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Messages - Policar

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Lenses / Re: Landscape Question
« on: August 12, 2012, 08:57:38 PM »
Get a T/S lens and use Scheimpflug.  You're also losing resolution from correcting for converging verticals in photoshop.  Shooting landscapes without tilt/shift is a recipe for bad photos, one which I follow myself with consistently bad results.

Even with a tilt shift lens in some cases you will need to stop down, though.  The perception of depth imparted by deep focus is much more significant than diffraction limits except in extreme cases (or terrible light where there's no contrast anyway).  Lots of 4x5 is shot at f64 and it can still be enlarged to 40x50'' just fine even though diffraction would have you believe otherwise.  Give hyperfocal technique a try, too, although it's very controversial if it works as well as some would claim.

Lenses / Re: Rokinon 35mm T 1.5 CINE LENS FOR CANON VDSLR
« on: August 09, 2012, 11:40:42 PM »
Do the compact primes address breathing?  Or Canon's cinema primes?  I'm not sure there's much in this price range that does.  Granted the focus ring might not be in the ideal place and the aperture isn't geared, but this isn't entirely standardized across cinema lenses, anyway.  For the price, how much can you ask for?  How many dSLR shooters have the camera team necessary to ride the aperture and focus ring, but don't have the budget to rent better lenses?

Yes the CP.2's address breathing, and at $7k/lens I'd hope the Canons do too.

Are the compact primes optically different from Zeiss' line of ZE/ZF primes, then?  Or is it just a matter of those lenses having relatively little breathing to begin with?  I'm genuinely curious, although breathing really doesn't bother me for something as low end as dSLR video.

Lenses / Re: Rokinon 35mm T 1.5 CINE LENS FOR CANON VDSLR
« on: August 09, 2012, 01:19:56 PM »
Which cost-neutral design prevents breathing?  The one implemented in the master primes, primos, and summiluxes, which are $20,000-$40,000 per lens and enormous?  A non-standard focus barrel width (and there really is no standard for this; all sorts of cinema lenses have different widths) is hardly a big deal and there's no way a company is going to re-engineer a lens to reduce breathing if even Canon and Zeiss can't do it on their $5000 lenses.

I get that it would be nice, but it's so far from a deal breaker.

Lenses / Re: Rokinon 35mm T 1.5 CINE LENS FOR CANON VDSLR
« on: August 09, 2012, 12:57:47 AM »
Two of the objectives of cine lenses are 1) reduced focus breathing and 2) standardized focus/aperture ring diameters and placements so lens interchange is effortless.

Neither of these factors are clear from what we've seen from Samyang so far.

I have to wonder whether the low-rent manufacturer either can't find anyone versed in the art to talk to, or simply ignores them when they do, in the interest of expediency.

But if it's a good lens for the money and doesn't require a $10 rubber strap for gears then OK, do what you wish.

Do the compact primes address breathing?  Or Canon's cinema primes?  I'm not sure there's much in this price range that does.  Granted the focus ring might not be in the ideal place and the aperture isn't geared, but this isn't entirely standardized across cinema lenses, anyway.  For the price, how much can you ask for?  How many dSLR shooters have the camera team necessary to ride the aperture and focus ring, but don't have the budget to rent better lenses?

What would you recommend instead that fulfills those two requirements?

Lenses / Re: Rokinon 35mm T 1.5 CINE LENS FOR CANON VDSLR
« on: August 08, 2012, 08:13:02 PM »
Given that it hasn't shipped yet, I'm guessing no.  But it's almost certainly the same lens as their 35mm f1.4 except rehoused with a declicked aperture and standard geared focus ring.

If this is the case, it's awesome for video.

EOS Bodies - For Video / Re: Lens Help: 16-35mm or 17-40mm for video?
« on: July 28, 2012, 09:44:31 PM »
For video its hard to see why you'd spend all that cash on the canon 14mm when you can pick up a manual samyang 14mm f2.8 for a fraction of the price. The difference would let you also pick up the 17-40L and upgrade your 50mm.

Because, although the Samyang has great resolution and contrast, it has a ton of mustache distortion, which renders it useless for anything with straight lines.  For stills it's okay if you can fix the distortion later, but for video it's really hard to use for interior spaces or anywhere there are straight lines, imo.  It's a nice lens otherwise.  The Canon has virtually no distortion.

EOS Bodies - For Video / Re: Lens Help: 16-35mm or 17-40mm for video?
« on: July 27, 2012, 11:27:05 PM »
I'm not wild about the 17-40mm, which has a lot of distortion and corner sharpness/backfocus issues, but it's a nice lens ergonomically and the focal length is useful if you have to get super wide.

The 11-16mm Tokina is rather wonderful for APS-C and you can use it (but with soft corners) at 16mm on the 5D.  Contrary to popular opinion, the corners are really very soft with it on the 5D unless you stop down to f8--worse than with the 17-40mm L, but it's a great lens on APS-C and useable as an UWA for FF.

I am extremely fond of the 14mm f2.8 II L, but the cost is high and it's so wide it plays like an effect.  Super wide, great contrast and sharpness, and minimal distortion, what's not to like (well, the focal length if you don't want it).

There are lots of affordable third party options, too.  The 17-40mm can take filters and is weather sealed, so while that doesn't seem important, it can make it an easier choice.

Lenses / Re: Samyang 35 1.4 adds grain?
« on: July 14, 2012, 12:59:30 PM »
That's normal.  Put the 50mm f1.8 on, stop down to f22, and press the depth of field preview button--it will look the same.

Most lenses are always wide open through the viewfinder then they stop down briefly before each photo is taken.  The Samyang is fully manual and does not do this; it's like the DOF preview button is on all the time.  The grain is the texture of the ground glass.

EOS Bodies - For Video / Re: Where do you start for videos?
« on: July 13, 2012, 12:06:30 AM »
Good audio requires a good boom mic, good mixer, good lavs placed properly on each actor, and lots of work in post...  That's why it's easiest just to hire someone if you can afford it or live with it if you can't.  Most dialogue is center mix anyway; don't worry about stereo.  That's all done in post.

Cinestyle isn't horrible, it's just that, even though it appears to have better latitude, the tonality is so awful that if you expose even slightly wrong (even if it looks fine on camera it might be bad for the grade) and grade the image can fall apart fast.  If you meter really carefully (not with the camera but with a separate incident meter) cinestyle is relatively harmless, and you can expose in-camera with the built in meter and by eye and get an acceptable result if you set your exposure in another picture style then switch to cinestyle, but given that it has essentially no advantages in a traditional workflow...why bother?

EOS Bodies - For Video / Re: Where do you start for videos?
« on: July 12, 2012, 01:27:22 PM »
Cinestyle is way overrated IMO. It is a flat picture style designed to be graded, but the codec of Canon cameras is not good enough to stand up to this kind of color correction. As soon as you even drop in a basic LUT the shadows have picked up an insane amount of noise.

Read my post above.  Cinestyle is ONLY for shooting b roll or crash cam footage on shoots where the other footage is in log mode.  For anything else it's useless.  It doesn't have more lattitude, it just places brightness values differently.  There are a few cameras that shoot log (Alexa, C300, F3, film scans) and if those are your A cameras and they are shooting in log then cinestyle will give you (trivially) more flexibility and integrate significantly better into your workflow.  I've used my dSLRs a few times as b cameras for 35mm, Red, and Alexa be honest it doesn't matter that much but having log footage to intercut with log footage provides flexibility and a common starting point.  In each of those cases we also had some footage shot in neutral mode and it was just a matter of grading it differently.

Otherwise, it is worse in every way than neutral.  Worse tonality, saturation, and skin tones.  More difficult to composite.  For sound (excepting videography in which case that would be appropriate) I would buy a shotgun mic and an external recorder.

EOS Bodies - For Video / Re: Insane video noise canon 5d mark iii
« on: July 11, 2012, 10:49:00 PM »
Totally normal, much cleaner than I've seen in similar situations.

Cinestyle raises the shadows and along with them the noise.  The 5DIII has a ton of read noise so it's very grainy in the shadows at all ISOs.  Even in neutral mode you can see it.  With cinestyle and HTP it will be the noisiest camera you've seen at low ISOs and the noise is mighty chunky.

Because you're shooting cinestyle (which is designed specifically and exclusively for integrating into a log workflow) I'm assuming this is b-camera for a 35mm or Alexa shoot, in which case your post house will take care of it with NR anyway.  And if you meter properly those shadows will be dark enough that, once graded, they will not be a problem.  So I wouldn't sweat it.  If it's just test footage to try out cinegamma, well, turn cinegamma off and shoot neutral.  And meter.

EOS Bodies - For Video / Re: Where do you start for videos?
« on: July 11, 2012, 10:44:45 PM »
Neutral really is the best setting (unless you're shooting b camera and your a camera is in log mode in which case you can use cinegamma, but that's a rare situation to be in so don't sweat it!) because of the lack of sharpening (which is poorly implemented) and the color balance is best in neutral; faithful has a bad tint and the rest are all exaggerated and unnatural.  The amount of contrast and saturation are your call based on what look you want.  I keep sharpening at zero but the footage is very soft with this setting; it's still preferable to the halos you get with sharpening, though.  Keep highlight tone priority off to reduce noise in the shadows; keep it on if you have blown highlights (I keep it on always).

This is the best book for video production by far:

It's more for old video and film, but it will give you the idea and you can read it in an hour or two, not that you'll want to because it's surprisingly technical and dense for a beginner's book.

The best single lens would be a 24-70mm f2.8 zoom, imo, but your kit is very appropriate for video.  In general, a set of cinema lenses consists of an 18mm, 25mm, 35mm, 50mm, and 85mm but on the 5D you can multiply those by 1.6X to get the same FOV as super35 and that would be a normal range of focal lengths, 28-135mm (but a 24-105mm zoom will do it, too).  But everyone has different taste.  In my experience, most day exteriors are shot at f4-f5.6, most day interiors at f4, most night interiors at f2.8 and most night exteriors at f2 or thereabouts.  But this varies...David Fincher has recently shot everything wide open and you will see some other movies with very deep focus, obviously, but this is a good starting point, imo.  Use 1/50 shutter (or 1/60 if your source flickers) and ND filters to control your stop.  By a full kit at 77mm:  .3, .6, .9, 1.2, etc. and a polarizer or a variable ND if you don't care about color shifts and step up rings to 77mm for all your lenses with smaller threads.  But the 5D has a bigger sensor than cinema cameras so you can stop down a stop more to get the same depth of field.

Good lighting and camera support (tripod, dolly) will help.  Renting is cheap, too, if you ever need other gear.  The 5DIII isn't great but it's very good for video for the price.  You can do anything with it and a few good lights and lenses.

EOS Bodies - For Video / Re: Entry-level video production
« on: July 01, 2012, 07:44:28 PM »
skip premiere and learn Avid, thats what grown ups use, to edit!

What can Avid do that Premiere CS6 can't do?

It's much better suited for a larger production with more editors working on the same project and with other media sourced out to other programs.

In terms of simple cutting, anything that can output an EDL will do.

It also depends who you consider to be "grown ups."  A LOT of tv, even really huge budget stuff, is edited in FCP7 and finished in Smoke, but most large films are still cut in Avid.  If you're looking to work as a movie editor, knowing Avid might be more helpful to you...  For an independent production company, Premiere Pro might be the best choice--it's very fast, integrates well with the Creative Suite, and for editing Red footage it's unparalleled--so long as you don't try to bring any non-Adobe software into the mix.

It's not about the lack of pixels but the space it affords them.

The pixels are what? 10% bigger than the 5D3's?

ISO stops = 100,200,400,800,1600,3200,6400,12800,25600,51200 - 10 stops.

10% bigger pixels = extra stop of performance.

This is irresponsibly terrible logic.  You found the number 10 twice (incorrectly, and in arbitrary places, I might add) and concluded that there's a relationship.  I'm not sure if you're parodying terrible logic or are serious; my apologies if your post was a joke (subtle humor is lost on me over the internet!).

Assuming gapless microlenses, the 1DX has pixels that are 23% larger by surface area (5760/5184)^2, not 10%.  And it doesn't matter because the surface area that collects light is roughly the same on both cameras.  If the 5D has smaller pixels, it has more of them, and this cancels out almost exactly except maybe in terms of collecting light at very oblique angles.  The D800 is maybe 3-4% less light efficient than the D4 despite having more than twice as many pixels--that's the tiny extent to which megapixel count effects light sensitivity (assuming you have a very clean ADC, as those cameras do).

The issue is likely with read noise.  The 5D III (if I remember correctly) is >50% efficient, an improvement over the mark II that is achieved with gapless microlenses, but it has very high read noise.  There 1DX likely has very similar quantum efficiency but a better ADC.  It obviously has a better sensor but not because there are fewer pixels.

Lenses / Re: Need sharp wide-open
« on: June 28, 2012, 09:01:24 PM »
Although the above is almost always true, there are a few exceptions...the new Leica cinema lenses, which are $150,000+ per set, are apparently as sharp as they get around t2 or t2.8.  No one's going to mount that on a dSLR, but their new Summicron (which is $8000, I think--so that's a little more reasonable, not that I could ever afford it) is f2 and apparently sharpest wide open--pretty incredible, and if their cinema lenses are that sharp, maybe they can match that performance in a still lens.

The sharpest (wide) lens I've used wide open is the 35mm f1.4 Samyang, which is extremely inexpensive but it flares a bit and has some mild CA and, like all other lenses at reasonable prices, isn't at its theoretical sharpest until an f4/f5.6 split (though the center is sharp by f2.8 almost).  It's useless to me for stills, though, due to its lack of autofocus.  The 35mm L is sharper in the center but softer toward the edges.

That said, even at 18''X12'', you'll never notice the difference induced by either spherical aberration (wide stops) or diffraction (stopped down) so long as you're shooting normally.  Technique is thousands of times more important at any normal stop.  The sharpest prints I've ever seen were shot on 4x5 film, often at f64, which limits theoretical megapixels for that format to like less than 20?  And the wall-sized (40''x50'' prints) were absolutely tack sharp.  So I wouldn't worry unless you're printing wall-sized photos.  A 100% crop represents an 80'' wide print on the 5D II or III and I can't tell the difference between f2.8 and f8 on a decent lens at 100%, even if software specifically designed to can.

If you must have sharp wide open, get a Leica M9 and the new Summicron, if you can afford the $15,000 investment.  But it seems silly when a D4 or 1DX will have significantly superior high ISO performance to negate the difference in practice.  What body do you have?  Maybe a 1DX or D4 or other low light monster is a better investment?

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