Both the Thalia 24mm and the Zeiss Super Speed 25mm will give you almost identical fields of view, but the Zeiss Super Speed requires less light, and has the ability to give you shallower depth of field should you choose to open up to wider apertures.
A 24mm T3. So as amazing and beautiful as the Leica Thalia lenses are on an Alexa 65, they might not be the best choice for projects using smaller sensors. Then you could buy one set of primes that you could use on every job! Physics is one of the big reasons why we will likely never see a lens set like that. This theoretical prime lens would probably weigh 20 pounds and have the diameter of a volleyball.
It would also be very difficult to actually design and build. The individual glass elements would be enormous and would be difficult to match the tolerances achievable with smaller format high-speed lenses. Courtesy of StarWarsUnderworld. Another challenge in designing these ultimate lenses would be cost. The cost to design and manufacture such a lens would make the resulting lens so expensive, no buyer outside of NASA could afford to own it. There is also practicality to think about.
If this hypothetical lens was somehow built, it would be impractical to even shoot it at T1. If you were using a theoretical 85mm T1. This effect could be interesting for specific styles and scenes, but for most shooting situations, such extremely shallow depth of field could be distracting, and your focus puller would probably quit after the first shoot day.
The DP would likely end up stopping the lens down to T4 or T5. That production also had the budget and crew to support using gear that is bigger, heavier, and slower to set-up. To build a lens that could cover that massive x zoom range and cover a much larger sensor like that of a Supermm camera like a Canon Canon C or Sony FS7 at f1. To build one that covered an even larger format like Full Frame or the Alexa 65, would probably be the size of a minivan and cost 5 million dollars.
The physical and financial reasons for having all these different sensor sizes might be more obvious than the aesthetic differences that go along them. The most obvious difference between smaller formats and larger formats is depth of field. The background and foreground stay in sharper focus relative to the subject.
In larger formats like Super, Full Frame or Alexa 65, depth of field is much shallower. Foregrounds and backgrounds appear more out of focus relative to the subject, which separates the subject from the background, and gives the image an overall more three-dimensional feel. The difference in depth of field between Full Frame and Super, using lenses that will give you the same field of view, is about 2 stops.
Therefore a camera with a Full Frame sensor shot at T2. Since you need wider and wider focal lengths to get a wider field of view on smaller formats, the resulting images tend to feel flatter or more compressed.
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Comes with its original leather case, which is in excellent condition. Also has its matching motor drive which needs to have the contacts cleaned. I worked when put away several years ago, but the battery leaked and the contacts need to be cleaned, otherwise in mint shape.
Comes with film and carrying case. Vintage Revere eye matic spool eight 8 mm film camera. Comes with original lens caps, manual and leather carry case. Edmonton Area. Works great. Compact and easy-to-use 35mm film SLR camera. Fresh battery, ready to shoot just needs film. Canon T70 with original 50mm lens. Canon FD zoom lens. Leather case.
Lens and mounting covers are installed. This is a very lightly used film camera. Super fast T 1. Rare, and beautiful image quality, and as crisp and great with color as much higher end Cooke lenses. The Minolta X!
Where the X differs however, is that it has Aperture-Priority Canon Snappy Reselling, Servicing and Shipping Refurbished Electronics is a science, and we're good at it. Is there a Guarantee? We are so confident in our products that we offer a special day Exchange warranty with an option to extend for 1-year.
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This translates into longer lasting products Still not Sure? Check out our Customer Reviews. Don't waste time gambling on a camera that might not work. We do all the repairs and check ups on the cameras and include our own 90 day warranty. Product Details -. It was made in Japan from April to Most are black with chrome trim, but some are all black. Backed by a major advertising campaign, the AE-1 sold over one million units,which made it an unprecedented success in the SLR market.
I loveeeeeeeeee this camera SO much! Wide angle Focal length: Full-frame around mm; APS-C mm; Four-thirds mm These lenses are very useful for filming master shots of a whole scene, or getting in close and working in cramped spaces. Telephoto lens Focal length: Full-frame, mm and above. Which lenses to buy? Other important features Image stabilisation This is important if you need to work fast.
Parfocal lenses A parfocal lens holds its focus when you zoom in and out. Focus breathing With some lenses, image size can change very slightly as you adjust the focus. The best lenses for filmmaking with Panasonic mirrorless cameras Focal length and sensor size The information in italics below the pictures shows the focal length you should be looking for to get this look on cameras with different sized sensors.
Full-frame sensors are about the same size as 35mm still camera film. They are about the same size as a 35mm movie camera frame. Canon APS-C cameras have a crop factor of around 1. They can usually use lenses designed for APS-C. The crop factor varies from 2.
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