eyes are attracted to the goodies. hahaha.

I have been watching Netflix originals and amazon prime originals after 2019. Cinematography was great. So was the acting, although not so many famous actors or actresses. However, many of these originals were full of propaganda. Sometimes I have to give up watching and look for new ones. What a pity. I guess that I don't need to worry about the camera and the lens any more. It is the content.

using f5 as an example, its color array filter is designed for rec 709. if acquire in slog 3, in davinci, either using lut or color space transformation to rec 709 again. theoretically, the color is rec709 after the color filter array already, why is there a need to do color transformation?

did you use magic lantern raw or just 5d2's stock codec? canon dslrs' internal codec is nothing unless using ml raw. your example here is not a good one. see how c300 og c100 mk 2 comparing to fs7. not much by my eyes.

this is a human face close up shot. 4k and above do not have much advantage over 1080p here. If it is for green screen, not only 4k is important, raw or 4444 are important too. few cameras can do green screen well, at least 10 bit sr444 or prores444, better to have 12 bit raw. 8k or 12k 10 bit 422 or 8 bit 420 cams are good for landscape wide angle shots.

I just tried a Mayer 50mm f1.8 with a dumb adapter on c100.2. you have f-.-. you don't see any f number. maybe your lens has a focus confirming chip. if the lens is manual, it is totally manual on c100.2. c100.2 has pretty good dpaf, so a little bit waste using mf lenses.

theoretically, imho, acquire data in 8k or 12k and reframe in post and output to 4k, may not be as good as do everything in front of camera. assuming using the same sensor size, either s35 or ff, if it is a 8k sensor, then pixel size is smaller than that of a 4k sensor. there are many consequences due to the smaller pixel size. one of them is well known, the low light performance will be impaired. in order to keep the same level of low light performance, the color array layer needs to be thinner, then the color is impaired. adding more color saturation and hue helps a little, but not as natural, not as thick. so finally 8k cameras present a modern look, exotic high res, not so natural color palette. if doing zoom in, 8k now is 4k, the resolution is not advantageous, but the color is also worse. maybe in reality, the difference is not so significant. I think it is more suitable for 8k or 12 k sensor to be 645 or even 67, then everything is fine, except with the penalty of being heavier and larger.

I understand the importance of more res for post. when I stabilize my varicam 27's footage in resolve, I see significant loss in res, if it is a wide shot. if it is a closeup, it is ok. I have no objection of digital zoom, etc, but they don't totally justify the essentiality of high res 4k and above. the best digital dolly is magic lantern. in crop mode, you can digital pan or tilt.

depends on what kind of 2mp. I have several nikon d1h bodies. I have no issue using them, as long as no cropping in post. if don't present in full screen, like embedded photos in web news article, it is perfectly fine. vertical video is almost exclusively for phones, not even for iPad. on phones, YouTube default res is 480p, every time I change to 4k, I have to click three buttons into the submenu.

sony, I hear you. hidden menu, sometimes three layers, yes, you. f5.

you mean after cropping for vertical viewing? from my experience, high quality 1080p cams can have comparable results to 4k cams, even on a 27 inch 4k monitor with a viewing distance of one foot. these high quality 1080p cams actually have a 4k sensor, like c300 og, c100 og and mk2, af100, etc. fs7 does not override them easily, except that 4k sign can please some clients. oversampled 4k from 6k or 8k cams may be better on a 4k monitor, but not easily to see the difference on a 4k tv with a viewing distance of 5 meters. in addition, for portrait, 1080p is enough, unless the actress is a teenage girl with perfect skin. otherwise, the actress needs very thick makeup to cover her imperfections. in wedding, if you shoot the bride with a 12k bm Ursa, showing her wrinkles and speckles, her sisters' weddings will belong to other dps for sure.

for interview etc shooting faces, canon c line is very good sooc. and in this case, 1080p is good enough, unless it is about fashion or you intentionally want to show wrinkles.

right now I am adapting my ef mount tamron superzooms on fs7 e mount actively. ois seems working fine.