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James R Martin

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About James R Martin

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    Bristol, UK
  1. Thanks all. Some useful thoughts and advise there. Might to do some side by side comparisons just for fun when I've got some time.
  2. Thanks David! Is that control of highlights in post at the expense of mids and shadows? I sometimes feel like that is the case when grading low DR log footage.
  3. Yeah - I'll be grading either way.
  4. My team is about to take possession of an Amira. We’ve been renting for a while and shooting Log-C as standard. I’m starting to question the merits of shooting Log. Typically we shoot product footage in a studio, with finely tuned and very controlled light. We really craft each shot – bread and butter shots are pretty low DR. Occasionally we go for dramatic contrast. I’ve done a fair but of reading on the theory, pros, and cons of shooting Log, but I have to say I’m still not convinced either way. If I’m careful with clipping and try to get a healthy looking histogram/waveform, is Rec 709 just as good as Log, or in fact would it be better?
  5. If anyone else ends up here through searching, I found this very useful: http://matthayslett.com/salt-iii-high-speed-lens-shootout-wfo/
  6. Actually I take that back - the 15-50mm looks like overall the better performing lens - particulatly at 35mm. NB - the above comparison is with the mkii version.
  7. Have a look at this comparison tool. Both lenses have strengths and weaknesses, but it's hard to compare them across their focal lengths as they are so different. Neither looks terribly sharp at any focal lengeth at f2.8. Centre sharpness never looks that bad though. Away from the centre it looks like they can both get pretty soft. To be honest, clicking through the stops and focal lengths I struggled to find any sweet spot.
  8. Hi Brian, I'm talking about the CP.2 Super speeds (confusingly named given the use colloquial use of "superspeed" to describe earlier Zeiss lenses). http://www.zeiss.com/camera-lenses/en_de/cine_lenses/compact_lenses/compact_prime_super_speed_lenses.html
  9. We’re currently building and kitting out a studio, largely to be used for shooting products. We’re getting an Alexa, but are stumbling on our lens choice, mostly because the budget is not infinite. Our MUST HAVE primes are 35mm, and 50mm. We are looking at CP.2 super speeds – the cost is attractive, but more than that the speed is important – we often open up to f1.4 to knock the set background out of focus (rather than for exposure). I’m concerned about the performance of these lenses - I’ve not used them much - what are they like wide–open (T1.5)? We’re not looking at cinema projection here, TV or digital is where our shots will be seen, so I’m trying to be pragmatic. Am I worrying about nothing? Is there another line (other brands) of fast lenses that sits between Master Primes and CP.2 super speeds that I’m missing?
  10. Yup, regular CP.2s and Super Speed CP.2s. Also several iterations of each with different speeds, and blade numbers, not to mention optical performance - as I understand it.
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