FS7: dont throw away your 18-200

markfpv said:
+1 Cheers to throwing away bi-focals. :happy:
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Unfortunately not me. Not only do I wear progressive bifocals but nowadays I double up with a pair of plastic close-up drugstore reading glasses in front of them whenever I have to look at a monitor that's close to me. Even with AF I want to be able to verify. "Trust but Verify" . Ha - Never thought I'd be quoting Reagan !
 
Doug Jensen said:
I think face detect and Fast Hybrid are good enough to use in the right situations.
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I used the power zoom version of the 18-200 in combination with Face Detection for shooting live performances. Worked remarkably well as long as it was a decently lit stage. Unfortunately I sold it along with the Sony EA50 it came with. Still miss it.

Now my dream camera is an A7III (or at least what will be the A7SIII) put in an FS5-style body. At the very least they need to bring the AF innovations/progress from their A7 cameras to their video cameras!
 
Well, it's a lot easier to build in great AF with cameras that have fixed lenses and small sensors (Z280, Z90, etc.). But don't worry, that technology (and more cool stuff) will be coming to the next generation of big sensor cameras.
 
How is the image and AF in 4K? Just did a few TEDesque presentations with the 18-105 and 18-110, both showed some notable distortion.
 
mcbob said:
How is the image and AF in 4K? Just did a few TEDesque presentations with the 18-105 and 18-110, both showed some notable distortion.
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If you are asking me, I have no idea because I wouldn't use AF with those lenses. At this point in time I will only use AF on the cameras that have integrated lenses, such as the Z90, Z280, etc.
 
mcbob said:
How is the image and AF in 4K? Just did a few TEDesque presentations with the 18-105 and 18-110, both showed some notable distortion.
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Depends on the camera used. Regards distortion the 18-105 must have lens correction turned on to correct barrel to pincushion if used with the FS7 so therefore you are limited to Rec 709 shooting in 4K or burnt in LUTs on the Mk I. Autofocus is average. The 18-110 if used on the FS7 must have the lens correction turned OFF. Well not must but that is what stipulated with the documentation that comes with the 18-110, turn compensation OFF. With lens compensation turned off the 18-110 is as rectilinear as most decent rectilinear lenses are. Even with the distortion correction OFF you still have CA and corner correction still working. This of course then lets you shoot with a monitor LUT without having to burn the LUT into your footage. Lens compensation turned on forces the burning in of a LUT in the FS7 when shooting LOG. FS7 with 18-110 autofocus is again average or a little above. Both lenses when used on A series mirrorless bodies need lens compensation turned ON otherwise there is a reasonable degree of distortion that runs from barrel to pincushion. Both lenses perform far better in autofocus mode on the A series bodies, much better especially on the A7III. The 18-110 is a far sharper lens in 4K than the 18-105 and a much nicer proposition to use being much closer to a true manual lens. The biggest downside of the 18-110 if you are concerned about bokeh it has a very similar look to a Cooke lens with it's seven bladed iris. In general day to day shooting I don't really notice it.

Chris Young

Chris Young
 
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