Seth Marshall
Forum Replies Created
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THANK YOU!!
Exactly what I was looking for!!
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Thanks for the response, your post is actually more helpful than you realize.
I despise GoPro cameras and try to avoid working with them at all costs – hence my search. But my avoidance of them cause me not to be aware of lens hacks. I didn’t realize you could do that! So, that is actually very helpful to know.
Still, I hate how everything is auto with them and prefer Sony MC1s for that reason. Thanks for the response though.
EDIT: I just did some searching and haven’t found what I’m looking for. Do you have any sources for these additional lenses and modifications? Also, has there been a way to lock exposure that I am unaware of? Or any type of manual control?
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Guess not…. No one cares..
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No one knows?
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Thank you for that detailed explanation. I understand MTF, vignetting, chromatic aberrations, and the other issues at the edges of the image circle. I don’t remember hearing about telecentric design for 35mm but I thought m4/3s was created with this in mind (I also own an AF100).
But as far as quality — Why then in the 35mm still photography world professionals consider Canon L’s to be more than adequate (if not top of the line) for full-frame and APS-C? Totally different lens and use, I know, but regarding IQ and MTF still photo pro’s don’t really require anything better (aside from larger formats of course). And they have pretty high standards.
And why don’t Cine lens manufactures make the obvious choice to make use of a sweet spot by designing full frame style lenses with larger image circles?
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This reply is very helpful for me, thanks! Are there tweaks you perform in camera when shooting the grey card? Do you have a preference/recommendation for grey card?
I believe this tool would be most useful for my situation but I’m always open to learn/offer more. For my location work I usually have a small lighting package and work with available fixtures including fluorescents (ex: a library). I want to be able to fix color issues in post the best I can.
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Thanks for the reply. Do you know where I can learn more about the matrix? I’ve mentioned before how I want to move forward in my career.
For what I mostly do now there is definitely no time for that level of precision, I would probably at this time buy a cheaper chart if you feel it is adequate. Am I right to assume color chips wouldn’t be as important as white, black and grey? …..again, do you have a recommendation for where I can learn more? 🙂
Thanks so much for your time!
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I have my used lenses (and cameras) checked out at AbelCine in NYC where I live. Todd, I’m shooting this week in Memphis–writing from the Peabody hotel right now!
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Thank you so much for your replies. And yes, Bob, great advice, I’ve been very lucky with finding excellent used gear. John, you kept that lens in immaculate condition! I absolutely love it and jaws drop whenever I pull it out. It looks almost brand new still — it’s hard for me to trust ACs to keep it ding free, haha.
I thought the resolution and MTF on these lenses were more than adequate for cinema. Especially if a still photographer’s highest end glass at a fraction the cost resolves fine with 20+MP sensors. Is my misunderstanding because I have no experience with projection? — I do understand contrast, resolution, MTF, image circle coverage/crop factors. You mention RAW being a contributing factor…? It seems I’m missing something.
(Also, is there a true definition for legacy lenses as I hear the word used incorrectly at times, haha)
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Forgive my thread hijacking… But I like to be up to speed and news of lens classes possibly becoming obsolete is certainly something I want to know about. Currently I’m not shooting at that level, my best rig being HDX900 and my Canon 21×7.5 Cine (that I bought from YOU!) but I’m young and my goal is to reach that level. Any glass I possibly invest in I want to be the best. (and I thought you just bought an Optimo?!)
Can you point me to literature explaining why you feel even recent PLs won’t cut it in the future! Thanks!