For those who love legacy lenses...

[robin0112358]

...I've written an entire series on Lens Design and related info.

OK, so I went overboard with this one! Sourced and read several books, spent a few long hours compiling information, created my own diagrams, and so on.

"Photography and Lens Design" includes a lens glossary, landmarks of nineteenth century design, the history of symmetrical lenses (double Gauss), and a dive into Carl Zeiss nomenclature (Planar, Tessar, Sonnar, Distagon, etc.). Finally, some references.

Discover the heritage your favourite lens shares with the Lee Opic of 1920 or Willy Merté's Biotar (1927).

It all starts here.

 

[robin0112358]

My lens design series has expanded and I have also written a series on the Olympus OM 85mm. And i could do with knowledge on that lens to untangle the mystery concerning the different variants. I might make a separate post but I thought it wise to ping people already following this thread.

My updated landing page lists all my photography articles.

 

[CharlesH]

My updated landing page lists all my photography articles.

And looking at your landing page I see your nice writeup about the ACES workflow in DaVinci Resolve. Good work putting that together.

 

[Nevyn72]

My updated landing page lists all my photography articles.

Nice articles, I've checked a few of them.

Some notes from me:

"The second system is "DaVinci YRGB Color Managed" which, like ACES, is "Scene Referred" and requires matching ingested media to a known colour profile, after which Resolve manages the workflow. I've had difficulties ensuring consistency using this method. While this is likely due to user error, the ACES method presented no such impediments."

I prefer BMD Color managed, and my output seams every time more consistent (after I bought the LG C3 and learned how to read the scopes). I had more issues with ACES, but might also be human error.

"Bottom line: The Samsung T7 Shield is recommended. Do not use the "plain" Samsung T7. The Samsung T5 is OK for lower rates. If you already have a Samsung T7 Touch, it will do as well."

I found out to late that the T7 was not recommended for shooting with the S5iiX.
However, I've shot quite a lot with them on my S5iiX, mostly in 5.9K ProRes HQ and 4K all-I, and never had any issues.

Even when I was filming in 40 degrees celcius temperature in Spain. So I'm actually quite happy with them.

I also have filmed some performances of 2+ hours in 4K all-I, all without any problems.

We had discussions about the T7 somewhere on this forum.

The articles about noise and the base level where a bit confusing for me, and I'm not sure I fully agree, but I use my camera mostly for video.

But I see a huge difference in video quality between 3200 ISO and 4000 ISO.

The native ISO of 4000 is much cleaner.
Here I have an example where I shot fireworks in 4000 ISO, post was done in DaVinci Resolve Studio :


(Hyperlink starts at the beginning of the fireworks, near the end of the clip).

And in the article about video on the S5:

The gain was the lowest possible in V-Log, ISO 320.

I think you made a small typing error here: V-log starts at 640 ISO.

But as a whole: very nice articles, thank you

 

[robin0112358]

I found out to late that the T7 was not recommended for shooting with the S5iiX.
However, I've shot quite a lot with them on my S5iiX, mostly in 5.9K ProRes HQ and 4K all-I, and never had any issues.

Some will have no problems but others will. It depends as much on the content of the footage as factors like the codec. Definitely enough folk have reported problems with the plain T7.

The articles about noise and the base level where a bit confusing for me, and I'm not sure I fully agree, but I use my camera mostly for video.

But I see a huge difference in video quality between 3200 ISO and 4000 ISO.

The native ISO of 4000 is much cleaner.

We agree! The text in the low light noise test is oversimplified but I cover this elsewhere in more detail. When near the top end of an ISO range, it's always best to increase ISO a bit to land at the new base ISO.

Another over-simplification is that I am only concerned with noise, whereas the different sensitivities are actually designed to optimise dynamic range.

And in the article about video on the S5:

The gain was the lowest possible in V-Log, ISO 320.

I think you made a small typing error here: V-log starts at 640 ISO.

Typo fixed. Thanks for catching it!

Thanks for the long and thoughtful comment.