Full-framer logic

tkbslc wrote:

I'm seeing funny and absurd comments with all the frenzy around the A9.

On the one hand we have people saying there's no way a pro would ever consider using a tiny sensor like 4/3 because it is noisy and has no DOF control. So don't even try to compare the E-M1 II to the A9.

And then on the other hand we have people trying to justify the Sony lens lineup by saying that it's fine that the only super telephoto is a 400mm f5.6, because FF high ISO is so good.

So let me get this straight, 2 stops is super important at the sensor, but irrelevant in the lenses? Makes me laugh to think of geniuses out there using f5.6 lenses on a $4500 camera at ISO 6400-12800 because 4/3 with a 40-150 f2.8 is somehow lesser grade.

It can only be explained that these people do not have any inner workings and direct experiences shooting in professional sanctioned events like Olympics, FIFA, NFL, NHL and Paralympics. In the absence of this direct experiences, these people would then form mental images of what they believe is true to replace the lack in their direct experiences. Which is probably why you will read all these assumptions.

The challenging issue people don't think about is light that are used in indoor stadiums. This is controlled light and it is fixed. You can't ask the stadium to jack up the light 2 stops because you don't have a 2 stop faster lens. And it's usually pretty low. But also, you need light to engage the autofocus of the camera. A camera and a lens set to f/2.8 will obviously allow the autofocus to focus faster and track better. A camera and a lens set to f/5.6 will obviously allow 2 stops less light. So autofocus sensitivity is measured in eV (that's exposure value), not in ISO. So you see why many pros shoot with bazooka sized lenses (300mm f/2.8) or 400mm f/2.8 not because they can't choose a smaller lens to do it. It's because, with f/2.8, the AF works so much better.

When I used to work PRO at the Olympics and FIFA circuit, I see so many of these amateurs with slower lenses and talk the same B.S. That they can do with a f/5.6 or f/4 lens.

Guess what.. After a few matches, they all went to Nikon and Canon CPS/NPS booths and with their accreditation take out the f/2.8 lenses and 1DX or D4s bodies.  Today it would be the 1DXII and D5.  There is always a lineup.  It is way longer with Canon and you see these people with amateur bodies and prosumer f/4 and f/5.6 lenses.

PROs don't need to lineup because they have their own bodies and their own faster long telephoto lenses.