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    #21
    Senior Member bill totolo's Avatar
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    At 11K this is going to be everywhere.
    Did you see that low light sensitivity that PBloom shot? It's gorgeous.

    It's not going to be shooting car commercials, but all that branded content, unscripted, and mid to low tier stuff that's the bread and butter of a lot us of shooters will all be condensed into the FX9.
    The C500 MKII will get some of that as well, but I think Canon is attempting to punch a little higher tier with their offering and that competition is tougher (ARRI, RED, Venice, Varicam...)
    Bill Totolo
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    #22
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    Quote Originally Posted by NorBro View Post
    I like RED's design.
    Attachment 136872
    The FS700 had its monitor like that. Everybody complained about it.
    FS7/FX9 seems way more flexible to me.
    Sony NEX-FS700R | A7S | Odyssey 7Q+ | Atomos Ninja V
    Sony 24-70/2.8 GM, 70-200/2.8GM, SEL 50/1.8, 35/1.8, 18-105/4, FE 28-70 | Samyang 16, 35 & 85mm Cine
    Sachtler Flowtech 75 | Benro S8
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    #23
    Senior Member Grug's Avatar
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    Quote Originally Posted by JPNola View Post
    Sorta, right? You can adapt EF glass to e-mount without a "speedbooster". The purpose of a speedbooster is to boost speed. You can speedboost PL glass as well.
    That doesn’t make any sense, why would anyone speedboost a lens onto the S35mm crop of a full frame sensor? It would be merely be duplicating the look of the same lens mounted in front of the full frame sensor anyway. The stop of light you’d gain won’t offer you anything more than the reduced noise level of the full frame sensor in the first place.


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    #24
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    Quote Originally Posted by dmitrizigany View Post
    The FS700 had its monitor like that. Everybody complained about it.
    FS7/FX9 seems way more flexible to me.
    It was a different time/world...everyone was using cameras with LCDs off to the side.

    People didn't know what to think of it and comfort zones weren't changed much back then.

    Having a monitor which you can mount anywhere with your own accessories is of course way more flexible, but also having a port you can use to temporarily or permanently (if you choose) affix it to adds to that flexibility (as mentioned in that previous post).


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    #25
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    Some good points being made by everyone - damn you all, now I've deposits on both cameras. Which way to roll...
    New Website: www.liamhall.net
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    #26
    Senior Member Jaime Valles's Avatar
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    Quote Originally Posted by Liam Hall View Post
    Some good points being made by everyone - damn you all, now I've deposits on both cameras. Which way to roll...
    Ha! Nice.
    Jaime Vallés
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    #27
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    Quote Originally Posted by NorBro View Post
    It was a different time/world...everyone was using cameras with LCDs off to the side.
    People didn't know what to think of it and comfort zones weren't changed much back then.
    Well, I'm still using my FS700 and have on many occasions cursed that I can't see the monitor because of its position... Can't see how that would be much better on those RED cameras?
    I'm ready to try a camera with a detachable monitor. Question is, is that the FX9? (only thing that really holds me off is that you need the damn extension module to output raw)
    Sony NEX-FS700R | A7S | Odyssey 7Q+ | Atomos Ninja V
    Sony 24-70/2.8 GM, 70-200/2.8GM, SEL 50/1.8, 35/1.8, 18-105/4, FE 28-70 | Samyang 16, 35 & 85mm Cine
    Sachtler Flowtech 75 | Benro S8
    MacBook Pro 2018 6-core i7 2.6 ghz / 32gb ram / 512gb HD | macOS Mojave
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    #28
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    The Amira will still be better balanced for that kind of work. While the FX9 is a pinch longer than the FS7, you will still need to purchase the extension to get good weight balance when using a large zoom. It’s amazing that after all these years Arri is the only one who thought of making that unibody style that doesn’t require all the gak to have a nice balance on the shoulder.


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    #29
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    Quote Originally Posted by Grug View Post
    That doesn’t make any sense, why would anyone speedboost a lens onto the S35mm crop of a full frame sensor? It would be merely be duplicating the look of the same lens mounted in front of the full frame sensor anyway. The stop of light you’d gain won’t offer you anything more than the reduced noise level of the full frame sensor in the first place.
    It's not so much a matter of duplicating 'the look' of full frame it actually has more to do with the MTF of the lens and perceived contrast and 'resolution' of that lens.

    The generally accepted (line pairs per millimeters) of 10 lp/mm wide open to 40 lp/mm at f/8.0 on the resolution curves for a full frame 35mm format is equivalent to about 20 lp/mm wide open and 60 lp/mm at F/8.0 for the resolution curves in APS-C format (x1.5 crop factor), and up to to 30 lp/mm wide open to 80 lp/mm curves in the Four Thirds format (x2 crop factor.) For instance Olympus with their M4/3 format presents it as 20 lp/mm and 60 lp/mm curves. These curves are directly comparable to typical 10 lp/mm and 30 lp/mm MTF curves for 35mm format, like those quoted by Canon.

    In other words a FF lens designed to be capable of resolving 40lp/mm at F/8.0 on a 24 megapixel FF sensor doesn't have the resolution to deliver deliver 60lp/mm when used on a 24 megapixel APSC/S35 sensor which will have much smaller photosites, due to the crop factor of 1.5. In effect the photosites also have a crop factor of 1.5. That is why an APSC lens has to be able to deliver about 50% greater resolution at F/8.0 e.g. 60lp/mm.

    There are many factors influencing the transmission of light and but put in simple terms In effect what is happening when using a speed booster on a FF lens you are reducing the image size via an optical relay and at the same time increasing the resolving power of the FF lens closer to the resolving requirements of the smaller 24 megapixel sensor's photosites, as outlined in the lp/mm examples described above. The same amount of photons that were originally coming through that FF lens are now being concentrated on the smaller APSC sensor the end result being a brighter image that now gives you roughly a one stop gain. This is one of the reasons why a FF lens looks sharper through a decently designed lens relay such as the ones designed by Caldwell Optics for Metabones. One of the downsides is of course is as most of us would know is this 'downsizing' comes at the price of a lower signal-to-noise ratios which translates into noise, narrower dynamic range and often lower tonal richness with the use of smaller sensors.

    In the case of the FX9 I think as far as I can ascertain that the S35 crop is exactly that an S35 crop. No down-rez sub sampling as in the 6K sensor being down-sampled to 4K. If that is the case that the S35 crop is exactly that, an S35 crop, then using a speed booster will help resolution as with the speed booster you will be employing down-sampling but not electronically as in the 6K > 4K in the FX9 but with an optical relay that is giving you a 1.5 down-sample in effect.

    There again I don't think many lenses on a speed booster would come close to beating this FF lens on an FX9

    Chris Young

    https://www.lensrentals.com/blog/201...y-mtf-results/

    A reasonable overview here for 4K shooting

    https://www.usa.canon.com/CUSA/asset...cs/4k_lens.pdf


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    #30
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    Quote Originally Posted by dmitrizigany View Post
    Well, I'm still using my FS700 and have on many occasions cursed that I can't see the monitor because of its position... Can't see how that would be much better on those RED cameras?
    We're thinking about the monitors in different ways and what we're both saying makes sense for us.

    Like why would you personally want a monitor in a position that doesn't work for you, right?

    My mindset is more about using them for quick reference, for settings. (The RED was just an example to show how a separate monitor can 'click' into place and be screwed down at the top.)

    Chances are all of us will have to compromise in the world of production at some point or another, and are not always going to be able to see our monitors perfectly no matter where they are, how big they are, or if they can turn, twist and/or swivel in any direction. Also, I would be using an external 7" monitor anyway so the other one's position doesn't matter much to me.

    My main desire is to have it a part of the camera without a cable. Or have a side panel.

    C100.jpg

    C700.jpg


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