Tagged: Review

Tamron 28-75 sony a7s (1 of 2)

I finally got my hands on an A-mount lens to test with the Sony LA-EA4 adapter. The Tamron 28-75mm f/2.8 is a lens that’s been around for quite awhile and it’s been released for a number of camera mounts including, Sony (A-mount), Nikon, Canon, and Pentax. The Tamron 28-75mm won’t blow your mind, but I managed to pick this up used on ebay for $160 which makes it an extremely affordable f2.8 zoom lens to test with the Sony a7s and LA-EA4 adapter.

The first thing you’ll notice when testing out the LA-EA4 adapter on the Sony a7s with an A-mount lens is the auto focus system is very snappy. It isn’t always accurate in low, but it gives the Canon 6d’s center focus point a run for it’s money.

Secondly you’ll notice the sound. When using the LA-EA4 adapter, a small motor spins up everything you focus the camera and this is a somewhat noisy experience. I’ve read a lot of complaints about how loud it is, and I don’t disagree. It’s much much louder than a USM lens on a Canon body, but it’s about the same volume as a cheap kit lens or non USM zoom. Don’t take my word for it though, here’s an audio sample.

That “pop click” sound at the beginning of the sample is the power switch, followed by the drive screw engaging and the rest is the sound of the focus system from infinity to shot. It’s not unbearable, but if you are trying to shoot incognito, it’s a problem. The sound is also a little jarring. I know that there isn’t anything wrong with the focus system, but a sound like that coming out of a camera still makes me think that there might be something dangerous going on.

Tamron 28-75 sony a7s (2 of 2)

The Sony a7s is a tiny little camera, even when compared to the Canon 6d, but with the LA-EA4 adapter and the Tamron 28-75mm f/2.8 lens, you give up the size advantage. The body is still petite, but now it’s about the length of a 6d with a Tamron 24-70mm f2.8 lens attached which makes sense. With the LA-EA4 adapter attached you are adding an SLT mirror and turning an a7 body into a Sony a99.

Sony LA-EA4  E-mount adapter (3 of 4)

While the LA-EA4 adapter will set you back around $350 and does bulk up the a7s body, it also gives you a lot more lenses to choose from. The Tamron 28-75mm f/2.8 is a good example, but the Minolta 50mm f1.4 is also a bargain at a used price of $150, as are many of the Tokina zooms.

I think for film, i’ll be using my Canon lenses for the most part, but if I want to use the extreme low light power of the Sony a7s for photography, this is an affordable way to pick up a few lenses without braking the bank.

The post Sony LA-EA4 E to A-mount adapter Audio test appeared first on DSLR Film Noob.

All credit is given to author DSLR Film NoobDeejay

Aspen Mic monoprice wireless (5 of 5)

I had a little bit of time to test the Monoprice 2.4Ghz wireless system this weekend and it works. The design choices, connector types, and labels aren’t exactly straight forward, and it seems as though the volume controls only affect the headphone output, but for a price of $89, it works.

One of the major questions that I wanted answered about the Monoprice wireless system is “Does it provide power to the lav plug?”. The Monoprice wireless system does provide power to the lav port, and I was able to use a 4 pole (TRRS) to 3 pole (TRS) adapter plug to get things working.

Aspen Mic monoprice wireless (1 of 5)

The powered lav mic I used for this test is the Aspen Lav with a 4 pole adapter to 3 pole adapter. While the Aspen mics aren’t ultra high end, there is a very noticeable audio quality difference between the Aspen Lav and the included Monoprice lav mic. As I suspected, the audio quality of this unit is mostly tied to the included low end Lav mic.

Here is the Included Monoprice Lav mic. 

Here is the Aspen Lav with adapter using the Monoprice wireless system.

Both samples were recorded through the Monoprice wireless system via the Zoom h1 which was set to an input level of 16.

There a few things to note about the test. First the Monoprice system’s output level is fixed. For that reason I went with an input level of 16 on the Zoom h1 so that it was in the range of gain you’d get out of the lower gain setting you’d use on a DSLR camera.

Second, if you listen closely to the Monoprice mic test at the very beginning you’ll hear a slight digital hiccup. There are 5 wifi networks in the area I was testing and the units were only 4 or 5 feet away from each other. In the short amount of testing I was able to perform, I only heard this digital “hiccup” a few times and I didn’t actually notice it until I listened to the recordings. However, this is probably a red flag for those of you living/working in a highly congested wifi area. I wouldn’t consider 5 wifi networks “congested” and I’m getting a few digital hiccups, how well would this work if there were 7 or more in the same space?

Last but not least, there does seem to be a low, but noticeable digital static sound in the noise floor of the recording. I was traveling most of the weekend so I didn’t have a chance to do more testing, but in the initial tests it does seem to be there. It’s low enough that you could easily remove it with a noise gate and it’s not as noticeable as the low price Audio-technica 88w units, but it does seem to be there.

Aspen Mic monoprice wireless (3 of 5)

As for the Aspen Lav, the mic is smaller than a Sennheiser lav. As you can hear in the test above the audio quality of the Aspen Lav is more crisp and less muddy sounding than the Monoprice lav. I’ll post some more audio tests of the Aspen lav recorded directly into the Zoom h1 in a feature post.

Aspen Mic monoprice wireless (2 of 5)

If you spend a little extra, Aspen also sells the adapter + mic as a kit for $64 on amazon. The adapter allows you to plug the mic directly into the Monoprice system or use it with your cellphone for remote audio recording. If you already have a nice Lav in your collection you can buy the adapter for $14.

If I get some free time this week, i’ll post some more tests of the Aspen Lav, as well as the Monoprice system. For now though, hopefully this post answers a few of your questions.

The post Monoprice 2.4Ghz Wireless system Audio tests & the Aspen Lav appeared first on DSLR Film Noob.

All credit is given to author DSLR Film NoobDeejay

Stedman PS101 Metal Pop Filter Review

Stedmen wind screen (1 of 3)

In the past I’ve used cheap nylon goose neck pop filters and I really haven’t had anything to complain about. In general I bought these filters, placed them in front of a good microphone and thats pretty much it. I know they prevent breath from hitting a mic’s diaphragm and they’re a good way to keep a singer from getting to close to the mic, but I never actually spent any time looking any further into other filters. Dave sent me an e-mail recommending I check out Stedman PS101 metal mesh Pop filters so I figured I’d give it a try. Here is the rather impressive test.

An open flame seemed like the best way to test Stedman metal mesh Pop filter’s resistance to blasts of air. I gave it a try against one of my cheap nylon goose neck pop filters. The Stedman really seems to do a very good job of deflecting incoming air and by “good job” I mean that I wouldn’t believe it if I hadn’t seen it. After all the filter looks less substantial than a window screen.

Stedmen wind screen (2 of 3)

When you look at the Stedman filter head on, it doesn’t look like it would really stop anything. The metal mesh has what seems to be wide open holes across the surface and little else. The test, however, was extremely convincing. The Stedman filter has really impressed me.

Stedmen wind screen (3 of 3)

As I move forward with the podcast, the Stedman filter will definitely be something I use exclusively on the Rode Procaster. I listened to the audio from the last show (recorded with the stedman & procaster) and I’ve been really enjoying the way the Procaster handles my voice.

By the way, the DSLR FILM NOOB podcast finally made it up on itunes so if you haven’t already, check it out, you can also find it on Soundcloud, or under the podcast tab above.

The post Stedman PS101 Metal Pop Filter Review appeared first on DSLR Film Noob.

All credit is given to author DSLR Film NoobDeejay

We already posted my side-by-side of the new Canon C100 Mark II and the Mark I a few weeks ago (click here if you missed it!). My conclusion was that while the Mark II isn’t an earth shattering upgrade to a very decent camera, it clearly is a very well thought-through upgrade that addresses many of the issues that users had with the original. The C100 Mark II doesn’t do 4K, which still is the constant buzzword in the industry, but Canon really did listen closely to its customers.

c100_mk2_featured

Cinema5D reader Daniel De Silva posted a series of very helpful new side-by-side tests of the two C100 generations and I want to share them with you.

The first video tests the (now built-in) dual pixel auto focus function of the C100 Mark II, demonstrated with a model moving towards the camera in various locations and differently lit situations. It also tests the slow motion function of the camera.

The second video is a high ISO test, similar to the very short comparison test of the 20,000 ISO that I did in my hands-on video, but more extensive – and it’s quite clear that higher ISO shots are less noisy from the C100 Mark II due to the better internal processing.

Please ignore the MP4 title on the MK1 Footage, it was obviously AVCHD. 

This is not a scientific test, both cameras are at the same focal length, but have different lenses, but being a high ISO test this shouldn’t be too much of a difference to see the improvement. 

The first part has Noise Reduction turned off in camera, and the second part has it set to 5, and the last shot to 9. 

All footage is untreated, imported into FCPX and exported for Vimeo HD. 

Shot in Wide DR profile.

c100_detail_comparison

The third video compares detail reproduction in the two cameras. The Mark II offers MP4 encoding with a slightly higher bitrate than the AVCHD recording offered in the Mark I, which results in slightly higher detail, while both cameras share the same chip. Better processing might also be a factor in these results.

Another simple detail test between the two cameras both shot in Cinema Locked Profile (except female shots – Wide DR)
Using the same glass focused on the center of the frame. 
Camera Settings identical on both except for AVCHD on the MK1 and Mp4 on the MK2.

Recorded in highest bit-rate on both cameras (available for 25p)
ISO: 850
ND6
Cinema
5400K
1/50 Shutter
1080 25p
Canon 70-200 2.8L MK1 @F6.3

The post More Canon C100 Mark I / Mark II Comparison Videos appeared first on cinema5D.

All credit is given to author cinema5D » NewsNino Leitner

Comment on this article at the EOSHD Forum

Two of the most exciting lenses for GH4 and BMPCC users at Photokina were the SLR Magic 10mm T2.1 and the Voigtlander 10mm F0.95. The SLR Magic wide angle is now available and gives you back your 24mm wide-end in 2.3x 4K mode. You could view it as an upgrade to the well regarded 12mm T1.6. [...]

The post SLR Magic HyperPrime CINE 10mm T2.1 Review appeared first on EOSHD.

All credit is given to author EOSHDAndrew Reid (EOSHD)

Matin Lens protector sleeve (2 of 5)

While M4/3 lenses are generally very small, most of them aren’t very tough. With large lenses I tend to use a camera bag with a large storage area and I separate lenses with multiple compartments velcroed together inside the bag. Instead of attempting to use the same method for M4/3 lenses I use these very affordable Neoprene Soft Lens Bags from Matin.

Matin Lens protector sleeve (3 of 5)

The padding on the bag is about a 1/4 inch thick which is more than enough to keep lenses from knocking together inside a camera bag. Each lens bag includes a drawstring and fastener to keep the lens secure.  I generally toss two or three M4/3 lenses, depending on the size, in the same compartment i’d use for a full frame lens.

Matin Lens protector sleeve (4 of 5)

I don’t generally use it from anything, but each lens bag comes with a small attachment clip as well as a reinforcement strap that runs along the side of the bag. The bags are around $3 to $7 a piece, depending on the size you need, so the included clip isn’t anything amazing, but it’s good enough to organise your lenses along a threaded loop or something like that in your camera bag.

Matin Lens protector sleeve (5 of 5)

Build quality is pretty decent for the price. This particular lens bag has been rolling around in my camera bag for almost a year and it’s still in good shape. The stitching has held up well and the neoprene padding still does its job. Over all I think these lens bags have been a pretty decent buy for the price.

Matin Lens protector sleeve (2 of 5)

Not sure what others do to keep their M4/3 lenses safe, but the Neoprene Soft Lens Bags from Matin have been a very decent option for the price. It’s the best method I’ve found so far for storing multiple M4/3 lenses in the same space, but i’m always open to new ideas. If any of you have a better way to pack up your M4/3 lenses, let me know.

The post Matin Neoprene Soft Lens Bags appeared first on DSLR Film Noob.

All credit is given to author DSLR Film NoobDeejay

Panasonic 25mm f1.4 lens (2 of 3)

The Panasonic 25mm f1.4 lens is a somewhat affordable addition to my Panasonic GH4 kit. At a price of about $460 it’s ruffly $100 more than it’s nearest competitor, the Olympus 25mm f1.8. I never actually had a chance to play around with the Olympus so I can’t really compare build or image quality, but my guess would be the difference in price mostly comes down to the f-stop.

I went with the Panasonic 25mm f1.4 because it came up used at a very reasonable price and it was one of the first few lenses I bought for the GH4 body when it came in. Build quality is good and the fly by wire focus ring feels nice to the touch. The body is mostly plastic with the exception of the lens mount, over all it feels about as good as the Canon 50mm f1.4 in hand.

Panasonic 25mm f1.4 lens (1 of 3)

As far as M4/3 lenses are concerned, the Panasonic 25mm f1.4 is a little on the chunky side, but it’s still small compared to the full frame equivalent. Above is the 25mm f1.4 lens next to the Canon 50mm f1.4 on a Metabones M4/3 speed booster. The 25mm f1.4 weighs less than the 50 by a noticeable margin, it’s smaller in diameter and it’s shorter than the 50mm f1.4.

Panasonic 25mm f1.4 lens (2 of 2)

Attached to the GH4 body, the Panasonic 25mm f1.4 is reasonable petite and enjoyable to use. The f1.4 aperture on this 25mm lens (50 equivalent) isn’t as dramatic of a bokeh creation tool as an f1.4 lens on a full frame body but it still does a pretty decent job.

Panasonic 25mm f1.4 lens shots (2 of 3)

Here, for example, is my less then majestic Pomeranian (her name is Hero) at f1.4. At a focusing distance of ruffly 2 feet, the background does manage to turn into a beautiful blur, but you can still make out some minor details, like the Olympus 12-40mm f2.8 sitting off to the right.

Panasonic 25mm f1.4 lens shots (3 of 3)

When you take that same shot of Hero at f5.6, the background (about 5 feet away) starts to come into focus. That 12-40mm lens, as well as the Canon 50mm f1.4, are easy to spot in this shot. You can even see the keyboard and bass amp in the back ground if you look close.

Panasonic 25mm f1.4 lens shots (1 of 3)

This shot of my old (but beloved) “edgy punk” style bass guitar was taken with the Panasonic 25mm f1.4 at the same distance. What i’m getting at is that you can still knock out the background at f1.4 with a M4/3 camera, but it’s not nearly as dramatic as full frame.

Many people will tell you that you can’t get the same look out of a M4/3 sensor as you get out of a full frame or even a crop sensor and that’s true and false. The true part is that you wont have as shallow of a depth of field to work with on an M4/3 body. You’ll be missing out on the “look” of f1.2 and f1.4 on a full frame camera, but with the proper collection of lenses, everything else shouldn’t be a problem.

I’m sort of a hypocrite here, I still love my 50mm f1.2 and my 35mm f1.4 wide open on the 5d mark III, especially for photography. So maybe I’m not the right person to be talking about the “look”. That said, I find myself reaching for the Panasonic GH4 so much more than I ever expected and I don’t have any complainants about the look of  f1.4 and f1.8 on a M4/3 body. Even if it’s not as creamy as f1.2 or f1.4 full frame, it still looks really good.

Panasonic 25mm f1.4 lens (1 of 2)

I don’t solely use the M4/3 format and I don’t think it’ll ever be my only camera, but it’s now my go to format for more than a quarter half of my work. It really is a great camera, and the Panasonic 25mm f1.4 is a good match.

You can find the raw files from those 3 example photos here. That’s enough rambling for one night. 

The post Panasonic 25mm f1.4 Lens appeared first on DSLR Film Noob.

All credit is given to author DSLR Film NoobDeejay

Cheap Tiffen filters  (1 of 3)

Here we have a bunch of low price Tiffen UV filters and when I say low price I mean under $10. They aren’t horrible but they aren’t anything to write home about. These filters are what you buy when you want to protect a lens from scratches, dust, and the rest of the damage a lens can be exposed to out in the world. I am not attempting to get into a debate about “good filters verses cheap filters” or “filter verses no filter” I’m simply pointing out that I have no problem using low price filters on my collection of Panasonic GH4 lenses.

Cheap Tiffen filters  (2 of 3)

The reason I bring this up is that normally even very low end filters can be very expensive. Normally it’s not unreasonable to spend 40 dollars, all the way up to $200 on a variable ND filter for a normal size lens. The thing is, most Panasonic GH4 lenses don’t require what would normally be considered a “normal size” filter. Digging through my collection of M43 lenses, the biggest filter size I have is a 62mm on the Olympus 12-40mm f2.8. Every other lens in the collection is 58mm or smaller.

Cheap Tiffen filters  (3 of 3)

As a Canon shooter I generally recommend buying a single variable ND filter based on the largest lens in your collection. Then you can buy a handful of adapter rings for a $1 or 2 a piece so that you can attach the ND filter to smaller lenses in your collection. However, because the GH4 lenses are so small, variable ND filers end up being vary affordable. Don’t get me wrong, these filters aren’t top notch by any means but they are completely usable.

Cheap varible ND filter (1 of 1)

Here’s an example of the $12 variable ND filter on the Voigtlander 17.5mm f0.95 lens (download the raw file here). If you take a look at the raw file, you’ll see that there is very little color tinting and the 16MP image doesn’t exhibit any major effects from the filter.

At this price and size, it’s not unreasonable to own a variable ND fliter for each filter size in your M43 collection. 58mm, 52mm, and 46mm seem to cover most things in my current M43 lens lineup, but at $12 a piece I might even pick up a 37mm for the Olympus 45mm f1.8. I’m really suppressed how reasonable these filters are priced for what they are.

The post Very low priced Variable ND filters appeared first on DSLR Film Noob.

All credit is given to author DSLR Film NoobDeejay

Gunther Machu works for a large engineering corporation and travels the world for business. On his trips, he has started shooting video for pleasure with amazing results that have brought him a lot of fans on his Vimeo account, not only from enthusiast filmmakers but also from professionals. He always uses the smallest kit possible – the Panasonic GH2 and the Blackmagic Pocket Cinema Camera are usually his main work horses. In this guest post, he shares his experiences with the new Sony A7II, which we gave him for a spin over the weekend. (nl)

gunther_machu_a7II

 

When I heard from Nino Leitner from cinema5D that they had a review sample of the Sony A7II to test in their office, I got quite excited – could this be the camera I was hoping for for the last few years?

When I wanted to join the DSLR revolution about 5 years ago, I was hesitant to invest in a big and heavy camera like the Canon 5D / 7D or smaller siblings like the Canon 550D, not to mention lenses which I did not have.

I needed a small camera, a flip out screen and the ability to start with a limited amount of investment. Hence, I bought a Panasonic Lumix GH1 with kit lens in 2009 along with a 50€ Ebay Canon FD 50mm f1.4 – easy to adapt to the GH1 because the lack of a mirror allows the use of almost any lens out there by using cheap manual adapters.

The Lumix package was so small that I was able to carry it in my hand luggage allowing me to bring it along on my frequent business trips to all the remote places around the world – bingo! My motivation to travel increased significantly as I had my hobby with me!

Over the years a lot of cameras came along, but they were not for me – too big, lack of flip out screen, too expensive, etc… Nevertheless I was watching the market, as I was aware of the limited dynamic range of my Lumix cameras, also I got very interested in color grading and the AVCHD files had a very baked – in look, making it hard to get the images I wanted.

That’s why I invested in a Blackmagic Pocket Cinema Camera (BMPCC) in 2013. Wow – even smaller than the Lumix line, I was able to use all my lenses and the image is absolutely amazing (apart from occasional moire). BUT unfortunately it can hardly be used as it is – no flip out screen, mediocre on board audio. Hence, I invested in a cage, an external 7” monitor and a ZOOM H2 for the audio (via line in to the BMPCC) – a very nice package, and I will keep using it but it’s not small by all means any longer, and it stayed home on most of my recent business trips…

But what now? I just couldn’t go back to my Lumix’es, having seen the advantages of LOG encoded files and the dynamic range which comes along with it. Also, the smaller sensor sizes limited the usage of the glass I had collected (be aware – this can become a passion on its own). Mostly my lovely full frame lenses like the 40 year old Canon FL 55mm f1.2 or the Canon FD’s like the 50mm f1.4, the 28mm f2.8, or my >30 years old Vivitar Series 1 zoom 35mm – 85mm f2.8.

Well, then the Sony A7 mirrorless fullframe cameras came along – wow, mirrorless meant that I would be able to use all my old fullframe glass, not cropping in any longer! They also had all the nice little things I started to like with the BMPCC, like Zebra’s for exposure, and focus peaking. And suddenly, with the Sony A7s also LOG encoded, high bitrate XAVC S files were implemented. Also, the flip out screen was back – all in a small package!

I was about to buy the Sony A7s when I read a rumor that Sony was working on a 5 axis sensor – shift image stabilization for the A7 line. I decided to wait, and all of a sudden the Sony A7II was announced – would this be my camera, giving me image stabilization on all my old fullframe lenses?

A dream to come true.

And here we are – I have a Sony A7II in my hands for a quick test over the weekend!

image5

Little Monkey at the “Haus des Meeres” in Vienna shot with the Canon FL 55mm f1.2 at f=2 on the A7 II

 

My Sony A7II findings

Many others have already written about the tech – specs, also the ergonomics and shortcomings of the image video – wise for pro – usage. As an enthusiastic consumer I was still asking myself if it would tick my boxes for my personal needs, far from any professional perspective.

  1. I know others have mentioned it, but I have to mention it again: the placement of the movie record button is a joke. You can skip the first and last second of your recording as you shake the cam heavily trying to find it with your – thumb, or index finger? I have no clue how this should work. 5 axis stabilization does not help here ;-)
  2. Yeah, all my old glass is now stabilized – you can enter the focal length of your manual glass, finally giving me a fantastic full frame look! Very nice, and it works surprisingly well, quite usable actually – see my little test video below. It still shows some microjitter here and there – quite strangely the 28mm showed more microjitter than a 55mm lens. Hope this will be improved on a potential future Sony A7sII
  3. Even for a non – professional like me, the image quality is a bit disappointing in movie mode. It is OK for occasional clips here and there, but not for more serious work. Aliasing and moire is there, and in general the image is quite soft. Only with shallow depth of view these issues on the A7II can be hidden.
  4. SLOG 2 (picture profile 7) is very nice, captures a big dynamic range, it grades very well and quite surprisingly I did not encounter any banding (as heavier grades in 8 bit frequently exhibit) – that’s maybe due to the noise dithering. The minimum ISO is 1600 for SLOG2, hence heavy ND filtration is needed if you want to shoot wide open in sunlight. Something I am quite used to from my BMPCC (base ISO 800) with the Metabones Speedbooster (boosting the image by 1 2/3 additional stops, resulting in a “base” ISO of approx. 2600). Unfortunately the shadows of the A7II are very noisy at that ISO, almost unusable. See the images below:
    gunmac_a7II_photo_comparison
  5. Shooting SLOG 2 means that the image you see on the (otherwise very good) monitor is very flat, and unfortunately the focus peaking does not work well in that mode (it does however work well with the other picture profiles) – sometimes not showing any peaking information in low contrast situations – it means you would have to use an external monitor again to get the focus right L. On the BMPCC for instance it works very well, even when the crappy on board monitor is used. Sony, please improve that, Blackmagic shows how good it can be!
  6. On board audio is pretty good, with nice audio meters on the screen
  7. The photo quality of the 24MP full frame sensor is lovely, in combination with (now stabilized) old glass and a very good focus peaking (yes, if you do not shoot SLOG2 = PP7) a super nice combination. The latest update of Adobe Lightroom (5.7.1 from mid December) now supports the Sony A7II RAW files.

Untitled3

Shooting photos with old manual glass works fantastic – Canon FD 50mm f1.4, 1600 ISO

 

Summary

Hence, to summarize, the Sony A7II is an amazing camera. It ticks almost all my boxes – except for the image quality of the video mode. And this one remains my number one priority, even for my non professional background – I do not care at all for 4K, but I do care for a nice FullHD image. This means I will happily continue to shoot with my BMPCC until potentially a camera like the Sony A7s with sensor shift image stabilization will arrive in the near (or distant?) future – even 10bit encoded SLOG2 maybe to improve noise grain in the shadows?

Video

I shot a little test video, making use of the image stabilization for the worst case scenario: trying to nail my 6 months old puppy dog when she was plowing through the snow – she would not hold still for a second, hence handheld is the only option. See yourself below, I was quite impressed how good stabilization worked! Without it most shots would be crap! You can even fake “slider” shots in handheld mode, although sometimes still microjitter is there. It was all shot on two lenses, a Canon FD 28mm f2.8 and a Canon FL 55mm f1.2, mostly around f=4.0

Graded in DaVinci Resolve, using a three layer node grade, roundtripping with Adobe Premiere via XML. Node #1 is using a LUT to convert SLOG2 into Linear, node #2 is using a LUT to convert Linear to Cineon LOG, node #3 is using an Arri Alexa LUT to convert Cineon LOG into Rec 709. Sounds a bit complicated, but this way I am getting very nice skin colors while having full control over highlights and shadows.

 

 

The post Sony A7II – an enthusiast consumer perspective appeared first on cinema5D.

All credit is given to author cinema5D » NewsGunther Machu

Voigtlander 17.5mm f0.95 (3 of 7)

One thing I was missing when I first started using the Panasonic GH4 was that shallow depth field I was used to out of lenses like the Canon 50mm f1.2L and 35mm f1.4L on a full frame camera. While the Voigtlander 17.5mm f0.95 is a great lens, it isn’t quite a direct replacement for the Canon 35mm f1.4L in an M4/3 kit.

As you can see in this video test from Vimeo user , wide open the Voigtlander 17.5mm f0.95 still enables you to drop most of the background around a somewhat close subjects into a nice, out of focus blur of bokeh. It really about as good as it gets for DOF on a native M43 lens.

Even though the Voigtlander is a manual focus lens, the GH4’s focus peaking aid and Fn3 punch in function make focusing fairly easy. This is also aided by the long travel on the Voigtlander’s focus ring which makes things even easier than I was expecting. It’s not something you’d want to shoot sports photography with, but a portrait in low light is completely reasonable and it shouldn’t be any problem for video.

Voigtlander 17.5mm f0.95 (7 of 7)

Because of the amount of glass it requires to make an f0.95 lens, the Voigtlander 17.5mm is ruffly the size of the Olympus 12-40mm f2.8 zoom and slightly heavier. It also extends about a quarter of an inch in and out as you adjust the focus ring. My copy of the 17.5mm also suffers from a minor amount of slack when you change directions with the focus ring. It’s not horrible but it could be better for a $1000 lens.

Voigtlander 17.5mm f0.95 (2 of 7)

Other than the slight slop in the focus ring, the Voigtlander 17.5mm f0.95 is pretty solid and a joy to use. It feels very substantial in the hand with it’s all metal body and engraved distance labels. Travel on the focus ring in one direction is nice and smooth and the amount of travel allows you to rack focus by hand very easily.

Voigtlander 17.5mm f0.95 test shots (1 of 3) Voigtlander 17.5mm f0.95 test shots (2 of 3) Voigtlander 17.5mm f0.95 test shots (3 of 3)

Wide open it’s a little soft, but it’s what I would expect for a lens with this wide of an aperture. You can download the raw photos here. At f2 it starts to sharpen up and by f2.8 or so it’s very sharp across the board. Honestly though, you probably aren’t buying this lens for it’s sharpness. If you wanted tack sharp wide open the Panasonic 15mm f1.7 is ruffly half the price. You buy the Voigtlander for f0.95 and if that’s the look your are going for, it delivers.

Voigtlander 17.5mm f0.95 (1 of 7)

I have a Metabones EF to M4/3 speed booster on the the way and one of the first things I’ll be playing around with when it shows up is my Canon 24mm f1.4 mkII. I’d like to test it against the substantially smaller Voigtlander 17.5mm f0.95 and see how well it stands up.

I’ll post more on that after the new year. Next up is the hopefully successful upgrade of my MSI GS60 Laptop, wish me luck.

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All credit is given to author DSLR Film Noobdeejay scharton