Hasselblad H6D - Medium Format, 4K raw video

I haven't shot MF since college, on film... But I seem to remember the lecturer saying that even with an equivilent FF lens, when shooting wide... the MF, (let's say 50mm) wouldn't distort like the FF equiv. (24mm?)

Maybe he was wrong.

But I am more excited about the hassy colour and skintone than MF.
 
what used to be Medium Format was 120/220 film which is 6 cm wide, so different cameras had different formats using the same film....6x4.5 was the smallest of all these formats and back then considered a compromise between MF and 35mm....you could actually get a decent number of frames on one roll of 120 and still get a slightly larger negative then 35mm.....this 100mpix sony sensor is the first to actually cover that 645 area.....all sensors before where actually even smaller and most barely twice the size of 35mm, so the MF "look" coming from the larger sensor area is barely there anyway....
6x7, 6x8 and especially getting into large format 4x5" has much more of a "look" then any of these digital MF backs ever had....
there is nothing worse then the days when they made MF backs for actual analog MF cameras and you look through the finder and see the center crop of what used to be a glorios viewfinder....
leica has a S line which has a 30x45mm sensor (to keep the 35mm ratio) and their lenses are all quite a bit faster then the hasselblad lenses..plenty of f2.0 there....that is the last MF camera i have shot with and it is hard to justify....the files are actually a little behind the a7rII when printed big....but that is "only" 37mpix.....there is no sign of a MF look over the smaller dslrs....
i am sure this new 100mpix sony sensor is the king of the hill right now when it comes to still capture....as long as you can live with slow AF and slower shooting in general.....

like i said before the leica S shoots 4K video.....in a S35 cropped window....it does do HD from the full sensor (30x45mm) .....
i would really like someone to show me the actual specs of the H6 video capabilities not marketing material....
 
Jay Birch said:
I haven't shot MF since college, on film... But I seem to remember the lecturer saying that even with an equivilent FF lens, when shooting wide... the MF, (let's say 50mm) wouldn't distort like the FF equiv. (24mm?)

Maybe he was wrong.

But I am more excited about the hassy colour and skintone than MF.
Click to expand...

that lecturer was referring to larger capture areas that where the norm with film capture....
this 100c has a sensor size of 54x40mm so a "normal" lens (a 50) would be a 65mm....so a "24" for this camera would be the 28 (probably more like a 21) or the 35 (probably more like a 28)

to have a 50 be the equivalent of a 24 you would need to go to probably a 6x8 or 6x9 film (sensor) size....and at that point, i agree completely, you get a different look....it's like stitching several exposures from a 50mm into one larger image.....which does not look like 24mm at all....

that is the reason people still like to shoot 4x5, 8x10 or with the incredible 20x24 polaroid camera....
 
Paul schefz said:
that lecturer was referring to larger capture areas that where the norm with film capture....
this 100c has a sensor size of 54x40mm so a "normal" lens (a 50) would be a 65mm....so a "24" for this camera would be the 28 (probably more like a 21) or the 35 (probably more like a 28)

to have a 50 be the equivalent of a 24 you would need to go to probably a 6x8 or 6x9 film (sensor) size....and at that point, i agree completely, you get a different look....it's like stitching several exposures from a 50mm into one larger image.....which does not look like 24mm at all....

that is the reason people still like to shoot 4x5, 8x10 or with the incredible 20x24 polaroid camera....
Click to expand...

I have the 24, 28, 35, and 50-110 H lenses on the H5d-50c. The 24mm is equiv to an 17.5mm 35mmFF, the 28 is like a 21mm, 35 like a 28mmFF and so on. This is on the smaller 43.8 32.9mm sensor. Which is still big. On this new 100mp sensor all those lenses just get that much wider.

Now my back at 43.8 x 32.9 is just a smidgen less than double the size of 35mmFF. If you want to visualize the difference, imagine the quality difference between M4/3 and FF 35mm and the boost you get in image. Then add 16bit color with Hasse's true color tech on top of that.
 
Last edited:
dustylense said:
I have the 24, 28, 35, and 50-110 H lenses on the H5d-50c. The 24mm is equiv to an 17.5mm 35mmFF, the 28 is like a 21mm, 35 like a 28mmFF and so on. This is on the smaller 43.8 32.9mm sensor. Which is still big. On this new 100mp sensor all those lenses just get that much wider.

Now my back at 43.8 x 32.9 is just a smidgen less than double the size of 35mmFF. If you want to visualize the difference, imagine the quality difference between M4/3 and FF 35mm and the boost you get in image. Then add 16bit color with Hasse's true color tech on top of that.
Click to expand...

mathematically these lenses are not equivalent to the 35mm lenses you mentioned...but they probably feel different anyway...

m4/3 is 17x10mm or 1/4 of the size of 35mm
35mm is 4 times the size of m 4/3
the 44x33 sensors are not even twice the size of 35mm
and these size differences become smaller as you go up....like mpix.... 10 to 15 mix is quite noticeable....20-30 less so....

there are already rumors floating about the A7rIII with 70-80 mpix being tested right now....with 6k video, coming this summer/fall...
i don't doubt there are application for this 100mpix chip and the amazing color it can provide and some people might need that extra smidgen of quality....

but to me hasselblad is going in the same direction as leica.....a luxury brand...i guess that is why they brought the new head of hasselblad in from the world of luxury brands....
 
Paul schefz said:
mathematically these lenses are not equivalent to the 35mm lenses you mentioned...but they probably feel different anyway...

m4/3 is 17x10mm or 1/4 of the size of 35mm
35mm is 4 times the size of m 4/3
the 44x33 sensors are not even twice the size of 35mm
and these size differences become smaller as you go up....like mpix.... 10 to 15 mix is quite noticeable....20-30 less so....

there are already rumors floating about the A7rIII with 70-80 mpix being tested right now....with 6k video, coming this summer/fall...
i don't doubt there are application for this 100mpix chip and the amazing color it can provide and some people might need that extra smidgen of quality....

but to me hasselblad is going in the same direction as leica.....a luxury brand...i guess that is why they brought the new head of hasselblad in from the world of luxury brands....
Click to expand...

Seriously man? You gonna argue with a person that shoots with the system everyday? My 24mm H lens is basically the same FOV as my 17mm T/S on the Canon. I know, because I use them side by side everyday.

And Hasse is not a luxury brand. It's a brand for the demanding professional. Kinda like how Arri is to many cinematographers.
 
like i said: mathematically...
the "normal lens" (the diagonal measurements the sensor) on the 44x33 would be a 55mm, on 35mm this is actually not a 50 but about 44mm....
but regardless, since the sensors have different ratios, comparing lenses is pointless anyway....


https://www.ephotozine.com/article/perry-oosting-on-the-hasselblad-h6d-29166
"Perry Oosting is Dutch, lives in Amsterdam, and commutes to Hasselblad's headquarters in Sweden. Before joining the Hasselblad board and then becoming CEO of Hasselblad, he was CEO at Vertu, a luxury mobile phone brand, working in London for 5 years, and before that over 10 years with Bulgari, Gucci, Prada. By profession is a Gold and Silver Smith, working 3 years in North America."

it looks like the H6D would be a great camera for you, i am sure they will offer great trade ins and i would definitely look into it if i was invested in the system....although some of the lenses don't seem to cover the larger new 100mpix sensor...
 
Kinda sad that Hasselblad advertise UHD camera, then on their Youtube channel, they don't upload any UHD video
 
I believe only 30Fps and the RAW is Hasse's own proprietary RAW which you will transcode in Phocus, a software used to tether the Hasse with.
 
dustylense said:
Absolutely. This feature is more for DMSC and getting 30fps stills, not for narrative cinema.
Click to expand...

Rolling shutter will affect stills pulled from video too. Their engineers may well have thought about this!

Not sure why everyone is so keen to use speculation to cast a negative spin on this release.... why not just wait and see, it's not like anyone will b edropping $35k +on this for video without real specs and footage.
 
I wonder how they are getting the 4k raw? Pixel binning? I'd love to see some violent handheld footage of a cat walking around a house because that's all were going to shoot on it anyway.
 
Jay Birch said:
Rolling shutter will affect stills pulled from video too. Their engineers may well have thought about this!

Not sure why everyone is so keen to use speculation to cast a negative spin on this release.... why not just wait and see, it's not like anyone will b edropping $35k +on this for video without real specs and footage.
Click to expand...

It's still a camera for the demanding stills shooter. The H5d has a live view at 12 fps. Hasse just stuck some new processors in this camera and figured, "We can get and record a video feed now that the live view is 30fps". But I will tell you that unless they drastically improved the Phocus software needed to use 4K RAW, the process will be slow. Phocus is a good RAW converter though, but its render times are slow in V2.9. Hopefully V3 of Phocus has picked up in speed.

I think it would be pretty darn stupid to "drop" $35k on this camera just for video when you could rent it. But for stills guys that shoot everyday (Like myself), that $35k is not worrisome. It pays itself off quite quickly and you write it off.

I see lots of people around the web calling Hasse "a luxury" item. It's for the rich with deep pockets. I guess they don't understand the advertising world of still photography and have never worked with ad agencies that won't accept anything less than 16bit capture or are looking for shots that require leaf shutter outside and the control that comes with it. Now think of the pay grade when you are "required" to use such camera? Then you shoot the job and you look at the work and compare it to jobs shot on ANY Dslr and it's hard to not use the Hasse or Phase system. Even for the simplest jobs. I look back at work I shot with the 5Dmk2 and wonder how it even was accepted. Total mush compared to MF capture.

A Hasse or Phase back is the closest thing you can get to feeling like film. The earlier backs were tougher to use as you were stuck at 100 or 200 ISO. The 50c and now 100C can easily shoot 1600 and 3200 ISO because of the CMOS in them. Then there is the color. The ability to calibrate the sensor through Phocus. And the lenses. Ah, the lenses. Just wonderful lenses. And then when you print out to a lightjet print or printer capable of full 16bit color. It becomes easy to justify the price and becomes painful to use the Dslr.....
 
You must log in or register to reply here.
Back
Top