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By vielhilftvielDie hauptsächliche Frage steht im Titel.
Außerdem würde mich noch interessieren ob man genau wie bei der SL2 auch in Cinema 4K im crop Modus aufnehmen kann für mehr Zoom.
Der Grund für die Fragen ist ich bin mit der SL2 und dem 24-90 sehr zufrieden aber hätte gerne was leichteres zum wandern. Hatte zuerst an das CL 18mm gedacht aber ohne Wetter Schutz mach ich mir da im Gebirge sorgen speziell da ich gerne auch im bei regnerischen Wetter Filme.
By Aaron DanielHi all, I've noticed there isn't a dedicated thread for editing L-Log footage, so I will begin one here. I realize that colouring and re-touching video is a very subjective field, but I wanted to see how others work within Leica's limited literature surrounding post-production in video.
I've just updated my Atomos Ninja V to the latest firmware, which now allows for L-Log recording from leica (the past year with the SL2 was a little tedious working with both internally and externally recorded video footage). Now, with this update, BT2020 seems a lot nicer.
I've just done my first video about this update here:
By hansvonsThe following is a lengthy post. But perhaps there are others out there who are in my shoes, so please bear with me.
I’m a newbie to this forum, and I’m a newbie to Leica in the digital age. However, I own an R4 with a Summicron 50mm that I bought in 1990. The camera is dead, but the lens works still nicely. By profession, I work in the advertising and media industry, mostly as a director and writer. The first half of my career, I have spent with lensing commercials. The brands back then were Arri, Kodak, Zeiss, Cooke and Angenieux. Today, Kodak is dead, Arri is still leading the pack, the traditional cine lens manufacturers are still around but facing intense competition from Japan and now from China.
What’s more, the market itself has changed immensely too. There’s still the high-budget production with expensive talent requiring all the bells and whistles on set, but the projects, which a small and dedicated team can accomplish, grow more and more these days. And they can be more interesting and challenging in good ways.
I’ve owned cinema orientated gear for ten years (Red cameras, set of Zeiss Super Speeds) but sold most of it right in time before the full-format hype in cinema land kicked in badly and before COVID-19 killed the market altogether. Thus, lucky me, I have some funds to invest in new gear after re-orientating and re-evaluating what I need — no GAS here
After investing a year of thought into this, with COVID-19 sending me into a not so much welcomed hiatus (the industry is coming back slowly now), I concluded that economically I don’t need cinema-orientated gear anymore since these jobs are in decline; I can rent whenever I have to. But, as it seems, jobs that require both video and photos, what I call media coverage because it’s not genuine filmmaking, are on the rise.
I have professional relations to Canon and have test-driven some of their offerings, albeit not yet the R5 but their recent cinema products. I’m stunned what their tech can do. AF is a sensation, and some RF lenses are impressive. I also use every here and then a Nikon Z6, mostly for wildlife and people. Plus I own a Fuji EX3 for private usage on travels. In a nutshell: while they all make great images possible none of these cameras create skin tones comparable to Arri or Red cameras, plus their lenses mostly don’t reach the levels of dimensionality I’m used to.
I then read articles in the FD Times about the Leica SL2 and the new SL2-S, and about the L-log video gamma which seems to be fully compatible with Arri Log-C; that would make the Leica’s footage fitting seamlessly into my postproduction workflow. Now, catching my attention, I’ve searched the web. With the sparse video footage that I found on the web but the many great pictures I see on this forum, and the accumulation of very likeable skin tones, I assumed that the SL2-S with its video capabilities quite likely could be my next camera.
Ok. From now on I’m in uncharted territory because I have no experience with digital Leicas whatsoever. I figure that I get an SL2-S as the primary hybrid camera. To make it fully video compatible I’m thinking of getting a Vocas L- to PL-mount adaptor with 15 mm rods. That way I could make use of my trusty Angenieux 16-42 S-35 mm zoom in S-35 mm mode. I also might want a cage - or not. I own an Atomos Ninja for monitoring which can record ProRes in various flavours via HDMI.
I’m also thinking of getting me a 35 mm APO SL prime as my go-to setup for AF-based photography and videography. But when I cross that bridge, I surely want a 50 mm or/and a 75 mm APO SL prime too. Why these and not explicitly cheaper offerings from Sigma, for instance? I’ve shot a few projects with the superb Canon RF 50mm 1.2. It’s an excellent lens for sure. But it lacks a creamy focus fall-off and some dimensionality, plus it renders people’s faces more rounded in the opposite to comparable Leica lenses which tend to render people more on the slimmer side. I know that Sigma is not Canon, but they are very similar in their aim: sharp as hell, excellent at specs and offering decent build quality. But personality is not their aim. On the other hand, Leica lenses provide plenty of character and thus push my motivation to accomplish better imagery.
I’ve also tried the Nikon 24-70 f2.8 zoom, and its colleague from Canon and find them both flat and uninspiring. I assume that’s the case with the well-acclaimed Sigma 24-70 zoom too. The Leica 24-90 is probably the best zoom out there. But do I want a zoom for photography, I’m shooting mostly people in landscapes, streets and other environments? Not really.
Then the question of light travel and fall-back camera. I find the Q2 intriguing, to say the least. Its concept seems to make it an ideal travel companion. Its fast and wide 28 mm lens, the possibility to crop the sensor to S-35 mm/APS-C without scarifying much resolution (25-27 mm in S-35 mm is my pet focal length), and its sturdiness would make it a great addition in the bag.
From time to time, I’m shooting wildlife. For that, I might purchase the Sigma 100-400. I know that 400 mm isn’t long enough for birds, and I know that the Leica’s AF will be frustrating with flying birds. For the time being, I’m probably leaving this task to a Nikon Z6 with a 500mm lens, but perhaps there are hopes for a CL-2 with a much improved AF sporting an animal eye detection (one can dream). The Sigma 100-400 would be long enough for proper wildlife photography or even videography on the CL. That’d be making a lightweight hiking/wildlife combo. We’ll see.
If anyone here in the forum can chime in with valuable information or interesting insights, I’d be more than grateful.