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    #91
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    #92
    Senior Member roxics's Avatar
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    Quote Originally Posted by NorBro View Post
    CES time. Actually makes more sense than mid December when everyone is getting ready for the holidays.


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    #93
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    I think us video professionals have a different conversation about size than still folks. The forum on DPReview is very defensive about m4/3rds and really defend the size issue. As an image service provider, I have always been focused on being able to provide the goods in whatever lighting situation that I come across. This means have versatile equipment. I think the point that the Speedbooster is the tipping point really resonates with me. The size focus is a bit of an Achilles heel for the m4/3rds system imho. A lot of f4 zooming going on in the m4/3rds world if you do a search on B&H for lenses. This is fine for outdoor work but presents a challenge in other work environments. F2.8 is available but m4/3rds f2.8 is not the f2.8 a lot are looking for, especially on the wide end. The Speedbooster does solve this at the expense of having a completely different set of lenses just for the Speedbooster. Not optimal but I am glad it is an option.

    I like the GH5 images and am very interested in the GH5s if it is what we expect. So I am planning on a move. The GH5 is a perfect size imho. Very lightweight but still enough to grip on to. I have an a6300 and handholding is just o.k. Images can be nice with a lot of fiddling but there is something solid I am seeing with GH5 footage and its color science. Kind of like horns being in tune. It is just singing. But, I would still like to see some native f2 zooms developed at a pro standard. Seems like a company like Sigma could do some damage with a 12-40 f2.


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    #94
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    Quote Originally Posted by Bassman2003 View Post
    I think us video professionals have a different conversation about size than still folks. The forum on DPReview is very defensive about m4/3rds and really defend the size issue. As an image service provider, I have always been focused on being able to provide the goods in whatever lighting situation that I come across. This means have versatile equipment. I think the point that the Speedbooster is the tipping point really resonates with me. The size focus is a bit of an Achilles heel for the m4/3rds system imho. A lot of f4 zooming going on in the m4/3rds world if you do a search on B&H for lenses. This is fine for outdoor work but presents a challenge in other work environments. F2.8 is available but m4/3rds f2.8 is not the f2.8 a lot are looking for, especially on the wide end. The Speedbooster does solve this at the expense of having a completely different set of lenses just for the Speedbooster. Not optimal but I am glad it is an option.

    I like the GH5 images and am very interested in the GH5s if it is what we expect. So I am planning on a move. The GH5 is a perfect size imho. Very lightweight but still enough to grip on to. I have an a6300 and handholding is just o.k. Images can be nice with a lot of fiddling but there is something solid I am seeing with GH5 footage and its color science. Kind of like horns being in tune. It is just singing. But, I would still like to see some native f2 zooms developed at a pro standard. Seems like a company like Sigma could do some damage with a 12-40 f2.
    Yeah, the Olympus 4/3 F2 zooms were/are great lenses. It would be great to have native mount F2 zooms. Those lenses are very big and the 35-100 is especially heavy, but it would be great to have the option.


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    #95
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    Quote Originally Posted by NorBro View Post
    Plenty of PAs out there ready to help...

    Attachment 128204
    lol!


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    #96
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    Look forward to the 8th... smart, most extended holiday returns are closed by then.

    I'm sure there'll be some rumors between the 15th and 8th though.


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    #97
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    Quote Originally Posted by filmguy123 View Post
    Look forward to the 8th... smart, most extended holiday returns are closed by then.
    Most extended holiday returns run until at least January 31st or February 1st. Otherwise it's not really much of an extension (assuming the gift is given at Christmas).

    B&H, Adorama, Best Buy... all at least end of January.


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    #98
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    I love how one unsubstantiated rumor on one particular website has somehow evolved into a CERTAIN announcement of a pro-video-centric GH5s, DVX300 with interchangeable lenses, and a whole set of m4/3rds anamorphic lenses! I think people are putting far too much weight into rumors, and even more weight into completely unreasonable expectations.

    Regarding the m4/3rds vs s35 v FF debate, I think the big difference comes from the available lenses. While the theory and maths may make the virtual differences between the sensor sizes irrelevant, the real world applications are still different thanks to the actual lenses available - there are simply far more options available for FF, and the build quality is generally better with FF lenses vs the more consumer orientated APS-C offerings. Of course, Cinema glass is a perfect fit for a speedboosted GH5, but if you're using a GH5 to start with you probably don't have access to a full $30,000 set of cinema primes. This is why FF (or speedboosted s35) still has real world advantages over m4/3rds in the lower-budget realm. There is simply no way to match something like a 20mm f/1.4, or 14mm f/2.8, or even a 24-70 f/2.8, using a GH5 (even with a Speedbooster) and currently available photo lenses.
    VIDEO PRODUCER ON THE NSW NORTH COAST, AUSTRALIA
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    #99
    Resident Preditor mcgeedigital's Avatar
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    Quote Originally Posted by deltoidjohn View Post
    and the build quality is generally better with FF lenses vs the more consumer orientated APS-C offerings.

    I'll have to take issue with this part of your comment.

    My APS-C Fuji lenses for my XT-2 are all metal beasts, and are much more durable than the plastic-housed full frame Nikon glass I got rid of when I switched.
    Matt Gottshalk - Director/ Dp/ and Emmy Award Winning Editor
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    Quote Originally Posted by deltoidjohn View Post
    I love how one unsubstantiated rumor on one particular website has somehow evolved into a CERTAIN announcement of a pro-video-centric GH5s, DVX300 with interchangeable lenses, and a whole set of m4/3rds anamorphic lenses! I think people are putting far too much weight into rumors, and even more weight into completely unreasonable expectations.
    I've been thinking the same thing. I'm going to laugh my ass off when Jan 8th comes around and it's some new point and shoot or another stills-focused camera or something other than the fabled GH5s.

    Regarding the m4/3rds vs s35 v FF debate, I think the big difference comes from the available lenses. While the theory and maths may make the virtual differences between the sensor sizes irrelevant, the real world applications are still different thanks to the actual lenses available - there are simply far more options available for FF, and the build quality is generally better with FF lenses vs the more consumer orientated APS-C offerings. Of course, Cinema glass is a perfect fit for a speedboosted GH5, but if you're using a GH5 to start with you probably don't have access to a full $30,000 set of cinema primes. This is why FF (or speedboosted s35) still has real world advantages over m4/3rds in the lower-budget realm. There is simply no way to match something like a 20mm f/1.4, or 14mm f/2.8, or even a 24-70 f/2.8, using a GH5 (even with a Speedbooster) and currently available photo lenses.
    While the full 35mm stills look for video got popular there for a while with the 5D shooters, it's (thankfully) seeming to wane a bit now and most are moving back to Super35 and it's advantages for motion picture work (and the majority of the industry never left). As for full-frame glass being better built than APS-C or m43, I think that's an unfair characterization. There are cheap lenses for every format and quality lenses for every format. The trio of Olympus Pro-line m43 f/2.8 zooms I travel with is every bit as well-built as my full-frame Canon stuff (that I use on my C300 Mark II). The Nikkor 17-55mm f/2.8 DX lens was every bit as well-built as the Nikon 24-70mm of the same vintage.

    You can speed boost m43 quite easily to match the "look" of APS-C/Super35 with a SpeedBooster Ultra... or you can do as I did and speed boost m43 up to slightly bigger than APS-H with a SpeedBooster XL. While it's not full-frame, it's very very close (effective 1.28x crop) and it has that "bigger than S35" look that occasionally comes in handy.

    I just don't get this idea that the 35mm stills "full frame" sensor size is somehow a requirement. It was (and is) very uncommon as a "look" in cinema.


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