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Wide angle reality check

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  • ASG
    replied
    Originally posted by grimepoch View Post
    At 11mm I definitely get this, and for visual effects work it is a NIGHTMARE.
    Why is it a nightmare? I have done plenty of 3D tracking and FX shots including comping 3D model stuff on my 10mm sigma plus 7D no problem. Maybe your probelm is you didn't remove lens distortion first? Or you're only doing 2D tracking/FX?
    Last edited by ASG; 11-01-2010, 08:28 PM.

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  • Julienmassie
    replied
    Probably not
    He paid some people to think about that.

    And im not going to shoot star wars, i just need '' these dam ultra wide shot that dont fit and that are not used in featured film '' for my gangsta rap videoclip and a couple of specific job.


    If Georges Lucas was about to film the next lil wayne videoclip on a AF100 he would pay some people to think about it ... again ...

    So in this case i really need to think about the crop factor since i need a lens to do this type of job in my bag.


    Svecher they say that ...

    '' autofocusing system and covers a zoom range equivalent to 24 to 120 mm on a 35 mm camera lens ''
    Last edited by Julienmassie; 11-01-2010, 08:29 PM.

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  • bgundu
    replied
    Do you think George Lucas was saying. "what's the crop factor" when he used the CineAlta camera to shoot Star Wars? The F900 is 2/3" sensor!

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  • svecher
    replied
    Originally posted by Julienmassie View Post
    That would solve the problem
    Great, then hurry up and buy this lens.



    It's f/2.8 at the wide end (12 mm).

    Want to trade 2 mm of width for F/2 aperture ? Go for it




    Problem solved?

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  • dharty
    replied
    [QUOTE=dop16mm;2139306]I think it is rather humorous that over the last while everyone has been clamoring for telephoto shallow focus solutions for video cameras, and as soon as someone builds one, everyone starts complaining about lack of wide angle. Compared to what? Yes there are super wide lenses for full frame stills for shooting big group interiors, but guess what we are movie shooters and can move the frame to take in the shot.

    I think the real bennefits of wide angle lens are the near far relationships they create and the resulting visual dynamics. Moving your camera back to see more reduces those bennefits. There certainly are times when you simply need to get a wider view, but I generally am using a wide angle lens because of how it allows me to compose an image, not simply because it allows me to see more.

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  • J Davis
    replied
    Originally posted by robertrogoz View Post
    Here is the answer to our requests:
    http://www.bhphotovideo.com/c/produc....html#features
    Fast and small and will work with AF100.
    now that looks pretty awesome

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  • robertrogoz
    replied
    Here is the answer to our requests:
    http://www.bhphotovideo.com/c/produc....html#features
    Fast and small and will work with AF100.

    Leave a comment:


  • timbook2
    replied
    love this thread! The extreme wide angle request seems to stem from the crop factor and I understand its reason. I am also sure there will be many more native 4/3 lenses in the future. I am really curious to see the difference of primes vs nikon or canon glass for example. I bet some of the 50mm and above lenses for photography are not going to be so much worse then the primes.

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  • J Davis
    replied
    Any barrel distortion or perspective distortion from the tokina 11-16 will not change when comparing the two cameras. The image circle projected out
    the back of the lens will not change either. How can it? Its a lens. The physics of the glass and aperture hasn't changed so the image won't.

    The only difference is the sensors. One sensor is slightly larger than the other so it will capture more of the image circle than the other.
    Hence one will have a slightly different field of view than the other.

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  • TheReverend
    replied
    Huh... Learn something new everyday. I assumed that the weirdness in the South pan was barrel distortion from the 7mm.

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  • Rick Burnett
    replied
    Originally posted by TheReverend View Post
    I assume the 11-16 had worse barrel distortion on the Canon than the GH1 due to the extra crop factor with m4/3s.
    If you look at pictures that show the crop difference between both sensors, it's not cropping out very much, so how much reduction you get with the lost FoV is pretty small.

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  • Rick Burnett
    replied
    Yes, the barrel distortion would be less, but that is not what I am referring to. That push pull effect I mentioned is called Perspective Distortion (http://en.wikipedia.org/wiki/Perspec...photography%29) and that is what I was referring to that really detracts from a scene with a moving camera or objects close to the lens that you don't normally see in professional narrative work unless that effect is desired. This is why I try and use a 30mm for most of my shots on my 7D, and will be using 25mm on my AF100. I only use the Tokina (or the Canon 10-22) when I have no other choice or I am doing the shot for artistic reasons, or as I said, things are far enough away that the perspective distortion isn't a problem.

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  • TheReverend
    replied
    Originally posted by J Davis View Post
    I've owned and used a nikon mount 11-16 on a gh1. Also have owned and used 11-16 on canon as well. What do you want to know?
    I assume the 11-16 had worse barrel distortion on the Canon than the GH1 due to the extra crop factor with m4/3s.

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  • TheReverend
    replied
    Originally posted by grimepoch View Post
    Canon 7D.
    If you've used it on a 7D, the barrel distortion should be less pronounced on a AF100 because of the crop factor, yes?

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  • Rick Burnett
    replied
    Canon 7D.

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