AF-101 'on the set': some pics

Hey Gary (or Barry for that matter),

You've said this camera really benefits from fast lenses, if most of my lenses are say around T3 (f2.8) at there widest apertures, is that a decent starting point or should I be looking for faster glass around T1.3 or T2? I know its highly speculative right now since this camera is still technically a prototype but any insight is helpful. Thanks.
 
Joe Walker said:
Hey Gary (or Barry for that matter),

You've said this camera really benefits from fast lenses, if most of my lenses are say around T3 (f2.8) at there widest apertures, is that a decent starting point or should I be looking for faster glass around T1.3 or T2? I know its highly speculative right now since this camera is still technically a prototype but any insight is helpful. Thanks.
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I think it now can be only speculative. F2.8 is a good starting point. Kit lens is 4-5.8 and if you use a 135mm f2.8 you have than 2 stop in that focal range.

F 2.8 is still good for low light, but if you are interested in extreme lowlights shootings and night shootings f2 (or less) lenses are required.

We should also consider that video noise is minimal, so we can use gain without a significative image degradation
 
Homunculus said:
It should not need a special fancy "mode" (which raises a lot of noise by the way) like DRS just to have equal DR with a 1400$ camera.
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Maybe it will... who knows. Either way... just because something's more expensive, doesn't mean it will be better.

Case and point... Arri Alexa.
 
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Barry measured 10.5 stops--that's impressive. Our HPX2700 in Film-Rec 600%/AVC-Intra 100 has 11 stops of latitude. When using HD gamma with the 2700, sensitivity is better, but latitude is compromised, same with our HPX170 and HDX900.
 
from what i saw of it at the hd expo in nyc, it looks like it's shaping up very well. I think that 30% more they are working on is definitely there though, but nothing unachievable but the best and brightest at panny. I felt like the blue channel still needed a lot of work, it suffered a lot under tungsten light, a common thing in digital sensors. Set at 400 iso (the lowest the camera to go, a bunch were greyed out) I still noticed (what i consider a unreasonable amount of noise) in the subtle shadow areas. If they can get their blue channel to get clean at, at least 400-800 iso, this camera is gonna be pretty cool.
 
camera body only a mother could love, but no moire is going to be sweet.

can you tell me what camera mount that is?
 
Barry_Green said:
On the stouffer backlit chart the 7D measured 8.3 stops. On a DSC backlit chart the AF100 measured 10.5 stops.

There is no need to worry.
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Hey Barry,

I'm gonna be a pain in the butt here and ask what the 7D settings were?

Auto lighting optimizer off?
What iso?
Was the reading done from a QuickTime? A professional monitor?
If it was a QuickTime, what was the gamma?

Was D+ off?

What picture profile?

I don't want to defend Canon - just curious about all the many variables that comprise such a
Test.

-Dan
 
As we seem to already have folks getting hands-on experience (and apparently testing), exploring the traditionally problematic aspects of DSLRs... the thing I am wondering most about doesn't seem to be talked about hardly at all. I'm extremely curious how the rolling shutter is working out. Not just in a "it seemed good!" sense, but in a "it looks better/same/worse than X camera" or something. I understand it's a difficult thing to quantize, but as the technical details are as of yet unreleased, hands-on comparison seems the only way to get a gauge of this. Has anybody studies that aspect yet?

Edit: My apologies, I hadn't read the NYC thread yet, where Barry said:

"In terms of skew? Blows away the HPX300 in 1080/24p skew performance, and about matches it in 60p. It seemed much more on par with the HPX370 (and, accordingly, the EX1/EX3 and Red One). They are all pretty much state of the art for skew, and the AF100 seemed to be about the same."

Which pleases me greatly.
 
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Barry_Green said:
There's a whole thread on it, I think the title was something like "Canon 7D: meet the Stouffer 42-step chart" or something. All was explained there.
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Eyes lie, tests lie... That test said 7 stops Zacuto said 11... Who knows what to believe.

Do people honestly believe the 7D is only hitting 7 stops because of this test? That's absurd. If the 7D only had 7-8 stops it would look like a flip video camera. No offense to anyone, but I'll believe my eyes over all these stupid tests.
 
And I will believe documented tests with calibrated test equipment, over subjective opinion. To each his own.

The 7D is capable of 8.3 stops of dynamic range. And Art Adams got the exact same results out of the 5D. And DP Review got the exact same results out of both.
 
aalleexx said:
What kind of mechanical lenses, examples?
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In the short film were used:

- Zeiss primes with Nikon mount
- Nikon

Personallly I've tested my 2 sets of old lenses:

- Canon FD silver nose
- Zeiss Jena, Jupiter, Industar and other russian M42 lenses
- Samyang 85mm

Using these lenses on AF-101 was very difficult if not impossible to distinguish between expensive Zeiss primes and old DDR lenses. There was a big mechanic difference, but no visible difference on a plasma full HD monitor. Zeiss Jena 20mm, 35mm, Pancolar 50mm e Jupiter 85mm were incredibly sharp, even wide open (lenses are good and vignetting helps).

Regards

Gary
 
How do you like the Samyang 85mm? Both Optically and mechnically?

I think if Samyang decided to make a set of Cinema/Video Optimized Lenses in a full range of lengths from 16 to 100 they would really be able to sell A TON. Imagine the dampening of a cinema lens, geared Focus and Iris, with a univeral back the like the CP2's, universal 80mm OD fronts with 77mm ID filter threads and under $1500/lens - boom - you have Red Pro Prime / CP2 killers.

How did chromatic aberation manifest itself among the different lenses on the sensor?

Thanks!
 
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