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About paulcurtis

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  1. AFAIK what you're seeing in the 'grainy' bokeh balls is the surface of the ASPH in the CV. If you compare that to a purely spherical design that generally looks a lot smoother - presume that it is a lot easier polishing a spherical element. ASPH tend to be moulded don't they? Certainly in more consumer lenses with plastic moulded ASPH the grain is very extreme. IMHO it's a lot better than onion rings but i believe the term 'buttery smooth' bokeh is the absence of both onion and grain. From what i can see and understand that the Leica APO process includes some different approaches to
  2. Thanks Alan, some lovely images in there. Also i saw your sun photos from your website and they are stunning, very inspiring. I bit the bullet and ordered a CV 50 APO myself and will see how it works for me. I have some new cine APOs arriving in the next few weeks as well, so once i have the collection i will attempt to do a @Harpomatic style review (can't promise that level of detail) but i will be able to compare: 50 cron, 50 canon 1.2 RF, CV 50 APO, 50 APO HyperPrime, 50 zeiss contax, 50 OM Macro f2, 50 FD and this new APO cinelens. I may also be able to get my hands on some
  3. +1 But i also think this image is made 'worse' by the highlight contrast and clipping. If the background rolled off smoothly with lower contrast then i suspect it would be a bit better. But i see bokeh balls with outlines, green and general nastiness. So in that case the camera had something to do with it, not just the lens As a still i quite like it, as a one off! cheers Paul
  4. Different Angle: In filmmaking, shallow DOF is about directing the eye during motion sequences and that is a story telling tool. On film the desire to do this in the small patch of celluloid led to Anamorphic lenses which both widened the view and also reduced the DOF. Now in cinema, large format (full frame) is becoming more commonplace and with it even shallower DOF. A natural side effect of this is the nature of the backgrounds and in motion (and also stills) that background is very much the canvas on which the subject is painted. IMHO nasty bokeh - and personally I define this as onio
  5. I really appreciate the images and details. Yes i have an fp as well which i find myself using all the time. I'm unsure about the L upgrade though and one of the reasons is that being an electronic shutter the 61mp sensor is even slower to read out and even in stills this will lead to distortion on longish lenses. I think this is an area a lot of people aren't talking about but if you hand hold a portrait on a 90 cron and fire off a bunch of shots - you can see the skew and wobble from still to still because of the handholding, On a single image you can't tell but shoot a bunch and flip b
  6. Yes, that's pretty good. As you say i can see both the green and purple. Shame you don't have a Leica to compare with! And shame the MFD isn't the same as the E mount version (35cm) i think the VM is 50cm? I look forward to seeing how the lens performs and if it matches the 50 well! cheers Paul
  7. That's interesting. To be honest i'd not really thought about the fact that different lenses would have different UV performance, i suppose it's obvious in retrospect but that's a good point. Is it the case that the lenses i tend to gravitate towards have a more brutal UV cut? No idea. Not sure how much PF is down to UV though but it may also explain why different people report different results from camera to camera but i'm not away of anyone really quantifying that. I'm going to have to find that UV filter around here somewhere and try! cheers Paul
  8. This thread diverged but in an interesting direction. I have many cameras so see many different interactions and i guess this highlights how many different elements there are in a chain to sensor that will affect everything. An awful lot of cinema cameras tend to be overly sensitive in IR, perhaps in an attempt to boost sensitivity at that red end of the sensor and results in a whole range of Hot ND filters, which both ND and IR cut because black materials change colour in footage due to IR emission/pollution. The source spark was would a UV filter tame purple fringing and i guess the ans
  9. Yes, true. This is always one of the issues with cinema camera testing in that RAW isn't really RAW sometimes and so people can get in a twist about DR of various cameras without really understanding what's going on or being able to work with it. I think Sony also do something similar, no? I remember issues with the a7 range and 'eating' stars at night (although that might be the RAW compression rather than NR in that case) What is interesting is how a sensor achieves it's range. We like to think in terms of camera A has a DR of 14 stops for example, but behind the scenes it's a lot more
  10. Sure that's part of what i do. I try to avoid mainstream as much as possible, it's not the best working environment, especially with families. I worked in soho in the 90s and consulted for lots of software companies then, set up indie pipelines and also development work which is still bread and butter these days mixed with producing now. More recently there's a lot of ML and Deep Learning stuff going on which is interesting because a lot of lens characteristics can be taught to a ML set up. So for example PF and LoCa is something i'm experimenting with removing by teaching a neural net wh
  11. Your opinion, which is fine. My background is vfx & post, it's my profession to understand this. In motion, issues can compound and cost a lot of money. I remember one green screen shoot where vintage lenses were used that was near impossible to key - i tracked it down to odd diffraction of the colours which prevented good edges, even though it looked good to the eye. So in my creative work, i have my eye and what i like, and in professional, i need to ensure things run smooth. But like lots of others on here i've spend decades with lenses and personally find it fascinating. The
  12. FWIW if you are curious about DNG files then RawDigger is an app that will let you open them in their basic raw format - pre-debayer. There's not that much that can be done in the DNG, you can tone map, store colour matrix transforms and obviously tag the file with metadata. There's no lens correction as such beyond tagging that DNG so that whichever app you use to debayer will do what it wants with the data. So there's no treatment of any LoCa or PF going on, DNG is just a transport for the sensor data. You can learn a lot digging through DNGs. It's worth looking at basic colour science
  13. That's really interesting. Of course it begs the question how you could ever correct for it because i am guessing that all rays are going to cross like that. You would need to correct for the exit on the last piece of glass to not refract the wavelengths differently. Plus also real light is a spread of wavelengths not just RGB. This is why i am not an optical designer. So guessing APO is about that last element correction (i suppose it involves more than the last element though) Interesting to point out purple is because of the fact there is no purple wavelength or rather it's magent
  14. Glad someone is finding it interesting aside from me! I think APO is a rather large label that can mean different things to different people. Much like ASPH as well, which i had always associated with cheap manufacturing (need less 'real' elements). So i am guilty of assumptions too. Zeiss have made some wonderful lenses in their Supreme series (cine) and Otus are amazing too. Prior to this i was never a fan of Zeiss because for me they valued sharpness at the expensive of PF and bokeh. I preferred their Contax range. And CV focus (forgive the pun) on different features as well,
  15. Did you ever sort out your cron, i think it had an issue with infinity focus? This reflects my observations, the 50 cron is remarkably good, at least my one is. I think it's this f2 barrier, things get orders of magnitude harder the faster you go beyond that. The lux's as wonderful as they are still - to my eye - aren't as smooth in terms of bokeh. A damn good spherical design can work wonders. I see a lot of APO based spherical designs around at the moment. Usually f1.8/f2 - so T2.1/T2.4 rather than super fast. ASPH in my experience usually means quite harsh bokeh and you can
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