Jump to content


  • Content Count

  • Joined

  • Last visited

About hansvons

  • Rank
    Erfahrener Benutzer

Contact Methods

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. That's what I'd do: get a 24-90 and add a 35mm SL or a 50mm SL. Why is that? Well, the SL2-S I recently purchased is my first professional digital stills camera (before that, I got myself a Fuji XE-3, a nice little companion). But as a director/DoP for commercials and filmmaker, I've owned lenses and film cameras (digital and analogue) over the last three decades. My experience on moving-picture gear, as I found out immediately, can safely be transferred on stills (and, of course, video). That's what I've figured out on my journey, often with some pain: For many jobs, a short zoom (i
  2. I'm pretty sure, from many testings, L-log is a log curve optimised for 10 bit HDR video in the Rec 2020 colour space. You're right, the gamma curve seems to be Leica's own making. It doesn't match Arri LogC or any other camera I know. I agree. When setting up input transform to Rec 2020 and output transform to Rec 709, which is my monitor's colour space, I get the right colours, albeit still on the flat side. With the Leica LUT Rec2020 Natural, a fitting gamma curve can be applied, which in itself represents a conservative and neutral grade with most questions already answered
  3. L-log is based upon Rec2020. You can use it well with colour managed editing and finishing systems such as Resolve, Avid, Flame. It does work with FCP-X; I haven't tested Premiere Pro yet. Just use Rec2020 as the working space instead of Rec709, and you're good to go. In ACES chose as Input Transform Rec2020. It also works with Resolve's wide colour space. In Rec709, which most editing systems use by default, colour is off, which is expected when you base your colour science on Rec2020. But, IMO, doing so makes sense because Rec2020 is the video colour space of the HDR future and is very wide,
  4. Good post Steven. Agree on every word. (It’s good to hear the MF praise from someone who grew up with AF on video and not from somebody like me, who's been a cameraman in the 90ies. Focus is a significant part of video content creation and should not be left to a machine. An exception could be YouTube selfies.)
  5. In the last few decades, most Hollywood and other films have been shot with Tiffen filters, Format being the number two. I've been using both brands extensively and never had issues. But there are others with good products nowadays, such as Nisi, who know their trade and are a tad less costly.
  6. Absolutely agree with Slender. In terms of picture quality, nothing beats no filter on the front lens. But sometimes, especially for video, an ND filter is a necessity. For video, I use the NISI Pro Nano variable ND, bringing down up to five stops. As Slender pointed out, ND filters tend to influence the colour. When the sensor is prone to IR pollution, ND filters can advance severe IR pollution. I can't say that from the NISI Nano, even at ND15. They claim it's IR neutral, which means it's with some kind of IR hot mirror coated.
  7. Both lenses are plenty sharp for 24MP and far way beyond, which are most lenses today anyway. But they render pictures differently at given focal lengths. And the 24-90 is said to be sharper in the corners. If you are a landscape photographer, a better corner sharpness might be worth the higher price tag. If you're after portraits bokeh, the rendering of faces and skin tone, dimensionality might be vital to you. And lastly, the essential factor for a lens purchase is the motivation it creates to go out and shoot. I own the 24-90 and can say that the motivational factor is very high for m
  8. Agreed. Makes perfectly sense. Sensors with smaller pixels deliver higher resolution at a given sensor size but are less sensitive to light. The dual ISO thing, however, remains to me a myth that somewhat seems to be real but needs some more understanding on my side.
  9. The ARRI ALEXA's CMOS Super-35mm sensor is rated at 2.8K and ISO 800. That sensitivity allows the camera to see a full seven stops of over exposure and another seven stops of underexposure. To take advantage of this, ARRI offers both industry-standard REC709 HD video output as well as the Log-C mode that shows the entire range of the chip's sensitivity, allowing for an extreme range of color correction options in post.https://en.wikipedia.org/wiki/Arri_Alexa That was ten years ago. Regarding ISO, not much has changed since. The Alexas of today are rated the same. A Red's Monstro sensor is
  10. Digital Cinema cameras typically have their "native" ISO between ISO 400 to ISO 800, delivering the most extensive dynamic range. Why should that be different with still cameras? On the SL2-S, I figure that at ISO 800, I get the most out of the sensor without introducing distracting noise. I would never expect the camera to deliver great dynamic range at ISO 100, let alone ISO 50. The sensor will receive too much light at such low ISO, making it hard to compensate since its native sensitivity is about 3-4 stops higher. As Jono pointed out, there's tons of information buried in the shadows, whi
  11. Thanks for the great comparison, much appreciated! I've compared the Summircon 50mm R (mk2 from the early eighties) to the 24-90 at 50mm and see similar results. When pointed to a light source, tons of flares are there, pronounced and nice with a distinct orange orb, which the modern Leica lenses don't show. The vintage 50mm is considerably cooler. The older 50mm shows some flatness compared to the modern Summicron and the 24-90, which is even more visible when shooting portraits.
  12. It tells me that I made the right choice in March when buying the 24-90 together with the SL2-S, which is my first proper stills camera. I've bought a couple of lenses in the past, but only broadcast and cine lenses. My experience with lenses is that motivation that comes with gear is a magnitude more important than specs. In that regard, the 24-90 is a winner (specs are also quite good).
  13. Yesterday I‘ve been on a 5h hike with the SL2-s and the 24-90. With the biggest Peak Design strap absolutely doable. Besides an extra battery in the trousers pocket, nothing extra necessary because the camera and lens are extraordinarily sturdy and weatherproof. Pictures leave no questions.
  • Create New...