The end of 35mm adapers and hv20s....

I am in the process of making an Arri PL to nikon f mount adapter, Just got to rent some PL lenses to make sure it works. (it might be a bit overkill, but it sure would be nice to put a master prime on an slr)
 
Ryan Patrick O'Hara said:
I think the D-90 is not a full frame image size, meaning my 35mm film lenses that are 50 will actually be 40mm or something (i dont know the exact translation)
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A 50mm lens will always be a 50mm lens no matter with what camera you use it! What changes is the FOV you get and not the focal length of the lens. Sorry about being so picky but there is just too much confusion about this topic and even big manufactures contribute to it.

By the way, the FOV crop factor is pretty much 1.5. This would mean that a 35mm lens on a nikon d90 would give you approximately the same FOV as a 50mm lens on a 35mm srl film camera. The cool thing is that the d90's sensor is about the same size as super35mm film. This means that if you would shoot 35mm motion picture film with a 50mm lens you would get the same FOV as if you get with a 50mm lens on your D90 :)
 
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cordvision said:
A 50mm lens will always be a 50mm lens no matter with what camera you use it! What changes is the FOV you get and not the focal length of the lens. Sorry about being so picky but there is just too much confusion about this topic and even big manufactures contribute to it.

By the way, the FOV crop factor is pretty much 1.5. This would mean that a 35mm lens on a nikon d90 would give you approximately the same FOV as a 50mm lens on a 35mm srl film camera. The cool thing is that the d90's sensor is about the same size as super35mm film. This means that if you would shoot 35mm motion picture film with a 50mm lens you would get the same FOV as if you get with a 50mm lens on your D90 :)
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Yes, I am aware, just trying to keep it simple. Most people choose len length to determine their FoV. Just wanted people to know a 50mm lens on d-90 will not be exactly the same then when it was on their 35mm film camera.

Thanks though, this will clear the water for more advanced photography users.
 
Kholi-

The only thing I am worried about is that some PL lenses are very "fat" behind the mount and it may not fit into the nikon body, I guess I will just have to wait and see... I took my Red PL mount and was matching it up to a nikon mount and it looks like the Flange to focal distance should be all good!
 
Are there any reccomendations for manual focus zooms or other such lens'? I was looking at Ken Rockwell's sight but was unable to find a D90 reccomendation for the film portion. I've been looking into purchasing a few lens and the faster and more versatile the better. I do have a budget but lets treat it as meaningless at the moment so I can get a good idea.
 
Who's up first to dismantle it and wrap a new body around it? With LCD and all? MSRP's 999.99 right? Street? Maybe 799.99?

If all you wanted it for was video then you don't need to worry about auto mounts. PFFT. Rip the body apart, concoct a new body for it and add your choice of mount.

:D
 
Just when I'm about to drop BIG on Canon L glass. Lets see a Canon equivalent...pronto!
I can see where its going...but it would be a huge step back given the lack of monitoring, framerates, sound, picture control (only speculation at this point), and other minor functionality pieces. Underwater shots/car rigs/handheld/a lot of videography (weddings anybody)? YES. Studio work, smooth dolly shots (even cranes), full narrative work? Probably solid NO. I'm very excited though and hope that they're willing to up the ante with a $3000-5000 version that has the options we crave. This could be the wake and smell the coffee for panny/sony (along with the uprising of RED). Image paying Nikon or Canon $5000 or 6000 (the price of an HVX or upcoming HPX) for a still camera if they're capable of delivering this gem for ONLY $999 MSRP.

At that price point we could expect:
-A breakout box option for sound
-1080p24 with option to shoot up to 60 or undercrank or even burst up to 120 or more
-Possible 2k or 4k option at 24fps
-Wireless control of lenses ala birger style system
-HDSDI out in some variety (possibly limited to HDMI though)
-Better compression
-More image control
-Possible RAW shooting (within reason)
-More professional (film oriented) layout

What we'd get is a 35mm DOF in at least true HD with sound and all literally in the palm of a hand (likely bigger than this model though)
 
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Avenger007 said:
Just when I'm about to drop BIG on Canon L glass. Lets see a Canon equivalent...pronto!
I can see where its going...but it would be a huge step back given the lack of monitoring, framerates, sound, picture control (only speculation at this point), and other minor functionality pieces. Underwater shots/car rigs/handheld/a lot of videography (weddings anybody)? YES. Studio work, smooth dolly shots (even cranes), full narrative work? Probably solid NO. I'm very excited though and hope that they're willing to up the ante with a $3000-5000 version that has the options we crave. This could be the wake and smell the coffee for panny/sony (along with the uprising of RED). Image paying Nikon or Canon $5000 or 6000 (the price of an HVX or upcoming HPX) for a still camera if they're capable of delivering this gem for ONLY $999 MSRP.

At that price point we could expect:
-A breakout box option for sound
-1080p24 with option to shoot up to 60 or undercrank or even burst up to 120 or more
-Possible 2k or 4k option at 24fps
-Wireless control of lenses ala birger style system
-HDSDI out
-Better compression
-More image control
-Possible RAW shooting (within reason)
-More professional (film oriented) layout

What we'd get is a 35mm DOF in at least true HD with sound and all literally in the palm of a hand.
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Could we expect all of that for $5,000? Just because you throw 5x the money at Nikon doesn't mean they will create a $5,000 handheld RED cam... which is basically what you described.

People hearing the hype about this camera should remember it's a photography camera, pretending to be a video camera in one particular mode. This is simply going to be a neat little toy, which may be suitable for some film making needs. (yet to be even determined because Chase Jarvis proves he can't shoot video worth his ass)

Think of it as a sign of what is to come...the inevitable merger of video and photography:

i.e. photography cameras always increasing shots per second for photographers ease, and video cameras resolution approaching photography cameras level. Soon fps and resolution will meet on both ends and we will realize it's the same camera.

So please, please, as exciting as this is.... it's simply... at most, an HV20 and 35mm adapter hidden in a good photography camera. It's not an HVX, it's not anything as such. Just a glimpse of a cool future.

PS: Avenger... do I know you?! Just seen you are from Savannah! Are you SCAD alumn?
 
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Hey Ryan good to see you around these boards. I didn't know you were a member. I thought A Song for Anna came out good and was impressed with the day for night approach you took. I've seen some of your work but I don't think we've officially crossed paths. My name is Jason from MIP down in Savannah. I do a lot of stuff with SCAD but primarily work out of Atlanta and Dubai. Ill be back in Savannah in the fall.

Anywho, regarding the camera, I'm primarily alluding to the possibility of Nikon or Canon offering their own "Scarlet" at that price tag down the road. I think this will start to showcase that it's a possibility but as mentioned I don't think its there yet. It would be interesting to see Nikon/Canon become more direct competitors of RED rather than Panasonic/Sony though. Not sure many would see something like that coming.

btw anything in specific lined up in LA? Wyatt Garfield (co dir/DP of execution of solomon harris) is supposed to be heading there to work on a new project soon from what I've been told.
 
Avenger007 said:
Anywho, regarding the camera, I'm primarily alluding to the possibility of Nikon or Canon offering their own "Scarlet" at that price tag down the road. I think this will start to showcase that it's a possibility but as mentioned I don't think its there yet. It would be interesting to see Nikon/Canon become more direct competitors of RED rather than Panasonic/Sony though. Not sure many would see something like that coming.
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From what it looks like, you are right. As long as Nikon decides to put forth the R&D and continue down this road. Hopefully this isn't where Nikon peaks in it's video endeavor. If they haven't figured out the future of photography, it's video. Sorta. $5,000 will eventually buy us such a technology, but even Scarlett isn't as ambitious as those qualities listed. And if we can judge product development times based on RED's previous track record, we've got about two years before Scarlett, lol.


PS: Sent you a PM to continue our convo, Avenger.
 
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Exposure compensation available in P, S, A, M modes

Exposure compensation available in P, S, A, M modes

Movie
• File format AVI (Motion-JPEG)
• Image size (pixels) 640 x 424; 24 fps 320 x 216; 24 fps 1280 x 720; 24 fps
• Compression: Motion-JPEG Audio Monaural on/off selection
• Exposure: Determined with matrix metering utilizing output from the image sensor
• Exposure lock available
• Exposure compensation available in P, S, A, M modes
• Maximum single clip length: 1280x720/ 5 minutes, others 20 minutes

This is from the DPReview specifications page. I wonder what the second from last line actually means.
 
Mike_Bluestone said:
Movie
• File format AVI (Motion-JPEG)
• Image size (pixels) 640 x 424; 24 fps 320 x 216; 24 fps 1280 x 720; 24 fps
• Compression: Motion-JPEG Audio Monaural on/off selection
• Exposure: Determined with matrix metering utilizing output from the image sensor
• Exposure lock available
• Exposure compensation available in P, S, A, M modes
• Maximum single clip length: 1280x720/ 5 minutes, others 20 minutes

This is from the DPReview specifications page. I wonder what the second from last line actually means.
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They are different ways of controlling the camera. I think they are on most dSLRs, You set the mode dial on top to either.
M gives full manual control of aperture and exposure, S lets you decide the shutter and camera sets aperture accordingly for "optimal picture", A is the other way around.

P, is where the camera trys to match aperture and shutter for optimal performance. Almost like automatic mode, but in P you can navigate through different combinations for your special needs :)
 
Do you think we could send the output from the CMOS out through HDMI before it gets compressed to M-Jpeg ?

It would be great to record uncompressed footage straight from the HDMI, although might negate the advantages of the small form factor.
 
Why if this has been possible all along (to simply record the live view feed thats been around for a few years now) did we still see camera's with triple the price for only 1/3" and 2/3" chips?

Doesn't the D90 mean that this technology was not only possible all along but it was actually there (just missing a way to record?)
 
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