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    #71
    Senior Member toke lahti's Avatar
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    Quote Originally Posted by Barry_Green View Post
    The Cinema Crop Factor was designed around the standard 35mm cinema frame, and in that scenario the AF100 is 1.19...
    Do you all agree that academy aperture is handy starting point for comparison?
    Hardly no movies are shot in that format in this millenium and there's no digital cameras using that format.
    Maybe some real world physical object that is in use would be easier to understand?


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    #72
    Senior Member Jan_Crittenden's Avatar
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    Actually our factory just posted this lens calculator which I think is a bit more helpful than others I have seen:

    http://www.geocities.jp/dvcpro24/lens_calculator.html

    Best,

    jan
    Jan Crittenden Livingston
    Panasonic System Communications Corporation
    Partner Sales Manager, NY and NJ


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    #73
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    This chart rocks, Barry.

    After reading your book I feel like I'm talking to a celebrity whenever you post here, man.

    Thanks for helping us out so much. Really appreciate it.


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    #74
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    This is a very useful chart.

    But the 1/4 stop DOF difference between M43 and Academy is a little misleading as Academy hasn't really been the standard for about a decade now. Super 35 is, and the other digital cinema cameras are based on the Super 35 frame size. So it would have been more useful to compare M43 with that. Also, even though M43 is extremely close in size to even Super 35, when you look at tests like the ones bellow you can't help but see that in practical applications the DOF seems much shallower in Super 35 than in M43.



    Last edited by Adamsenoj; 08-25-2012 at 06:35 AM.


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    #75
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    Wasn't Batman Begins shot Academy 35? And Black Swan S16? People get far to hung up on all these standards.

    It should be noted that the speedbooster is giving the AF100 the S35mm field of view and DOF from still lenses, so I imagine on the various multi mount PLs out there you could possibly achieve a field of view that's greater than S35 when using said lens via the Speedbooster


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    #76
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    Quote Originally Posted by XSVpro View Post
    Wasn't Batman Begins shot Academy 35? And Black Swan S16? People get far to hung up on all these standards.

    It should be noted that the speedbooster is giving the AF100 the S35mm field of view and DOF from still lenses, so I imagine on the various multi mount PLs out there you could possibly achieve a field of view that's greater than S35 when using said lens via the Speedbooster

    Err, Batman Begins as pretty much all Nolan's recent films was shot anamorphic. Yes, anamorphic uses the academy frame, but it's a totally different animal from shooting plain Academy.
    S16 to me is an artistic decision on pair with choosing to shoot something on video, like they did for example for 28 Days Later. They obviously didn't care for quality.
    Nobody is saying that the DOF from M4/3 is not shallow enough. I just said that comparing M4/3 to Academy instead of comparing it to the standard which is S35 is as useful as comparing it to S16 DOF. It only serves M4/3.

    Regarding the miraculous speedbooster, it seems it is not so miraculous after all. Initial quality tests look pretty meh to me.
    Cameras: Panasonic AF100, GH2 (x2) and Sony EX3.
    Lenses: Zeiss CP.2 primes


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    #77
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    What's tests Adam? I've seen Eoshd and James Millers tests, the white paper m43 test shots looked better too. What is it you don't like about the speedbooster?


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    #78
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    Quote Originally Posted by Adamsenoj View Post
    Nobody is saying that the DOF from M4/3 is not shallow enough. I just said that comparing M4/3 to Academy instead of comparing it to the standard which is S35 is as useful as comparing it to S16 DOF. It only serves M4/3.
    The difference between m43 and Academy projection aperture (what you actually see in a theater) is 10%; m43 and S35 projection aperture 20%. It's something, but it's not a lot.

    S35 is definitely the Hollywood standard at this point, but only recently and not globally, so I wouldn't dismiss the comparison to Academy. Here's the top 25 box office of 2012 and what they shot on:

    The Dark Knight Rises Anamorphic 35
    The Hunger Games Anamorphic 35
    Skyfall Anamorphic 35
    The Twilight Saga: Breaking Dawn Part 2 Anamorphic 35
    Snow White and the Huntsman Anamorphic 35
    Brave Animation
    Madagascar 3: Europe's Most Wanted Animation
    Dr. Seuss' The Lorax Animation
    Wreck-It Ralph Animation
    Ice Age: Continental Drift Animation
    Hotel Transylvania Animation
    21 Jump Street Super 35
    Marvel's The Avengers Super 35
    MIB 3 Super 35
    Taken 2 Super 35
    Safe House Super 35
    The Bourne Legacy Super 35
    The Vow Super 35
    The Hobbit: An Unexpected Journey Super 35
    The Amazing Spider-Man Super 35
    Prometheus Super 35
    Magic Mike Super 35
    Lincoln Super 35
    Django Unchained Super 35
    Ted Super 35


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