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Messages - Policar

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46
Third Party Manufacturers / Re: Sigma 50mm f/1.4 Art Gets Reviewed
« on: April 09, 2014, 01:32:11 PM »
Don't see how this could be viewed as anything but a winner if it comes in around $1,000 USD. Zeiss is better wide open across the frame - that's hard to do and you pay for it. But for 1/4 of the price this performance looks to be awesome.

Is better or measures better? Zeiss used to be known for sacrificing resolution for micro contrast... the Zeiss look was "punchy." Sharpness isn't a matter of resolution extinction; it's a matter of area under the MTF curve and the Sigma appears to have higher MTF at low frequencies so better acutance overall.

Are there any photos taken with this or just test charts? Zeiss has a near apochromatic design with the Otus and yet they manage smooth bokeh, which is unreal. Smooth bokeh is usually associated (as with the old Sigma 50mm f1.4 and my beloved 135mm f2 AIS Nikkor) with spherical aberration and spherochromatism so the "pure" color of the Otus along with the soft out of focus falloff is really unusual and does impart a unique "look."

Who is actually shooting low light landscapes with high frequency detail at f1.4 and then printing huge... does anyone actually care about the corner resolution at f1.4? No. Acutance matters more, but still not as important as bokeh and CA. Sharpness is clearly on par with (subjectively probably better than) the Otus and FAR exceeding others. It's the rest that will be interesting to see... Including AF performance.

18-35mm f1.8 and 70-200mm f2.8 II IS both have surprisingly good bokeh and not much spherochromatism... this might be a nice complement for those two. Hoping...

47
Third Party Manufacturers / Re: Sigma 50mm f/1.4 Art Gets Reviewed
« on: April 06, 2014, 07:19:24 PM »
P.S. I hope Samyang will join the fast 50 competition soon.

Partly agree ... that Samyang makes a 50mm prime.

However, I hope they produce a relatively slow f2.8 lens without the trade-offs required for f1.4 to f1.8.

I am very, very happy with my Samyang 14mm f2.8, even though it is fully manual. I have little interest in their faster 35mm and 85mm lenses with f1.4.

My "vote" would be for Samyang to have a full line-up of very affordable, very sharp, fully manual f2.8 prime lenses, such as 24mm, 50mm, and 100mm (about doubling each step from 14mm, and skipping "intermediates" like 20mm, 28mm, 35mm, and 85mm, which also would duplicate their existing FL's).

I have to say that I respectfully totally disagree with you!  ;)

For me, those kind of lens wouldn't have much of a market. I think it would be much more interesting for Samyang to produce very fast lens, for instance a 50mm f/1.2 or f/1. I personally can't find much use for a f/2.8 standard prime and even then, you can easily find old manual lens on eBay that are plenty sharp at f2.8 for less than 100$, sometime even less than 35$!

“The Sigma 50mm f/1.4 Art is the most exciting lens we’re likely to review this year."

I got rid of all my 50s largely because they are so boring.  If this is the most exciting lens they're likely to review this year, it's going to be a pretty rotten year.

They should review the Tamron 150-600.  That lens has 10 times the excitement of yet another 50mm prime.

I also have to respectfully totally disagree with you!

I am sure that I am not the only one for whom the 50mm is a personnal favorite, and I would even go as far as saying that in is one of the most complex FL. You might dislike it, as any lens of any FL are just tools, I have no problem understanding this, but I would never qualify it as boring. Disliking a certain tool for your craft doesn't mean it is bad per se, but rather that it is not for you. I am sure a look at Henry Cartier-Bresson photographs would convince you.

If he thinks it's boring it's likely because he's on APS-C. 50mm is my favorite focal length on FF for sure, and I would wager most people's.

But on APS-C it feels around 80mm... this no-man's-land that is just too short for portraiture and there's no sense of depth from either compression nor from natural space rendering. Just flat and boring. You can take a great photo here, but IMO 50mm on APS-C is boring and difficult to make work. On FF it is almost certainly the most interesting focal length, agreed. My 50mm f1.4 Sigma and 50mm f1.8 never leave my 5D III even though I have all those fancy L zooms and UWAs and nonsense.

24mm is also ok, as is 35mm. Very fond of 135mm. 200mm nice too. 100mm is nice, also for macros.

48
Third Party Manufacturers / Re: Sigma 50mm f/1.4 Art Gets Reviewed
« on: April 06, 2014, 06:06:12 PM »
“The Sigma 50mm f/1.4 Art is the most exciting lens we’re likely to review this year."

I got rid of all my 50s largely because they are so boring.  If this is the most exciting lens they're likely to review this year, it's going to be a pretty rotten year.

They should review the Tamron 150-600.  That lens has 10 times the excitement of yet another 50mm prime.

Are you on FF or APS-C? 50mm is kind of a no man's land on APS-C but IMO it is the most useful focal length on FF.

Agreed that the quest for perfection is a little boring when it comes at the cost of rendering, but if the Otus were affordable and had AF, it would not leave my camera.

My current 50mm f1.4 Sigma would be my favorite lens were it not for the dodgy AF.

49
Technical Support / Re: Battery stuck in 5D Mark III
« on: April 05, 2014, 08:25:05 PM »
Had to pull confusingly hard (it was REALLY stuck in there), but everything is back to normal, battery is ok and fits normally again.

Bizarre! But yay.

50
Technical Support / Re: Battery stuck in 5D Mark III
« on: April 05, 2014, 12:14:01 PM »
Saving a few dollars by buying a junk battery and ruining a $$$$ camera does not make sense.  I bought a used camera one time with exactly the same issue, junk battery swollen up and jammed in the camera.  In my case, the battery was long dead, so I took a electric drill and drilled several 1/4 or so inch holes in it until I could finally take it out in pieces.  The camera was not very good anyway (A Sony), so I was willing to risk damage.  It turned out fine.
 
In your case, I'd contact the battery seller and see if they will pay to have Canon fix it.  Realistically, it may not be totally dead, and my solution might cause a explosion or severe overheat and ruin the Camera.
 
Have Canon repair it, its a expensive lesson learned.

The battery that is stuck is a genuine Canon battery bought new.

I have a paid shoot early next week (but not paid enough to justify a rush delivery to CPS)... Trying to figure out a better solution. Might try one of those adhesive hooks to pull it out.

51
Technical Support / Battery stuck in 5D Mark III
« on: April 05, 2014, 11:45:13 AM »
Not a complicated problem to explain, but very unsettling and I've yet to solve it. I went to replace the battery in my 5D Mark III… tried a couple generic batteries that were out of juice then put in a genuine one… was surprisingly difficult to push in (didn't slide smoothly, lots of friction) but I figured it was seated slightly wrong but ok and pushed it in farther. Now it is stuck in the camera body. The white tab works, there is some play when I move the battery around, but it won't slide out. Stuck in there pretty good, not even sure how... feels like maybe something else is jammed in there keeping it there or the spring is messed up but I can't imagine how.

Help! Need to get it out. Fwiw, the camera works fine with the stuck battery, but that does me no good because it will run out soon and then I've got a $3500 paperweight. :/

52
EOS Bodies / Re: New Canon Cine Zoom Lens?
« on: April 02, 2014, 01:27:12 PM »
I'd be happy with a moderately-decent, powered 24-105 f/2.8 (FF equiv) cinema lens, made to match the C100. Get both for $5000 each, and that would be a great indie doc base kit at $10,000.

Is that really too much to ask?

Unfortunately, probably. The closest thing (26-120mm f2.8 equivalent) weighs 15lbs and costs $90,000.

http://www.bhphotovideo.com/c/product/840523-REG/Fujinon_hk4_7x18_f_18_85mm_T2_0_Premier_PL.html

Remember, "Super 35mm" is APS-C, only... it just sounds like fullframe. So this isn't even something close to compare.  8)

What are you talking about? He said "FF equivalent" of a 24-105mm f2.8, which this would be (approximately) once factoring in crop factor for Super35.

53
EOS Bodies / Re: New Canon Cine Zoom Lens?
« on: April 01, 2014, 09:38:28 PM »
I'd be happy with a moderately-decent, powered 24-105 f/2.8 (FF equiv) cinema lens, made to match the C100. Get both for $5000 each, and that would be a great indie doc base kit at $10,000.

Is that really too much to ask?

Unfortunately, probably. The closest thing (26-120mm f2.8 equivalent) weighs 15lbs and costs $90,000.

http://www.bhphotovideo.com/c/product/840523-REG/Fujinon_hk4_7x18_f_18_85mm_T2_0_Premier_PL.html


54
EOS Bodies / Re: Cinema EOS C200 & C400 at NAB? [CR1]
« on: March 30, 2014, 06:02:10 PM »
I live in Vancouver, where many movies are shot. Those that I have seen scenes being shot for typically arrive in theaters about 2 years later, and Oscars are the following year. Production decisions are made well before shooting, so we are talking about a three year lead time, perhaps more, before an Oscar nomination. The equipment used on those shoots dates back that long. When you are talking about a 2014 Oscar nomination, you are looking at equipment from 2011 or earlier.

The Alexa was released in April 2010.

In 2011 Hugo (shot on the Alexa) won Best Cinematography.

Sorry, but I'm not sure living in Vancouver alone gives your opinions precedence over fact...

55
EOS Bodies / Re: New Canon Cine Zoom Lens?
« on: March 30, 2014, 06:00:25 PM »
Is the *optical* quality of a Canon CN-E50mm T1.3 L F better than the IQ of a 50mm 1.2L? If yes, it would be interesting to get compared to the Zeiss Otus 55 f1.4...

(http://www.canon.de/For_Home/Product_Finder/Digital_Cinema/Cine_Lenses/CN-E50mm_T1.3_L_F/index.aspx)

Should be the same or virtually identical, different coatings maybe so maybe better contrast, more aperture blades I think, better mechanics.

Smart, if this is true. But it doesn't address the pressing need for a 7DC or 5DC 4K DSLR or Cinema EOS equivalent for under $10K, does it Canon?  :) ;)

What need?

You personally not having a need for it does not mean there is not a need for it. The fact that there is so much interest in ML and Black Magic cameras clearly proves the point that there very much IS a need for it.

There's interest, but relative to the CX00 line.... there aren't sales. The BMCC and ML products are "alternative" products that cater to niche audiences (primarily high end hobbyists) that Canon does not need to cater to because this market is much smaller (with significant competition) than the market (low end tv/indie cinema/high end event and wedding) they are doing exceptionally well in. C300s rent very well and are ubiquitous on reality shows as A cams and dramatic tv as B cams.

Besides, since the Black Magic cameras and 5D hack already cater to this market... there are already products here to choose if you are not interested in what the CX00 line has to offer. Hence what need is there for the same product but Canon-branded (and inevitably much more expensive)? Were Canon to add raw and 4k to its dSLRs it would cannibalize 1DC and C500 sales, which are already workflow nightmares, and force immature workflows onto consumers who are likely not as ready for them as those willing to drop huge price premiums are, compromising the company's reputation for easy-to-use production-ready hardware. Black Magic caters to an enthusiast crowd (similar to Red) that is willing to put up with workflow issues and immature hardware for what they perceive to be significant image quality gains... Canon is interested in the "good enough for your client and really easy to use" market.

When 4k tvs, monitors, and post-production workflows are mainstream Canon dSLRs will shoot 4k. (Maybe a few years after even, Canon dawdles a bit with such tech it seems.)

56
EOS Bodies / Re: Cinema EOS C200 & C400 at NAB? [CR1]
« on: March 30, 2014, 05:12:01 PM »

You're sleeping at the wheel my friend... not years ago... within the last year --->
http://www.canonrumors.com/forum/index.php?topic=19169.0

You know whats been around for "years."
The RED ONE since 2007
The RED Epic since 2010
http://en.wikipedia.org/wiki/Red_Digital_Cinema_Camera_Company
Speaking of which, the Red DSMC is a DSLR killer according to that wiki link... if you care about DXO mark scores it beats out the D800! With a score of 101... wait... what? A video camera company making a stills camera that beats out the D800 with a sensor smaller than the D800... hell no...

Surely, the multi-million dollar production companies can afford those cameras to shoot the 'oscar nominated movies' named in the link above the wiki link... correct me if I'm wrong.
BTW, most movies from back in the day... are recorded at greater formats than 4K... There were and continues to be large format (i.e. 70mm) panavision film cameras. We are all just playing catch up...

The movies might have been nominated for Oscars last year, but they were made years ago. When you see a movie is not when it was shot. Most of those movies were probably shot around 2011/12, which is about when the Alexa would have been at it's primacy. Moviemakers used that camera because it was the most reliable at the time. What are the using now however, and what will they be using next year? I bet it will not be an Alexa.

The Dragon may score the highest DXO rating so far, but it is not on the market yet, so nothing can be shot with it. But, when stuff is, you will need to wait for the 2017/2018 Oscars to see the results.

Productions move much faster than this... Transformers 4 is using a few Epic Dragons and will be released this summer. I don't think DPs know or care what DXO is... they shoot tests/screen tests. Images are relevant... numbers... not much.

The Alexa is still gaining traction. Last ASC mag had more Alexa than all other cameras combined. Almost no Epic but Dragon will give it a boost. Some film. Lots of go pro and CX00 as b cams. No FX5, but Sony has a good product and their inclusion of prores might mean more adoption in tv.

You are correct that the Alexa is very reliable and that does contribute to its popularity. I have seen two go down, but overall it is the best there is by far. Post houses (in tv mostly) hate dealing with Red footage. A lot of tv is shot in 422 prores, not even 444 let alone raw. Speed and cost are important once you bypass "good enough" and 1080p/2k still is and will be for a while (for most productions not going to IMAX).

57
EOS Bodies / Re: New Canon Cine Zoom Lens?
« on: March 30, 2014, 05:04:52 PM »
Is the *optical* quality of a Canon CN-E50mm T1.3 L F better than the IQ of a 50mm 1.2L? If yes, it would be interesting to get compared to the Zeiss Otus 55 f1.4...

(http://www.canon.de/For_Home/Product_Finder/Digital_Cinema/Cine_Lenses/CN-E50mm_T1.3_L_F/index.aspx)

Should be the same or virtually identical, different coatings maybe so maybe better contrast, more aperture blades I think, better mechanics.

Smart, if this is true. But it doesn't address the pressing need for a 7DC or 5DC 4K DSLR or Cinema EOS equivalent for under $10K, does it Canon?  :) ;)

What need?

58
EOS Bodies / Re: Cinema EOS C200 & C400 at NAB? [CR1]
« on: March 29, 2014, 12:02:00 PM »
Canon is promoting 4k everything in their cinema camera literature despite having primarily 1080p cameras. The difficulty is that Canon's audience WANTS 1080p. The reason the Alexa and CX00 are successful in tv is because they integrate into familiar workflows. But there is money to be made by upgrading to 4k. The sensor Canon is using is already a 4k sensor. This kind of an upgrade is not out of the realm of possibility, odd as it seems. The F3 uses a prosumer codec at 1080p... F5 has 4k in some weird proprietary wrapper to stave of "it's not future-proof" claims and make good literature and 1080p prores/dnxhd, which is what networks actually require. That's the step Canon would be smart to make and they don't even need to change the sensor.

Whatever Canon announces at NAB, it will likely be way more expensive than everyone thinks it should be, and way underpowered compared to the competition....weirdly enough it will sell like hotcakes!

Exactly. Canon and Arri are taking cues from Apple... expensive, conservative design with some intermittent real innovation. And very very high prices for the specs. More Arri than Canon. Canon needs to get its menu systems under control! Messy!


59
Lenses / Re: DXOMark: Samyang 24mm f/1.4 for Canon
« on: March 13, 2014, 11:45:00 AM »
I wonder how much this lens differs from the 24mm Cine. Is it just the same lens rehoused?  The Rokinon 24mm cine is my favorite lens on crop sensors.

Optically the same.

I find the 24mm f1.4 Samyang to be sort of garbage (especially compared with the Canon, which is dramatically sharper wide open), but if you need a wide fast FF lens for video.... could be worse.

60
Videography Technique / Re: making a reel of just interviews?
« on: February 28, 2014, 03:50:27 PM »
Good advice has been given here . . . another thought, sometimes I just point people to pieces of work on my website instead of a reel. For example, a client who is just looking for an interview can watch a couple finished pieces that are mostly interviews. That way they can see the whole work, and it will be more coherent than multiple different parts put together into a reel.

+1

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