Alec

Alec

Lives in United States New York City, NY, United States
Works as a Photographer
Has a website at http://karasevstudio.com/
Joined on Oct 24, 2000
About me:

I'm a photographer serving New York City’s theatre and fashion industries as well as industrial and advertising photography needs of the city’s businesses. My O2 (Optically Opinionated) blog contains ideas, tips, and industry commentary.

Comments

Total: 253, showing: 1 – 20
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On article Samyang announces VDSLR 16MM T2.6 cine lens (18 comments in total)
In reply to:

Mark9473: I have difficulty understanding a manual focus cine/video lens with such short focus throw. How is this actually used?

Mark9473, by means of follow focus. It engages those Mod 0.8 teeth and has a gear ratio that gives precise control over distance. In a proper production, blocking is done where distances are pre-measured and the talent stands or moves among specific pre-marked spots. Those spots are marked and numbered with a dry erase pen or pencil on the white follow focus rings and as the shoot progresses the ADP / focus puller moves the focus accordingly as the talent executes the scene.

See https://www.youtube.com/watch?v=oP5YxHauyFk for example

Link | Posted on Apr 23, 2017 at 06:01 UTC
In reply to:

Alec: I still shoot two A900s. Never failed on me. I don't think failure is supported in firmware ;)

I got a D800 for video - I'll consolidate to E-mount for vid and stills, but only when I see 4K at 60fps and 10 or 12 bit video recording (either internal or HDMI). For now, even the A9's 4K is 30fps and 8 bits.

Indeed. Panasonic DC-GH5 (and GH4 prior) have 10 bits - the whole "4K is so huge our hands are tied on color depth side" argument no longer holds water when we see cellphones, action cameras do 4K off their puny power budgets. Certainly the 1080x60P should be native 14 bit (compressed raw as you suggest). It's 2017.

Link | Posted on Apr 22, 2017 at 21:52 UTC
In reply to:

Mariano Pacifico: What are the advantages of mirrorless camera? Absolutely not downsize. Just lookit their specs.

With Sony's foray into full frame this should choke out Nikon from the market.

Size wise, a pro camera is not fundamentally different from a pro hammer drill, a pro ski boot, etc. Human body interface over a certain area is needed for optimal control and to avoid fatigue. Regardless of how small the tech is, human body is human body.

Frankly I'm surprised they didn't make the vertical grip integrated (how many people would mind it - esp considering the mild cost & weight & rigidness advantage over the body + attached detachable grip). It would also allow to make the display a little bigger - personally I see nothing wrong with the display the size of iPhone even the larger ones. It's not like instagram users are complaining it's too big or too clear.

Link | Posted on Apr 21, 2017 at 00:10 UTC

I still shoot two A900s. Never failed on me. I don't think failure is supported in firmware ;)

I got a D800 for video - I'll consolidate to E-mount for vid and stills, but only when I see 4K at 60fps and 10 or 12 bit video recording (either internal or HDMI). For now, even the A9's 4K is 30fps and 8 bits.

Link | Posted on Apr 20, 2017 at 23:53 UTC as 35th comment | 3 replies
In reply to:

Alec: If this is the "9" to Sony A7 and A9S, A9R are on the way, then ok. If not, here's my "It's 2017, hello!!" list:

1. HDMI out: 4:2:2 8bit. 8bit! Off native 14. It's 2017, hello!!
2. 4K top frame rate: 30fps (int. & HDMI). Let me get this: the thing does 20fps @ 24M (WELL over 6K), in 14bit RAW. Thing does AF+AE @ 60fps. But 4K vid's 30fps. It's 2017, hello!!
3. HFR. High Frame Rate. Am I blind or not there? Cyber-shot RX100 V does 250fps HD (over 10x slo-mo). As in, SONY Cyber-shot RX100 V. It's 2017, hello!!
4. USB2. Not Thunderbolt 3/USB-C (`cause, too clean). Not even the dumb USB3 "mini" that isn't. USB2. It's 2017, hello!!
5. Wi-Fi 802.11b/g/n 2.4GHz only. Where's 802.11ac (finalized in 2013), where's 5GHz? It's 2017, hello!!
6. Actually VERY impressed it includes a wired Ethernet LAN terminal. Dare we expect a Gigabit LAN - not just 100M? Cause SONY's full specifications don't bother stating such minutiae. 10G with charging over PoE would have been fantastic. It's 2017, hello!!

Thanks, zodiacfml - I don't deserve the credit; like you pointed out it's just common sense. PoE has been powering the security IP cameras for over a decade now, and has been getting cheaper to implement and more powerful all the time. 802.3at can deliver 25W over the Ethernet cable (enough for rapid-charging batteries and/or powering a LED light), and the same single wire could carry control and status signaling (via HTTP RESTful interface) and even stream HD or 4K video from the camera (albeit with a small lag). Just a single cable.

Link | Posted on Apr 19, 2017 at 21:05 UTC
In reply to:

Alec: If this is the "9" to Sony A7 and A9S, A9R are on the way, then ok. If not, here's my "It's 2017, hello!!" list:

1. HDMI out: 4:2:2 8bit. 8bit! Off native 14. It's 2017, hello!!
2. 4K top frame rate: 30fps (int. & HDMI). Let me get this: the thing does 20fps @ 24M (WELL over 6K), in 14bit RAW. Thing does AF+AE @ 60fps. But 4K vid's 30fps. It's 2017, hello!!
3. HFR. High Frame Rate. Am I blind or not there? Cyber-shot RX100 V does 250fps HD (over 10x slo-mo). As in, SONY Cyber-shot RX100 V. It's 2017, hello!!
4. USB2. Not Thunderbolt 3/USB-C (`cause, too clean). Not even the dumb USB3 "mini" that isn't. USB2. It's 2017, hello!!
5. Wi-Fi 802.11b/g/n 2.4GHz only. Where's 802.11ac (finalized in 2013), where's 5GHz? It's 2017, hello!!
6. Actually VERY impressed it includes a wired Ethernet LAN terminal. Dare we expect a Gigabit LAN - not just 100M? Cause SONY's full specifications don't bother stating such minutiae. 10G with charging over PoE would have been fantastic. It's 2017, hello!!

BBQue very true, but so were all the other products that use the stated features. Roadmaps, draft standards, engineering samples exist for a reason, so up-to-date features and interfaces can be integrated into up-to-date products. And it works. Not to mention, USB2 in particular just laughs in the face of "there was no time" argument.

The camera is lovely, but the chewed up video output spec makes me think the Cine Alta samurai came down to the Minolta guys in the camera division, whirling katanas in their faces and warning there'll be blood if A9 puts so much as a toe on their glorious land of "real" cameras for "actual" filming.

Link | Posted on Apr 19, 2017 at 20:48 UTC
In reply to:

Alec: If this is the "9" to Sony A7 and A9S, A9R are on the way, then ok. If not, here's my "It's 2017, hello!!" list:

1. HDMI out: 4:2:2 8bit. 8bit! Off native 14. It's 2017, hello!!
2. 4K top frame rate: 30fps (int. & HDMI). Let me get this: the thing does 20fps @ 24M (WELL over 6K), in 14bit RAW. Thing does AF+AE @ 60fps. But 4K vid's 30fps. It's 2017, hello!!
3. HFR. High Frame Rate. Am I blind or not there? Cyber-shot RX100 V does 250fps HD (over 10x slo-mo). As in, SONY Cyber-shot RX100 V. It's 2017, hello!!
4. USB2. Not Thunderbolt 3/USB-C (`cause, too clean). Not even the dumb USB3 "mini" that isn't. USB2. It's 2017, hello!!
5. Wi-Fi 802.11b/g/n 2.4GHz only. Where's 802.11ac (finalized in 2013), where's 5GHz? It's 2017, hello!!
6. Actually VERY impressed it includes a wired Ethernet LAN terminal. Dare we expect a Gigabit LAN - not just 100M? Cause SONY's full specifications don't bother stating such minutiae. 10G with charging over PoE would have been fantastic. It's 2017, hello!!

Lots to love, though:
- Customizable file prefix to differentiate camera or project.
- 3" HD lcd, with tunable zebra and focus peaking and S-Log preview
- Phase AF covering nearly full image with nearly 700 points, that work with A-mount lenses (via LA-EA3)
- SONY collaborated with Phase One to ensure great raw conversions in Capture One - no reverse engineering.
- Time code, scene data tagging in video - great for multi-camera workflow.
- Digital zoom!! Just kidding. No, I'm not. There's an entire section on it in SONY's specs, stating how the 2x one is nice and 8x is available but crap. Enlightening! No mention of in-camera HDR or distance bracketing though, and there's a curious dash in the Playmemories Apps` support's section. Hmm.

SONY's spec sheet: https://www.sony.com/electronics/interchangeable-lens-cameras/ilce-9/specifications

Link | Posted on Apr 19, 2017 at 20:36 UTC

If this is the "9" to Sony A7 and A9S, A9R are on the way, then ok. If not, here's my "It's 2017, hello!!" list:

1. HDMI out: 4:2:2 8bit. 8bit! Off native 14. It's 2017, hello!!
2. 4K top frame rate: 30fps (int. & HDMI). Let me get this: the thing does 20fps @ 24M (WELL over 6K), in 14bit RAW. Thing does AF+AE @ 60fps. But 4K vid's 30fps. It's 2017, hello!!
3. HFR. High Frame Rate. Am I blind or not there? Cyber-shot RX100 V does 250fps HD (over 10x slo-mo). As in, SONY Cyber-shot RX100 V. It's 2017, hello!!
4. USB2. Not Thunderbolt 3/USB-C (`cause, too clean). Not even the dumb USB3 "mini" that isn't. USB2. It's 2017, hello!!
5. Wi-Fi 802.11b/g/n 2.4GHz only. Where's 802.11ac (finalized in 2013), where's 5GHz? It's 2017, hello!!
6. Actually VERY impressed it includes a wired Ethernet LAN terminal. Dare we expect a Gigabit LAN - not just 100M? Cause SONY's full specifications don't bother stating such minutiae. 10G with charging over PoE would have been fantastic. It's 2017, hello!!

Link | Posted on Apr 19, 2017 at 20:16 UTC as 100th comment | 9 replies
On article Light's L16 camera is in final stages of testing (301 comments in total)
In reply to:

Alec: this, too, shall pass

Well, yes and no: there's "Nikon F5 pass" (or Pentax K1000) and "Lytro camera pass". The latter was a fad. This, to me, has "fad" written all over it.

Link | Posted on Apr 17, 2017 at 04:18 UTC
On article Light's L16 camera is in final stages of testing (301 comments in total)

this, too, shall pass

Link | Posted on Apr 15, 2017 at 19:40 UTC as 53rd comment | 3 replies

AAAAAAAA! Tech singularity is here. I fed it UC Berkeley's AI painting-to-photo output off of Monet's painting used in the title of the recent article here http://bit.ly/2oNMZhJ - and got this result: http://imgur.com/a/OB4iE

Link | Posted on Apr 8, 2017 at 18:52 UTC as 39th comment
On article Image style AI can convert paintings to photographs (54 comments in total)
In reply to:

Ann Chaikin: Wonder what it would do with Picasso or Dali. Could be interesting.

And Malevich's black square.

Link | Posted on Apr 5, 2017 at 02:29 UTC
On article Image style AI can convert paintings to photographs (54 comments in total)

What if it were used on more paintings? http://imgur.com/a/UhN8V

Link | Posted on Apr 4, 2017 at 00:56 UTC as 16th comment
On article Atomos introduces Ninja Inferno off-camera recorder (62 comments in total)
In reply to:

mosc: Screen resolution? Is it 4K and I'm just in disbelief of the pricepoint or do they leave off that it's actually something much less?

Of course it's less, it's 1920 x 1200, but given the screen is 7.1”, that's 325ppi i.e. there'd be a pretty diminished return from an even higher pixel density. For "native" 4K critical focusing (without relying on magnified segments and focus aids that the recorder does have), you'd want to chain/feed the recorder's output to a 22-24" 4K display - which you in fact can do with this recorder.

Link | Posted on Mar 30, 2017 at 05:08 UTC
On article Atomos introduces Ninja Inferno off-camera recorder (62 comments in total)
In reply to:

dr.noise: "Also, since the GH5 doesn't include SDI ports or shoot Raw video, users are unlikely to miss those features on the Ninja Inferno"

the logic.

It totally sucks - the reality that in this day and age even Shogun Inferno got raw capability days ago and even then with only a tiny handful of specific cameras.

The 2017 reality in which we still live is DSLR and mirrorless cameras have HDMI outputs with 8 bits per color. Until that changes to 12-16 bits, the quality difference external recorders make compared to internal recording followed by up-conversion for editing to the same codec, will be visible only to pixel-peepers, and it's harder to peep at pixels at 30-60 fps.

Link | Posted on Mar 30, 2017 at 05:02 UTC
In reply to:

iae aa eia: Well, it really seems Nikon is gonna have a tough 100th anniversary celebration. I am very sorry for the company and its costumers and/or fans. Congrats for the sarcasm in the article. Unfortunately, it was deserved. By the way, I think some lens makers could offer cut-in-half lenses for collection. I would suggest to cut the lenses too so that you can see their shape. With a set of lenses they can make two kits, and the interior lenses could be without any special treatments and not made to the standard expected for the lenses in a real product, but only the front and rear elements would. The half of the lens body could be a mock-up of the original, and there could be a minipedestal so that we could put in standing, like those miniature planes. My guess is that it would cost considerably less than the real product, perhaps 1/10, and I would definitely buy one or more.

I'm ambivalent about the lenses cut in half. On the one hand you have a point, but on the other hand it looks like people can take them out and play with them. If I were a kid I'd go gaga over being able to do this with real lenses; it would certainly create a strong brand sentiment for kids AND their parents. The lens shape could perhaps be conveyed via a diagram.

Link | Posted on Feb 25, 2017 at 16:11 UTC

Next development: mobile apps and AI web browser plugins that spare consumers the effort to look at this machine generated drivel and automate the buying decisions for them.

Actually we would NOT be buying the actual physical clothes - just licensing rights to have (yet another) software photoshop it in our instagram pix and such, for our followers' delight.

...Because our current clothes are still 100% fine, but we've created this culture where it's unacceptable to keep being seen in them.

Link | Posted on Feb 25, 2017 at 16:02 UTC as 12th comment
In reply to:

aramgrg: Why is 2.8 this big? Nikon is doing 1.4. It could've been 2.0 or at least 1:1 macro.

@TrojMacReady great link. Yup. A lot of folks think bokeh is simply the amount of blur. Any lens can blur the foreground/background if it's relatively far from the main subject, and extra-wide aperture lenses can do it with a shorter separation distance.

However bokeh is really the quality of the blur not the amount. The example you cited is great because the Nikon lens produces plenty of blur but it's very wiry quality, not smooth. (Bokeh isn't limited to how edges of the out of focus highlights are rendered, it's for everything - just more obvious on the highlights).

A great bokeh lens delivers a better "visual signal to noise ratio" in that there's less "visual hiss" in the background that takes attention away from the main subject. It's expensive to make a lens that is both great bokeh and sharp. Many manufacturing-friendly optical formulas that deliver great MTF are inherently horrendous at bokeh - it's a bit like going nuts with a sharpening filter in Photoshop.

Link | Posted on Feb 7, 2017 at 21:27 UTC

Glad to see Minolta heritage lives on!

I use the Minolta 135/2.8 STF. It's a manual focus lens - as STF complicates AF enormously and I reckon back in the day Minolta didn't have the tech.

On its Maxxum 7 (film) body, Minolta had a special STF mode where it would do a multi-exposure at varying apertures - for a fixed camera and subject, it mimicked what the STF lens did, with any lens.

They also had series P Portrayer filters, that slightly blurred yellow/orange (skin) tones only.

In other words, Minolta has a significant heritage in "run-and-gun" glamour (Hassy and large format counted more on retouching and deliberate staging / extensive light modification vs. Minolta's tools & tech to get the most out of given subject & scene).

Link | Posted on Feb 7, 2017 at 17:27 UTC as 66th comment | 2 replies
In reply to:

aramgrg: Why is 2.8 this big? Nikon is doing 1.4. It could've been 2.0 or at least 1:1 macro.

I use the Minolta STF. It's a manual focus lens - as STF complicates AF enormously and I reckon back in the day Minolta didn't have the tech.

On its Maxxum 7 (film) body, Minolta had a special STF mode where it would do a multi-exposure at varying apertures - for a fixed camera and subject, it mimicked what the STF lens did, with any lens.

They also had series P Portrayer filters, that slightly blurred yellow/orange (skin) tones only.

In other words, Minolta has a significant heritage in "run-and-gun" glamour (Hassy and large format counted more on retouching and deliberate staging / extensive light modification vs. Minolta's tools & tech to get the most out of given subject & scene).

Link | Posted on Feb 7, 2017 at 17:26 UTC
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