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Everything posted by hansvons

  1. @MITDelay Perhaps the second part of this article gives you an idea how the SL2-S' video works. Shameless plug: https://theletgo.net/en/2021/06/26/here-to-stay-the-leica-sl2-s/
  2. Interessante Einschätzung. Bin immer wieder hingerissen zur Q2 als Zweitkamera. Aber die SL2-S (bei mir mit dem 24-90) ist so ein prima allrounder, dass ich im Moment nichts vermisse, ausser einem wirklich guten 50mm. Ich habe noch aus sehr alten Zeiten ein 50mm R Summicron über. Das aber bildet leider sehr flach ab, ohne jede Dimensionalität und zeigt diesen Vintage glow in den Highlights, den ich aber meistens nicht will. Ausserdem kommt ein flotter AF meinem impulsiven, schnellem Arbeitsstil sehr zu gute. 80% Ausschuss ist kaum zu ertragen, besonders wenn die Bilder eine Bedeutung/Wert habe
  3. I somewhat disagree. Any sensor has a ISO sweet spot in terms of DR, colour reproduction and noise/texture. In the end, a subjective weighting of these components leads you to an ISO number that you may call the "native" or "base" ISO of that particular sensor. In cinema land, eg the Alexa, the Red Monstro or the Venice that is for most cinematographers ISO 800. Even the manufacturers of the mentioned cameras refer to ISO 800 as there "native" ISO of their respective camera. What one believes is the best possible picture from a particular sensor is highly subjective (some don't want to see tex
  4. Hi @Photoworks, I'm not an engineer, nor a knowledgable person in digital imagery science and sensor technology. But I do know how ISO, DR, texture (noise) and colour saturation work in practice with Arri Alexas and Red cameras that offer an as-pure-as-possible raw workflow. That is, no denoising or amplifying for high ISO performance etc is applied. The log image you get is as unprocessed as possible. From that background, ISO 400-800 seems to be the "base" ISOs. You get a fat, colour-rich picture with a fine texture in a wide dynamic range that protects highlights. But, as usual, it all dep
  5. Habe schon über einige Tellerränder geschaut. Die SL2-S ist meine erste Leica seit 1991. Hatte bislang beruflich keinen Grund mich mit Leica zu beschäftigen, sie hatten nichts im Angebot, das ich hätte gebrauchen können. Mit der SL2-S hat sich das geändert. Technisch ist die SL2-S sicherlich nicht die Speerspitze. Aber für meine Anwendungen (kleine Videos und Fotos im beruflichen Bereich als Hybrid) ist sie, was Hauttöne, Himmelblau, das Grün von Laub und der roll-off im Weiss betrifft mit Abstand die beste Wahl und kommt meinen Farberfahrungen mit Arris Alexa am nächsten. In der Farbsät
  6. I find shooting higher ISO in high-contrast environments gives some leeway in the highlights when shooting raw. I figure ISO 800 to be working best for high-contrast shots with the SL2-S. Such a relatively high ISO selection as "base" or "native" ISO is the best practice in cinematography for the largest DR and delicate texture. I know that many stills photographers use ISO 100 or even ISO 50 as their "base" ISO, but when doing so, I find the highlights to be in jeopardy all the time and the overall look too clean and inorganic. I have to investigate the highlights-weighted exposu
  7. I only use the EVF. The back screen is only very rarely used; I seldom check what I shoot, costs valuable time and distracts me from working. I use in most cases the 24-90 with AF. In video mostly MF. IBIS is always on in stills mode. In video mode, IBIS is on half of the time because pans off a tripod and handhelds shots that are meant to look "hand held" look better without IBIS. This thread is about the SL2-S. It's video mode is different from the SL2. On the SL2-S you can shoot 80+ min. of 4K 422 video with one battery, completely depleted..
  8. Wir sehen nicht die misslungenen Bilder, die mit IBIS und besserer Lichtstärke was geworden wären.
  9. Die SL2-S ist Leicas neues Workhorse. Großartige Kamera. Sie braucht rel. wenig Strom, 3 Batterien schaffen einen langen Tag mit weit über 1000 Fotos und einiges an video clips. Viel im Regen und blödem Wetter benutzt, der Kamera völlig egal (mit 24-90). Sucher ist Bester ihrer Klasse. Sehr zuverlässig. Im besonderen: IBIS wundvoll für nichtstabilisierte Linsen. Echter game changer. Lichtstärke und Rauschverhalten ist eine neue Welt. Wirklich. Videoqualität ist farblich die beste ihrer Klasse, meiner Meinung nach bei Weitem. Sensor zeigt bei ISO 800 tolle Textur und kräftige
  10. I'd always shoot people against backlight when comparing lenses. That way I get an idea of how a lens renders faces (slimmer or rounder), dimensionality and the handling of highlights, which includes CA and glows. But if parrots are your preferred subjects I'd choose them, of course. Yesterday I saw that documentary about Monty Python on Netflix. The parrot sketch is still incredibly funny. I love birds though, amazing creatures! Just kidding.
  11. Same experience here. Bought 4 batteries and never had to drain them the all on one day.
  12. I see that the other way round. I'd choose the SL2-S over the SL2 any day, especially on trips. Some perspective: First, most of my work ends up digitally and not on prints, which never requires 8K+ resolution. Secondly, in print (I done that a few times), I choose a larger format such as A1 and happily show the sensor's imperfections for authenticity. I never use any noise reduction or sharpening and don't aim for resolution per se or technical perfection. On the contrary, I always look for character, which naturally means imperfection. Coming from moving pictures, I know that th
  13. Exactly. The back lens is the weak part and much more prone to get scratched. I never use UV filters or other glass to protect a front lens. The optical quality degrades, and flares lose their look. No need. Just handle with meaningful care. The same applies to lens caps. They constantly stop people from getting the shot. But they can't help it and put back their lens cap all the time. It's a compulsive act. Front lenses must radiate something.
  14. Interesting summary! The original 24-90 lens hood reminds me of those small matte boxes of Super 16mm zooms back in the day. Very cinéma vérité like, and somewhat French. I'm not fond of these cut-away designed modern lens hoods you get today with Canon and the likes. Plus, reflections do come from the sides too. That's the reason why proper matte boxes never have such a shape. Let the Leica be a Leica in all it uniqueness. YMMV, of course.
  15. I believe saying the SL2/SL2-s is too bulky for travel, get something else, can miss the job. The OP says that he has issues focusing the M. I know that AF has tons of advantages when it comes to stills photography. The miss rate is much lower with AF if you are working with moving subjects or have a documentary approach, which has many advantages on the artistic side. When you're taking landscape pictures and architecture or staged portraits, focusing isn't much of an issue, but with moving people, it can be, especially in low light environments. In a dedicated camera bag, the S2-S with
  16. The SL-2s with the 24-90 is the best video-stills hybrid combo in the 10k range I‘ve ever had in my hands when skin tones, sky blue and greens are of importance. Admittedly, not the optimal choice for a light trip. But when reading your post, travelling particularly light isn’t your primary concern. The SL2-s and the 24-90 are so good that I‘m thinking of getting a proper AF capable 50mm (SL Summicron or Summilux) for portraits and be done with it. I use the camera professionally on travels.
  17. If these are DNGs, I'd look into into lens correction settings in the raw converter.
  18. If I recall correctly, they only shoot walls in that video and apologise for doing so. Without shooting back-lit portraits in front of a bokeh-prone BG you can’t evaluate a lens that is predominantly used for portraiture. Kind of a moot exercise.
  19. Hi Amal, As the catalogue states, the 24-90 is a f 2.8 - 4 lens. And frankly, because you cannot zoom without losing the focus a bit, the 24-90 is basically a variable prime. That way, the f 4.0 at the long end isn't an issue at all for me. I find for the FF format an f 4.0 at 90mm fully acceptable. It renders soft BG with a nice, organic non-busy bokeh. Moreover, for video and an FF sensor f 2 and even f 1.4 are unmanageable in terms of keeping subjects in focus when shooting close-ups or medium close-ups. For still portraiture and shorter focal lengths such as 35mm a fast aperture is a
  20. I absolutely agree. But to determine which of the two I’d chose, I’d take both lenses and shoot a medium close-up portrait at 35mm, 50mm and 70mm at open rose against a bokeh-prone, backlit BG and compare. There can be visible differences. Bokeh can render differently, the skin tone’s colour can be different (for that use the daylight colour temp. preset), dimensionality can be day or night (slightly exaggerated), and lastly but not least, the rendering of the face can be slimmer or more rounded at the same focal lengths. These things catch my interest much more than pure IQ in terms of
  21. -2. The differences are very subtle. The manual provides no sensible answer why there's -2 to 2 and not 0-5.
  22. Good summary. Clearly, the SL2-S isn't made for you. But it's always great to try new options. Perhaps you could have missed something important to you. I bought the SL2-S and the 24-90 for commercial hybrid shoots, video and stills. And in both domains, it does what I expected it to do. The SL2-S is a sturdy workhorse and not a light travel companion. It delivers outstanding pictures and satisfies even the most demanding filmmaker when it comes to video quality. But it's heavy and indeed isn't made for the quick snap at family gatherings or travels. I find it well-balanced for video and
  23. I'd think of a faulty HDMI cable. When I connect the Atomos via HDMI to the SL2-S and record sound via the SL2-S' audio input jack, I get the same sound quality as the internal recordings. Should be working on the Leica's side. I hear sound when using a headphone.
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