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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

The post-DSLR phase starts

Wasn't just one lens...look at the credits. They used a bunch of lenses, including some Zeiss 1.4's The bokeh that was really bad was the 500mm reflex lens with the donuts all over the background (the shot under the opening title of all places). A lot of the stuff looked very good to my eye. I didn't see any aliasing, and I was looking for it...did anyone else see any?

DR looked good (to me) as well as the roll-off to the highlights (although I didn't see any big areas of hard clipping so they were careful on that front).

It appears to me that Sony is either scaling after demosaic or using a LPF designed for the video resolution, and I would guess the former.

Also, consider what they have done in the past...come out later with a "pro" version of the consumer cam with additional pro features and frame rates. I am looking forward to the VG11E (or whatever) with 24 to 60P (at 1080), XLR inputs, etc for $3K. That would give the AF100 some competition (until Scarlet).

Larry
 
Steve G said:
Nonsense.
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Wouldn't say like that.

High-end expensive HD cameras like an Alexa, Sony F35, Panasonic Varicam AJ-HDC27H, etc already looking for their money in competition with cheap HD DSLRs,...

Upcoming new prosumer cameras like a new Sony NEX-VG10 is just going to shake more of that high end HD cameras...
 
Show me a DSLR that I can mount a 40x Canon B4 lens on and it'll have some relevance Sanjin. Also the Varicam is very different to the F35 and Alexa, totally different market.
 
Sanjin Jukic said:
Wouldn't say like that.

High-end expensive HD cameras like an Alexa, Sony F35, Panasonic Varicam AJ-HDC27H, etc already looking for their money in competition with cheap HD DSLRs,...

Upcoming new prosumer cameras like a new Sony NEX-VG10 is just going to shake more of that high end HD cameras...
Click to expand...

Clearly, hd dslr's have hit all markets, including red 1 m and mx. Commercials that I have shot recently on Canon 7d probably would have been shot on the Red a year ago. And yes, the clips from the Sony nex-vg10 do seem to be pretty good for a $ 2000 camera. However, it does not seem to do progressive, which most people want from their small cameras, and to say
and much better out of the camera and handheld shots than some of 30 to 60 x times more expensive HD VIDEO cameras like an Alexa, new Varicam, etc,...
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is quite frankly, nonsense.

Have you actually ever used any of the cameras that you seem to love to criticise ?
 
HD DSLR revolution was called also NONSENSE a year ago.

My concept is not to work with cameras that have bodies weight over 6 lbs and with prices over 25,000.00 British Pounds (GBP).

For me this times are over for heavy and expensive cameras...
 
This is an apples and oranges sort of argument -- you said the quality was comparable, not the impact on the market, which is a different issue altogether. HDSLR photography has had a big impact but that doesn't mean the quality is comparable to the Red camera.

You want to argue for the size, weight, and cost of these cameras having a major impact on the market, fine, but don't confuse the issue by suggesting you are also getting the same image quality out of these cheap little cameras.
 
Emanuel A. said:
Probably not the DOF but the bokeh, Sony lenses ain't the best glass for sure.
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Yep...

Although, I have a brand new NEX-5 sitting in front of me and the thing just oozes with class and build quality. The kit lens, in all it's polished aluminum glory, is actually very, very nice. The mechanics are buttery smooth and the fit and finish is perfect. I'm totally amazed that it's a < $300 lens for an 18-55 zoom. The aperture range isn't great (3.5 to 5.6), but thats the trade off for making it as small as it is.

If Sony can make all their new e-Mount glass with this quality and provide more offerings with larger apertures and a good selection of zooms and primes, they will have some winning glass here.

EDIT> Crappy iPhone pic attached.
 

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David Mullen ASC said:
This is an apples and oranges sort of argument -- you said the quality was comparable, not the impact on the market, which is a different issue altogether. HDSLR photography has had a big impact but that doesn't mean the quality is comparable to the Red camera.

You want to argue for the size, weight, and cost of these cameras having a major impact on the market, fine, but don't confuse the issue by suggesting you are also getting the same image quality out of these cheap little cameras.
Click to expand...
I've noticed a change in Sanjin mind since he sold his Red One.
 
Can I ask (what may be) a silly question?

If you record a signal from "Camera A" will the quality (DoF and Sharpness etc aside) of the recorded image be determined entirely by the KiPro?

What I mean to say is, will this do away will rolling shutter issues/aliasing and the like?
 
Of course not, as rolling shutter and line skipping (aliasing) are a part of the sensor and not the output.
 
Sanjin Jukic said:
Tomorrow third parties will put PL mount on that...
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http://www.lensadaptor.com/2010/07/17/sony-e-mount-lens-adaptors-coming-soon/

I'm talking to the guy about adding connectors for the \i link on the Cooke Panchro. With good glass and an AJA Ki Pro, this Sony is easily enough for a low budget indie. When the next model up comes out, I'll buy that, all the way to the $19K PL mount Sony with a Super35mm sensor due by NAB next year. And when RED finally releases Epic and it's actually able to be purchased by a non-RED ONE owner like me in 2012, I'll buy that too. :-)

Steve G said:
However, it does not seem to do progressive, which most people want from their small cameras, and to say is quite frankly, nonsense.
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Well, you're in luck: it shoots progressive video only, namely 30PsF (NTSC) or 25PsF (PAL).

The OP was right: this is the start of a *very* fun time period. I can't wait to benefit while Sony, Panasonic (and eventually, Canon) duke it out on cameras with Super35mm sensors.
 
You have to imagine that they will get into a pixel war sooner or later too.... with 4K gaining momentum, I could see a 4k s35 camera hitting the market (from the big guys).

Interesting times indeed.
 
David Rasberry said:
4/3 format has a nominal 22mm image diagonal.
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It's worth pointing out that the smaller 4/3" sensor does have some advantages for indie filmmakers, since the depth of field is increased. That reduces pressure on the focus puller while still giving images that are much closer to Super35mm than 2/3" or Super16mm can deliver.

Small independent productions get fewer takes, have faster setups, and oftentimes use less experienced camera operators and assistants. The 4/3" sensor helps mitigate those factors without eliminating entirely the "film look". For that reason alone I can see Panasonic sticking with it.
 
I like the format a lot. It should become the "Super16mm" of digital cinema.
The problem for it as a very new motion format is the lack of proper cine grade optics for it. If one wants fast apertures, good solid lens mechanics, wide range constant speed zooms, etc. one is forced to go to S35mm PL lenses to cover it. That could change in time since Panasonic is spearheading the format move into the motion world. But for now the optical choices are pretty thin and the potential advantage of compact lens sizes relative to the 35mm formats is a ways off.
 
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