Where is Panasonic in this game?

jmarkham said:
There are a lot of trade-offs done in the optics with regard to their target imaging size. In the case of a full format EOS lens, a smaller format sensor is looking down
a different/narrower field of the lens than a larger sensor would.
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35mm Full Frame Still Photo lenses are designed for ultra-high resolution imaging when viewed from a 1080 HD video perspective.

- the Canon 5D MK2 has a 21 million pixel sensor

- the 1080 HD video format records roughly 2 million pixels of information

- The center imaging area of every 35mm Full Frame Still Photo lenses is considered to be the "sweet spot" where maximum resolution and least amount of vignetting occur, so Cine and MFT formats would only benefit from using the best imaging area of these lenses.

- Any 35mm Full Frame Still Photo lens that performed poorly when used for video production would be a bad lens for still photography work also.

- Yes, Cine and MFT lenses may have much higher performance than the 35mm Full Frame Still Photo equivalents, but this is a mute point when recording 1080 HD video. Perhaps this will become an issue once 4K video becomes the norm.
 
4K will become the norm quite quickly IMHO. That's why I'm encouraging Panasonic to jump
in .. since they're not, we're one of the schmucks in the line waiting for our Scarlet to show
up. It's like the Super Lotto of production lot assignment. Panasonic is much better at
scaling production to volume than RED is .. but that goes without saying.

Have you looked at an EOS 70-200 down an AF100 zoomed all the way in?
 
Personally and practically I believe that 2k capture resolution is the technology sweet spot.

Everything else for capture is a "waste" considering display and delivery technology... now and for a long, long time. (if ever) .. apart from maybe cinemas.

Everything is mostly bound by bandwidth issues.

Broadcast TV is basically mpeg , DVD is basically mpeg, bluray is basically high bit rate mpeg, the web is super constrained ....cinema can be what it wants practically.

Bandwidth will alway be constrained. You cant make "band carriers" out of nothing.
 
That brings me to my little dilemma. I want to get a external recorder but throwing more money at 1080 and what the near future holds as a acquisition format does concern me. The internal codec has done me right and I would rather have more lenses. Oh the dilemma of a gear head……...
 
Erik Naso said:
That brings me to my little dilemma. I want to get a external recorder but throwing more money at 1080 and what the near future holds as a acquisition format does concern me. The internal codec has done me right and I would rather have more lenses. Oh the dilemma of a gear head……...
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When confronted with these dilemmas, I refer to my mentor ..

Toweliehigh.gif

I tend to choose both :-)

jeff
 
Erik Naso said:
That brings me to my little dilemma. I want to get a external recorder but throwing more money at 1080 and what the near future holds as a acquisition format does concern me. The internal codec has done me right and I would rather have more lenses. Oh the dilemma of a gear head……...
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Throw your dough at lenses...
 
jmarkham said:
When confronted with these dilemmas, I refer to my mentor ..

View attachment 46955

I tend to choose both :-)

jeff
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The next time you are in Little Rock you need to stop for a visit, as it's been a long time since I've had a good visit with Towelie.

Being somewhat of a lens whore, I'd be throwing my dough into more lenses, but with tax time right around the corner I need every penny I can for the moment.
 
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jmarkham said:
Have you looked at an EOS 70-200 down an AF100 zoomed all the way in?
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I haven't used many Canon EF lenses ( I sold all my Canon glass and switched to Zeiss and Nikon ), but I have used the Nikon 80-200mm f/2.8 zoomed all the way out to 200mm and was very impressed with the image I was recording. ( the lens totally dwarfs the GH-2, but it's great lens for the MFT format )
 
Erik Naso said:
That brings me to my little dilemma. I want to get a external recorder but throwing more money at 1080 and what the near future holds as a acquisition format does concern me.
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I'm looking forward to upgrading to Red Scarlet but plan to continue using Micro 4/3 cameras as B and C-cams. One thing I noticed is that Scarlet in 3K format has the same 2x crop factor as the AF100, which would give shared lenses the same FoV. The 3K mode has a 3072x1620 frame and records up to 48fps. The 3K frame size is exactly 1.5x higher resolution than a 2048x1080 frame, which should produce high quality downscaled 1080p results and intercut readily with M4/3 footage.
 
mcgeedigital said:
Good glass is forever.
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I wonder what the future will bring us in image acquisition. Are the days of a lens as an image acquisition medium numbered?
If not, what makes one glass so much better than the other. Is it the way they polish the surface, is it the coating, the purity of the glass material or the different glasses they use. And what about fast glass. What makes it so fast. I mean, Imo every manufacturer of lenses now a days is using an automated computerized production process, so mass production of very good fast glass is possible at low costs or not?
 
lpowell said:
I'm looking forward to upgrading to Red Scarlet but plan to continue using Micro 4/3 cameras as B and C-cams. One thing I noticed is that Scarlet in 3K format has the same 2x crop factor as the AF100, which would give shared lenses the same FoV. The 3K mode has a 3072x1620 frame and records up to 48fps. The 3K frame size is exactly 1.5x higher resolution than a 2048x1080 frame, which should produce high quality downscaled 1080p results and intercut readily with M4/3 footage.
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That's really interesting. So if I understand you correctly it would be possible to set up for 3k on the Scarlet and use m4/3 lenses without vignetting? Huh....
 
hscully said:
So if I understand you correctly it would be possible to set up for 3k on the Scarlet and use m4/3 lenses without vignetting?
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Not unless Red makes an M4/3 mount for the Scarlet that doesn't vignette. What I'm looking forward to is using my Nikon AF-D lenses on the Scarlet as well as the GH2.
 
lpowell said:
I'm looking forward to upgrading to Red Scarlet but plan to continue using Micro 4/3 cameras as B and C-cams. One thing I noticed is that Scarlet in 3K format has the same 2x crop factor as the AF100, which would give shared lenses the same FoV. The 3K mode has a 3072x1620 frame and records up to 48fps. The 3K frame size is exactly 1.5x higher resolution than a 2048x1080 frame, which should produce high quality downscaled 1080p results and intercut readily with M4/3 footage.
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The Scarlet is an S35 sized sensor .. which is larger than MFT ... so you'll likely get some sensor coverage issues using MFT lenses on the
Mysterium-X sensor (approx. 26x14.5mm coverage). I would go the other way .. get lenses that work on the S35 format and (with mounts)
will be useful on the AF100 as well. The Super35 sensor size has gained a lot of traction...
 
jmarkham said:
The Scarlet is an S35 sized sensor .. which is larger than MFT ... so you'll likely get some sensor coverage issues using MFT lenses on the Mysterium-X sensor (approx. 26x14.5mm coverage)
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The RED Scarlet X usable sensor size varies with the format and frame rate you are shooting, so if you want to shoot at 48 fps you have to select 3K or smaller, and this shrinks the usable sensor area to something close to or smaller than the MFT sensor size. ( the RED Epic does not have the same limitations )
 
jmarkham said:
...you'll likely get some sensor coverage issues using MFT lenses on the Mysterium-X sensor.
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I can't imagine anyone buying a Red Scarlet with the expectation of using it with Micro 4/3 lenses. With few exceptions, M4/3 lenses don't have good manual control of aperture or focus and aren't well-suited for video, even on the AF100.
 
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