Master Primes Vs S4

[Sanjin Jukic]

Yes and no. Longer focal length UPs are just as sharp as MPs. Wider MPs do not have any equivalents I would be aware of. Intrestingly, on MTF machine and on the projector the 14mm MP measured sharper than 35mm MP and this was corner to corner fully opened and outresolved 4k in the entire field by miles, which seems to defy the laws of physics...:wink:

More about physics:

"The Canon FD 1.2/55mm SSC Aspherical

Here we entering a new game. With this lens Canon used every trick they knew. The lens was in its day (1975) the most expensive standard lens in the world, even more expensive than the Noctilux 1.2/50 from Leitz. There were 8 lens elements, one aspherical surface and a kind of floating construction where the last lens stayed in postion and the rest seven elements moved as agroup when focusing.

At 1.2 the central disc shows a clear but low contrast image where 154 lp/mm can be easily seen. In the outer zones we see the performance drop from 77 to 50 lp/mm and even the corners have 50 lp/mm. Amazing as it seems to be, but this lens is wide open better than the other designs at f/4 and smaller."

We should not forget that there are FF35 mm lenses compared to MPs that are S35 mm size.

Read more>>>

 

[Pawel Achtel]

More about physics:

"The Canon FD 1.2/55mm SSC Aspherical

Here we entering a new game. With this lens Canon used every trick they knew. The lens was in its day (1975) the most expensive standard lens in the world, even more expensive than the Noctilux 1.2/50 from Leitz. There were 8 lens elements, one aspherical surface and a kind of floating construction where the last lens stayed in postion and the rest seven elements moved as agroup when focusing.

At 1.2 the central disc shows a clear but low contrast image where 154 lp/mm can be easily seen. In the outer zones we see the performance drop from 77 to 50 lp/mm and even the corners have 50 lp/mm. Amazing as it seems to be, but this lens is wide open better than the other designs at f/4 and smaller."

We should not forget that there are FF35 mm lenses compared to MPs that are S35 mm size.

Read more>>>

55mm is walk in the park. Try 14mm, clear 150 lp/mm resolved corner to corner at f/1.2 :whistling: No drop to 70 lp/mm to be seen, anywhere!

 

[Sanjin Jukic]

55mm is walk in the park. Try 14mm, clear 150 lp/mm resolved corner to corner at f/1.2 :whistling: No drop to 70 lp/mm to be seen, anywhere!

I just want to point out "Dark Knight" movie and use of still lenses with IMAX camera.

If you haven't seen the film at the cinema with IMAX projector then take Blu-Ray edition of the movie

and watch it in your home cimema on plasma display.

Then you compare "Dark Knight" (shot partly on IMAX camera using still lenses) with BD of for example of "No Country for Old Man" that shot with MP.

And "HA!" what a difference now and all that stories about lp/mm are dropping in water.

Could be that some of the respectful still lenses in their S35mm sweet spot same or even better than MP in the "lp/mm corner to corner race".

Also have a look and read at this papers below:

LINK>>>

 

[Rudi Herbert]

I personally think Benjamin Button deserved the Cinematography oscar, Slumdog was an incredible story and the shooting did fit, but it didn't move the art forward the way BB did. Claudio M. can make the Viper sing like the proverbial snake charmer and that movie was just breathtaking visually in every sense. Slumdog was the better movie and had all the momentum.

I know I'm getting off track here, but I agree wholeheartedly with Evin. Benjamin Buton's cinematography was amazingly rich, beautiful and full of little nuances and layers, all the more amazing considering it was shot on a 2/3" camera. Miranda did deserve the Oscar. However, I was surprised at the fact that Slumdog's photography was actually quite good and had every right to be nominated. The staccato style, with many scenes shot at 12-16 frames and then adding frames to make the 24 count, the warm but muted colors and the original and consistent through the whole film framing did help tell the story in a big way.

Now, as for MP vs. S4, well, how about those Angenieux lenses? They have a feel that sort of mixes the richness of the S4's with the sharpness of the MP's. If they had a line of primes, that's what I would buy/rent whenever shooting high end projects...

 

[Vico Martin]

In my experience prefer Ultra prime but the wide S4: 12, 14, 16, is amazing glass, this sharpness is very useful with wides. I was a lucky man last summer, work in a two months film with the S4/i 12mm, really incredible lens.

Between MP and S4…
S4 no doubt.