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brainburst
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The 4/3 sensor idea is nice when you consider those fabulous Olympus and Sony/Zeiss still lenses out there now.
http://www.adorama.com/IOM1435.html
http://www.amazon.com/Sony-SAL-85F14Z-Planar-Telephoto-Digital/dp/B000JE5CQO
I think Red might do Micro Four Thirds, and not regular Four Thirds. Would someone give out real data as to why Micro Four Thirds is better, not from Four Thirds, just as pure digital standpoint? :help: Every time I read Four Thirds System is better, even from the official site, there are no real data.
The site just states that it is a good balance from quality and compact size. It says that it was made from a complete digital standpoint and not going from Film SLR. That seems nice but then they point out that its fits from tech that is 4:3 CRT TV? That seems not being completely neutral from a pure digital standpoint, point of view.
If there is real data than this is great but if we are to believe them without facts than this is just another business ploy. :greedy: Plus anyone can come up with another standard saying this is better. I'm am tired of all these ''new'' standards and would like the industry to just stick with one and make it the best. Of course that will never happen. :ranting2: Ok, I'm better.![]()
I like the 4/3 option too, but it is the new kid on the block as formats go. What RED has done so far more than addresses the major professional market formats. But 4/3 would fill a major gap in sensor sizes between 2/3" and s35. I'd like to see 4k resolution in a 4/3format as the gap filler. Great potential there for compact camera/lens packages that would work especially well for nature and doc shooters where weight and bulk of the lenses make 35mm less than ideal.
Only differences for micro 4/3 is shallower backfocus for no SLR mirror box,
slightly smaller diameter mount and two more pins on the electronic lens interface. Having a standard that was developed from the ground up for digital sensors as opposed to a carryover from film is the main advantage. The telecentric lens design means light hits the sensor at a close to perpendicular angle, so you don't get pixel shading at the edges of the frame as can happen with 35mm film lenses. The other objective was very high quality optics and cameras competitive in image quality with 35mm DSLR's but at a more compact size and weight.
For digital cinema I think it makes more sense than for still cameras since it fills a big hole in sensor sizes between 2/3" and S35 but still allows for reasonably compact optics compared to the bigger formats.