NDT0001

Lives in Australia Australia
Joined on Mar 20, 2009

Comments

Total: 207, showing: 1 – 20
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In reply to:

scoobysnapstories: THATS NOT CHEAP AT ALL

* for you

Link | Posted on Apr 27, 2017 at 00:04 UTC
On article Sigma announces 14mm T2 and 135mm T2 Cine Prime lenses (34 comments in total)
In reply to:

Ebrahim Saadawi: The 5D EF mount was simply a revolution in cinema glass. Before the 5D and 7D came out, cinema glass was limited to PL to very high end rental firms, consisting of zeiss and cooke primes mostly. With the DSLR revolution they said hey, doesn't this cheap, ultra sharp Canon/Nikon/Sigma cover super 35mm film and cine sensors?! Yes they do. Let's try them... then all companies started making cameras with EF mount rather than Cine PL mount, simply because there are SO many more lenses and future at VERY cheap cost. Now even Red have native EF mounts and all the Sony E mounts that go EF and so on.

The reason that stills glass are better and cheaper than Cine glass is economics of scale as we all know, not superiority of the product.

Cinema lenses however still held a place in many shoots for a few features:

1- Long focus throw
2- accurate witness marks
3- Consistent size/diameter bodies in a "set"
4- Much stronger ALL metal construction.
5- Focus breathing

This is where these Cine versions of still glass come from. They give these features to their already optically wonderful stills glass and get a full fledged PL/EF cine lens for about 1/20 the price of normal ones, which started at 20-30K for a prime.

Now when you look at it this way, a Sigma Cine Prime Set, complete from 14 to 135 for the price of one cine prime so a 5000$ price tag for a 14mm f/2 PL Cine prime is a complete bargain for the target user, RED/Arri/C300 type of operators. They can own the prime for the rental price of an older Cine prime! That's a great deal. On Red forums they're so exicted about these Sigmas as they have the EF-only Red Raven and of course all their cameras have EF models. So you'll see lots of these Sigmas on Especially on Reds and C300s.

So look at the target user when you're judging the price. The cost of producing these lenses is NOT cheap. These have a completely new construction from the ground up, and they have a whole division for supporting these high-end users as we can see.

The Cine-vised still glass all run for around 5000 USD. They DO have some optical "tweaks" that most people don't know. They have small floating element to minimize breathing actually, they have entirely new coatings on all elements that result in the key effect of colour consistency throughout the prime set, something now needed in photography, the construction, springs, helicoids, gears, metal, all are much improved in cheer strength and to result in much lower error tolerances in element allignment thus higher field corner to corner resolution on all copies in the lens set.

Companies that do exactly all of these tweaks (optical and mechanical) to their stills optical formula lenses, are Canon (CN-E), Tamron, Zeiss CP 2s, Sigma, and Tokina too and more...

All retail for about 5K a piece or 25K a whole cine fast prime set.

If Sigma manages going a bit lower they'd be killing it.

This is merely random information for these who don't know them. Sorry for long post.

Yes totally. Go back less than 10 years and the entry point for any type of cine lenses was over $10k per unit. We live in prevelidged times.

Link | Posted on Apr 21, 2017 at 23:10 UTC
On article Sigma announces 14mm T2 and 135mm T2 Cine Prime lenses (34 comments in total)
In reply to:

Ebrahim Saadawi: The 5D EF mount was simply a revolution in cinema glass. Before the 5D and 7D came out, cinema glass was limited to PL to very high end rental firms, consisting of zeiss and cooke primes mostly. With the DSLR revolution they said hey, doesn't this cheap, ultra sharp Canon/Nikon/Sigma cover super 35mm film and cine sensors?! Yes they do. Let's try them... then all companies started making cameras with EF mount rather than Cine PL mount, simply because there are SO many more lenses and future at VERY cheap cost. Now even Red have native EF mounts and all the Sony E mounts that go EF and so on.

The reason that stills glass are better and cheaper than Cine glass is economics of scale as we all know, not superiority of the product.

Cinema lenses however still held a place in many shoots for a few features:

1- Long focus throw
2- accurate witness marks
3- Consistent size/diameter bodies in a "set"
4- Much stronger ALL metal construction.
5- Focus breathing

This is where these Cine versions of still glass come from. They give these features to their already optically wonderful stills glass and get a full fledged PL/EF cine lens for about 1/20 the price of normal ones, which started at 20-30K for a prime.

Now when you look at it this way, a Sigma Cine Prime Set, complete from 14 to 135 for the price of one cine prime so a 5000$ price tag for a 14mm f/2 PL Cine prime is a complete bargain for the target user, RED/Arri/C300 type of operators. They can own the prime for the rental price of an older Cine prime! That's a great deal. On Red forums they're so exicted about these Sigmas as they have the EF-only Red Raven and of course all their cameras have EF models. So you'll see lots of these Sigmas on Especially on Reds and C300s.

So look at the target user when you're judging the price. The cost of producing these lenses is NOT cheap. These have a completely new construction from the ground up, and they have a whole division for supporting these high-end users as we can see.

The Cine-vised still glass all run for around 5000 USD. They DO have some optical "tweaks" that most people don't know. They have small floating element to minimize breathing actually, they have entirely new coatings on all elements that result in the key effect of colour consistency throughout the prime set, something now needed in photography, the construction, springs, helicoids, gears, metal, all are much improved in cheer strength and to result in much lower error tolerances in element allignment thus higher field corner to corner resolution on all copies in the lens set.

Companies that do exactly all of these tweaks (optical and mechanical) to their stills optical formula lenses, are Canon (CN-E), Tamron, Zeiss CP 2s, Sigma, and Tokina too and more...

All retail for about 5K a piece or 25K a whole cine fast prime set.

If Sigma manages going a bit lower they'd be killing it.

This is merely random information for these who don't know them. Sorry for long post.

Helleluja! Your post should be a permanent reference for anytime cine lens news is reported on this stills focused website. Whenever cine lenses are released for a dollar more than a sigma or canon kit lens and all the 'experts' here cry extortion.

Link | Posted on Apr 21, 2017 at 21:59 UTC
On article Sigma announces 14mm T2 and 135mm T2 Cine Prime lenses (34 comments in total)
In reply to:

Alex Armani: Sigma Art 135 is $1399, Same optics but for cinematography diffident housing, All metal parts never cost over $500, but don;t be surprised if price will jump to $4000.
Personally I dint like to be screwed. If price will be $2000 I will order both 14 and 135.

The difference is Sigma will make and sell 20x the amount of the stills version than they will the cine version. Economies of scale.

Link | Posted on Apr 21, 2017 at 05:45 UTC
On article Canon will add C-Log to the EOS 5D Mark IV for $99 (461 comments in total)

The technicians time needs to be paid for as its probably needs a small hardware adjustment or add on. I dont get these commentators who are so outraged by a paid add-on to their already highly capable hardware. Where does the outrage of wanting extra features for free come from? If your using this camera in a professional business capacity, your $99 upgrade is paid for in the first hour of your work day. If you needed clog so desperately for video you probably already have a C class eos camera anyway.

Link | Posted on Apr 21, 2017 at 00:38 UTC as 39th comment | 6 replies
On article Canon will add C-Log to the EOS 5D Mark IV for $99 (461 comments in total)
In reply to:

Ran Plett: I'm a pro stills photog, but amateur motion artist. Would this codec be beneficial for stock footage? They're generally no more than 10 second clips.

Its only useful if your going to apply a grade or post production to your video content. If you know how to grade in resolve or basic grading in your video editing software, then yes.

Link | Posted on Apr 21, 2017 at 00:32 UTC
On article Sigma announces 14mm T2 and 135mm T2 Cine Prime lenses (34 comments in total)

If the cine zooms are anything to go on the primes will be about USD$2500-3000 The UWA ones might be a bit more

Link | Posted on Apr 21, 2017 at 00:25 UTC as 10th comment

Fuji is on the right track. Leaving the other major players behind in the MF market.

Link | Posted on Apr 19, 2017 at 05:18 UTC as 27th comment | 4 replies
On article Western Digital launches its first portable SSD (143 comments in total)
In reply to:

DavidsfotosDotCom: The future has arrived, 2 years behind the technology!

Well its finally affordable for the everyday user, to state the bleeding obvious. If this was the latest cutting edge tech at the old SSD price then im sure you'd say it is highway robbery or some other complaint.

Link | Posted on Apr 6, 2017 at 20:08 UTC
On article Western Digital launches its first portable SSD (143 comments in total)
In reply to:

RadGuy: Why someone would want to spend $400 on a 1TB BACKUP drive is beyond me, when you can purchase a 4TB drive with USB 3.0 for $100. I totally support SSD for your main drive on your laptop/desktop, but for a backup drive, it doesn't make sense at these capacities. So you save an extra 2-4 minutes during backup. Big deal. It's a backup drive and can work independently from your main computer. Can someone tell me what I'm missing?

That term is simply used to denote its not your primary internal drive. Ill personally use a drive like this for editing off final cut and as an external Lightroom catalog. it may only save you 20% speed or whatever but do that for 4 hours back and forward and it adds up.

Link | Posted on Apr 6, 2017 at 20:03 UTC
In reply to:

gipper51: Hmmm...buy these 9 lenses... or a new Porsche 911 and save some money?

For the price of these, you could get a porsche for yourself and also one for your partner... The difference is, a Porsche wont make you rental income like these will, and in 5 years it will time for an upgrade, where as these will literally serve you until you die.

Link | Posted on Mar 31, 2017 at 01:29 UTC

If anyone is wondering, i guess they will be about $400-$500k for the set. Based on the Summilux-C Cine lenses that are about $40k each which cover Super 35.

Link | Posted on Mar 30, 2017 at 22:33 UTC as 16th comment
In reply to:

Mark Turney: I guess this kind of speed is good for saving high resolution video without an external device. Just an semi-educated guess as I'm not a big video guy.

http://www.arri.com/camera/alexa_mini/camera_details/alexa-mini/

Link | Posted on Feb 2, 2017 at 21:52 UTC
On article Comedy Pet Photography Awards open for entries (46 comments in total)
In reply to:

NRuby: I am excited about this one. My dog Xander is very funny and loving, so I am sure I can capture something haha

Dogs are the best people.

Link | Posted on Jan 30, 2017 at 07:13 UTC
On article Comedy Pet Photography Awards open for entries (46 comments in total)
In reply to:

whawha: Wow, surely a new Cartier Bresson or Diane Arbus shall emerge out of an initiative of this depth and scope...

not all photos of merit have to be of dead babies in warzones you know.

Link | Posted on Jan 30, 2017 at 05:59 UTC
On article Hopes of Kodachrome relaunch put on ice (173 comments in total)

I think we should all face the fact that mass production of film wont be coming back... Ever. Id be willing to put the house on it. It will always be around in some limited form for specialty projects and scientific, but mass production as it once was.... no way.

Link | Posted on Jan 26, 2017 at 23:04 UTC as 46th comment
In reply to:

Jefbak: If the new XLR adapter requires the hotshoe for DC power (is there another DC input?), then that means it has to be located on the top of the camera. Having used adapters like that before I can guess that will change how cages that were used for the GH4 need to be configured. Examples would be proper placement of a handle or grip and external monitor if you used them in the past with a GH4. I've also found it almost impossible to use the EVF with an external shotgun mic attached to a hotshoe adapter (because it's hard to avoid hitting the mic with your forehead - but maybe that's just me). This not complaint, just an observation of the challenges this new adapter may create...

I guess you could you a flash extension cable to remove it from the hotshoe.

Link | Posted on Jan 17, 2017 at 21:13 UTC
In reply to:

angus rocks: you forgot page 12.. it comes with the kitchen sink and folds your clothes. what doesn't this thing do, for 2 Grand? WOW!

Yes its phenomenal. It seems some people will still find something to complain about tho....

Link | Posted on Jan 17, 2017 at 09:31 UTC
In reply to:

LukeDuciel: Panasonic has answered all hybrid shooter's call. Great job except for the price tag... but even at $2000, I would still expect this sells like hotcake and will be hard to get at launch.

Sorry but $2k isn't expensive for what this thing does.

Link | Posted on Jan 17, 2017 at 09:27 UTC
In reply to:

OlyPent: The camera starts at $49,000.

You can also get the cheaper version in the Epic-W which is essentially a frame rate limited Weapo for $30k. Essentially the same if using for stills

Link | Posted on Jan 12, 2017 at 05:54 UTC
Total: 207, showing: 1 – 20
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