F3: New lens, new viewfinder testing

captslomo

Well-known member
Mounted a couple of new toys on the mighty F3 this week, which can also play with any of the other Fs:

1. The new Tokina 11-20 f2.8 WA. I've rented the older 11-16 before for those tight quarters shoots, and liked it a lot, so I bought the newer 11-20 to get the same WA view, and a little longer set of legs. Lens is very sharp and showed almost no flaring while shooting in a master bath environment with many CFL light sources. Only two complaints, one minor, one more significant--82 mm glass for filters means a new set of gear to go with the lens. NBD. Bigger issue for me is that this 2.8 lens appears to ramp a bit on the long end. According to my in camera spot meter, about a 12% loss of light from wide to telephoto. This is signifcant enough that I can't really use a real time zoom (not that these cine-style lenses lend themselves to that), but we all have those directors that ask "can you also do a pull on that?" I'm curious to hear if this ramping is an unavoidable part of the new lens specs, or whether I've got an issue. My other 2.8 Nikon glass, by comparison, averages only about a 1% change over the zoom range.

2. Zacuto Gratical OLED EVF. My Alphatron is off to get its LCD screen replaced due to burn-ins, so I rented a Gratical to use. Wow. This is a great image for an EVF...bright, good color, extremely sharp! Very easy to focus, and a very wide range of diopter adjustment for those of us with old eyes--far superior to the diopter ring on the Alphatron, which just disintegrated into several pieces last week . Lots of nice tools inside...can lift the picture to the top of the screen and display histos, WF and vectorscope below.
As always, a few things that could be better: This puppy is expensive by today's standards. Of course, I also paid nearly $9K for a color viewfinder for the HDCam years ago, so everything is relative. The Gratical has a soft rubber magnetic diopter cap that flops back over the eyepiece as soon and you lift your face away from the EVF. It took about 5 minutes for this to become a real pain. The tiny OLED also means there is no flip-up of the eyepiece to monitor the image from outside close quarters. The Gratical runs off Canon 5D batteries, and you only get about 3 hours of burn time, even if you try to reliably turn it off between set ups. There is an optional D-tap cable, but it looks like kind of a clunky Canon battery simulator that clicks into the battery slot on the outside of the viewfinder, so not an elegant solution. Two other minor issues: there are four assignable buttons, with two-stage inputs. But if you, for instance, add zebras to the button, you lose the zebra function every time you turn the viewfinder off, so you have to hit the assignable button again on power up the zebras. I could never get it to repeat reliably, but on some power ups, the Gratical displayed nothing but a white screen on the OLED display. It seemed to happen most often when the Gratical was powered up before the camera, but not always. Each time it took a power cycle of the EVF (with the camera on) to restore full function.

Always fun to get some new gear and put it through its paces...
 
A viewfinder makes a big difference with the F3. It turns it into a real camera. I still have my F3 with a Sony viewfinder and I'm not selling it! Not for the prices they are selling because is just plain dumb to sell them for so little. People are giving them away just because it's not 4K but the F3 kicks the GH4 and other cheap 4k cameras butt in image quality.
 
Captslomo,
i also use Gratical HD with FS7. I agree, general a great pice. Firmware 1.1 solved some things. May i ask for a solution ?
What makes me crazy is, if i turn FS7 display on and use focus assistant (red) in Gratical all display information from FS7 "shine in beautiful red" in Gratical so that its often difficult to find out what is "FS7 display red" and what is object red you are focusing for. Turn of display FS7 is not the solution becouse i dont have tally light for recording information. General focus assistant is very helpful for me (to be secure in focusing) but not with this unnecessary red extra stuff. As i am not an experianced user,i ask is this normal in external EVFs and how can i mabe solve this unwanted "extra red".
thanks for your reply
klfi
 
Stratos: what Sony viewfinder did you mount on your F3?

Kifi: Can't help you there. I was using an F3 not an FS-7, and did not enable any of the Gratical's red focus assist shadings.

Anyone else used the Tokina 11-20 yet?
 
There's been a plethora of DSLR lenses released to market that are non-parfocal. In other words, they shift f/stop as you zoom. This makes them pretty problemmatic for cine use. Personally, I refuse to use any non-parfocal lenses. There is a workaround if you do your own editing. By keyframing the zoom, assuming the zoom was done in a smooth ramp, one can make a keyframed exposure adjustment to take out the aperture change. It works quite well to do this in either Resolve or media Composer. Don't know about premiere or other NLE's.
 
There's been a plethora of DSLR lenses released to market that are non-parfocal. In other words, they shift f/stop as you zoom. This makes them pretty problemmatic for cine use. Personally, I refuse to use any non-parfocal lenses. There is a workaround if you do your own editing. By keyframing the zoom, assuming the zoom was done in a smooth ramp, one can make a keyframed exposure adjustment to take out the aperture change. It works quite well to do this in either Resolve or media Composer. Don't know about premiere or other NLE's.

You are confusing terms. Whether the lens is parfocal or not depends on something else. It is the focus that does not shift in the parfocal lens as you zoom, not the f-stop. You are talking about constant aperture zoom vs non-constant aperture zoom.
 
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You are confusing terms. Whether the lens is parfocal or not depends on something else. It is the focus that does not shift in the parfocal lens as you zoom, not the f-stop. You are talking about constant aperture zoom vs non-constant aperture zoom.

You are both correct: constant aperture still zooms DO LOOSE T-stop value from one end to the other... My worst experience is Canon's so called "red line" pro lens 24-105/4... Never did a "scientific test" but out in the wild, you can see it just by looking at the scene in your EVF...

As for OP, I do own F3 and I got GraticalHD (for this camera) and any other I might use from rental or assignment where camera is provided. For me, as a shooter (not director or producer) having this great EVF is worth every penny. Yes, it's pricey (comparing to "wanna be" third party viewfinders/monitors with loupes we had to deal over the years), but what other PRO tool is not?

Not to defend Zacuto pricing policy, but somehow this company gets trashed for that (pricing) every time they come out with something "new and good". Why should they be different than any other U.S. based brand (RED comes to mind...). At this moment thier product is "one of a kind" and if nothing, they should charge premium. As far as not being 100% operational: I am sure they will fix that sooner than later with firmware (just like any other new device). We are all beta testers. It is another reality we live/work in... My F3 is "beta tested" to the last circut board and wire... Still works like a charm. But, it's "worth nothing" comparing to original selling price. Still a great tool, but surpassed by newer and more powerful machines...
 
You are both correct: constant aperture still zooms DO LOOSE T-stop value from one end to the other... My worst experience is Canon's so called "red line" pro lens 24-105/4... Never did a "scientific test" but out in the wild, you can see it just by looking at the scene in your EVF...

How is he correct referring to a lens which does not loose T-stop value when zooming as "parfocal" ?
 
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