FS7: A number of FS7 questions

broughtonfilm said:
Sadly, I have to say you did not understand a thing.
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I completely understood and your explanation ended you up splitting hairs between 250 and 320 ISO in an effort to disagree with me.. actually therefore agreeing with me. That ISO difference is irrelevant compared to many other real world factors like the SN of the chip, quality of the signal processing, the true Tstop of the lens etc etc.

We agree that the systems are 'the same' (on paper and have different practical uses.. electronic zoom, perfocality manual focus VS auto focus at the loss of the other three)

Only systems with bigger front element (like a 400 2.8) are different and truly more sensitive. (and harder to lug about)

S
 
morgan_moore said:
I completely understood and your explanation ended you up splitting hairs between 250 and 320 ISO in an effort to disagree with me.. actually therefore agreeing with me. That ISO difference is irrelevant compared to many other real world factors like the SN of the chip, quality of the signal processing, the true Tstop of the lens etc etc.

We agree that the systems are 'the same' (on paper and have different practical uses.. electronic zoom, perfocality manual focus VS auto focus at the loss of the other three)

Only systems with bigger front element (like a 400 2.8) are different and truly more sensitive. (and harder to lug about)

S
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No, the systems are not 'the same'. Of course larger pixels camera is more sensitive. In my example the S35 system had to be restricted by requirement of deep DOF (the lens had to be stopped down), had the lens been allowed to be wide open (in example Sigma 50-100mm at f/1.8 or other fast lens) of course it would have turned out to be more sensitive overall.

My point was that large sensor and associated with it shallower DOF can be a handicap sometimes. Whenever deep DOF is required, smaller sensor systems actually become more sensitive because they can achieve required deeper DOF without having to stop down the lens. Macro photography is a good example.
 
I'm getting ready to purchase the FS7 MKII and I *think* I've got everything I need figured out. Sony is sending one to test out this week, so I'll be able to decide if the kit lens works for my needs.



So here's my multipart lens question:

1)If I wanted to strap a 2/3 ENG lens on my FS7, I need an adapter...but with the centerscan option, I DO NOT need a lens with a doubler, right?
"You do NOT need a doubler but most HD lenses come with them so why not opt for that extra length?"

2) The ENG lens needs power for the servo to work- 12 pin Hirose adapter to...something...What is that something? Do I power it off a d-tap, or is there a cable that will plug directly into the power for the Sony handgrip?
"The adapters I've seen, supply power to the zoom via the standard Hirose lens connector."

3) Finding a quality 2/3 HD ENG lens on the used market doesn't sound like a lot of fun- Why does the stock Sony lens get a bad rap?
"There are plenty of HD and High Resolution zooms on the market. While the Sony zooms are sharp enough, they are fly by wire and don't react well to spontaneity."

4) Say I opted to get a longer non-ENG lens...what do I need to make it work with the FS7 and the Sony handgrip?
"Ain't happening. You need an electronic lens (smart lens) that talks to the camera. Pretty much a propitiatory thing."

5) My lens budget is about $3000 US
"You should be able to find a decent lens for that price."


Other miscellaneous questions-

-I'm thinking about a Cinebags CB40. Have a KATA for the JVC. Had a PortaBrace for the 370- not enough room for all the kit AND it ruined two pairs of pants. I need a bag that can fit in most overhead bins plus carry a wireless kit, light and other odds and ends. What works for you guys?
"Wow. Trying to fit all that stuff in one bag would be tough. Personally, I stopped doing carry on years ago. I ship in Pelicans and just break the camera down into foam fitted compartments."

-How are you guys attaching wireless receivers? I'm thinking cheese plate> Anton Bauer universal plate/wireless receiver kit and box> Anton Bauer Gold Mount on the back of the camera. Might as well keep using the existing batteries, right?
" I'm a Velcro kind of guy. All my Gold Tops have Velcro on them and I even put Velcro on the little mounting plate Sony supplies to mount the wifi controller thingy, so I have more mounting real estate. And I utilize Cinearms."

I'm sure I'm leaving something out, but sometimes you don't know what you don't know or need to ask.

Thanks![/QUOTE]
 
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Where's the emoticon with the smiley face eating a bag of popcorn?!?

I love these techie spats!!

( I actually learn something from them, despite most of it being way above my head. )
 
morgan_moore said:
Y
2/3 lenses is a minefield of options for a start there are are least 2 types of adapters - ones with and without optics.
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I've seen conflicting reports on adapters...Some posts say you MUST have an adapter with optics AND a doubler, others say options and NO doubler, still one more says NO optics plus doubler would work.

I suppose I could always go no optics and see what happens...but I'd rather get everything at once and be done with it.

I am waffling between a Fuji 22x and a Fuji 17x lens...there's about a $2000 price difference.
 
My rough observation

No glass adapter (cheap)
Doubler engaged covers about 80% of full chip, all of crop mode

My favourite option is here.. Shoot 4k with some crop bars - crop in post to get a 3k master

Different "with glass" adapters do different things..

1) expand doubler image to cover the whole s35 frame
Abel and tls adapters?
2) expand non doubler image to cover crop sensor mode.. Or extend the lens with engagement of doubler
Sony adapters for f5/55

I think the fs7 is fundamentally weak if you are restricted to only using it on crop mode (1/3 of the sensor about)

Personally I don't think you should sink dollars here - start with a no lems adapter and a cheapo Sd lens
Any more cash sunk and you are better with the aony 18-110 or the new Fuji

The lens you choose will also have an effect as some overproject (cover a bit more than 2/3) and some don't - most likely the wider lenses overproject less
 
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About 80%

Shooting no adapter you see the edge of the image circle and bad aberrations at the edge of the image - you or your client will judge at what point you feel these abrerations are not acceptable and must be cropped out

The funkier the project the less cropping

You may get different percentages at different amounts of zoom
 
So you can use SD glass on a 4K camera? This is another one of those questions I can't quite seem to find a proper answer for online. Seems a little counterintuitive, but then math and physics were never my strong suit.:Drogar-Shock(DBG):
 
IATM112 said:
So you can use SD glass on a 4K camera? This is another one of those questions I can't quite seem to find a proper answer for online. Seems a little counterintuitive, but then math and physics were never my strong suit.:Drogar-Shock(DBG):
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Just a thought.. have you considered s16 zooms.. shoot in crop mode.. no optics needed.. less CA.. the original idea that Sony put in a crop mode function.. sorry another stick in the fire !
 
I have, but given the majority of my shooting is around race cars, I need something that I can zoom and focus very quickly. I'm afraid that relearning how to do all that with a non-servo lens at an event would be a bit unpleasant. Something like the Zacuto Tornado for focusing could work, I think.
 
I would not recommend using SD glass. I've seen SD glass fall apart on old 1080 2/3" cameras. Now blow that image up about 2 1/2 times and project it onto an even higher rez sensor...

I've spent almost the last 20 years covering motorsports.. You want the versatility and range of an ENG(type) lens. It makes life SO much easier and you can get so many more shots. I took my F55 to the track last year for the first time and I shot the first practice with my Canon 70-200. I wanted to go home... I brought my ENG lenses with me(Fujinon Premiere HA 22x & 13x HD lenses) and my IBE Optics HDx35 markII adapter and slapped my 22x on(this was also before I bought the Canon 17-120). It lived on there the rest of the weekend until the sit-down with the winner when I pulled out my Canon Cine Primes.

The IBE HDx35 mark II is pretty good. I've used it on my F55 and my C300 with good results and all for national networks. The HDx35 is not cheap, BUT it has all of the optics to cover and correct for a s35 single chip camera, meaning you DO NOT have to use center crop and you DO NOT have to use the doubler on the lens. So that means you STILL have the center punch AND/OR extender available to you IF you need it. I did try using the extender and center punch on a shoot and it gets soft and hard to focus, but using one or the other is still useable. It's another tool in the toolbox that opens up a lot of glass with range and versatility that does not exist in s35. The biggest downside of the adapter is that it costs you about 2.5 stops. No problem outside during the day, but inside and when it's dark, you're gonna have to crank the ISO/gain.
 
It looks like the MTF system is probably the most cost effective solution. The HDx35 looks great, but that cost is a killer considering everything else I need to get. It will be nice to have some day.

Thanks for the input and advice. It's always nice to hear from someone who has the exact information you are looking for!
 
Sd glass - 4k camera?

Well firstly imo you do not have a 4k camera you have a camera that lays 2-3k of information onto a 4k file - also I'm assimg your final delivery is hd.

You can use a beer bottle as a lens if you want an arty look or a lens from a 60s zenit camera or whatever

So you either like how the lens looks or not.

If you want the clear sharp look of broadcast f1 racing of course SD glass will not deliver

If you want a look that is more vintage/rush/Instagram then maybe.
 
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