HIGHER BIT DEPTH

THIS, FOR ME, IS THE MONEYMAKER.

I HAVE NO IDEA WHY CAMERA COMPANIES HARP ON ABOUT MEGAPIXELS, ISO, AUTOFOCUS POINTS, AND A MYRIAD OF OTHER MEASUREMENTS THAT IN 2018 ARE PRETTY POINTLESS. ANY CAMERA ON THE MARKET HAS MORE THAN ENOUGH IN TERMS OF ISO PERFORMANCE AND MEGAPIXELS.
YET, BIT RATE IS HIDDEN DEEP INSIDE THE CAMERA SPECS.
THE ADDITION OF MILLIONS OF COLORS, RAW 16 BITS ADD TO YOUR SENSOR IS UNBELIEVABLE. THE DYNAMIC RANGE AND TONAL RANGE IS SMOOTHER AND MORE FILMIC.
USABILITY FOR THE CAMERA ITSELF & THE COLOR DEPTH ARE BY FAR THE BIGGEST SELLING POINT FOR ME. GRADING THE RAW FILES IN DAVINCI RESOLVE ARE A BREEZE, IT'S FAR EASIER TO CREATE A GREAT COLOR PALETTE THAN IT IS WITH THE 8BIT/10BIT COMPRESSED CAMERA RECORDING.

Bit-Depth-and-Tonal-Range-Graphs-in-Color
-Depth-and-Tonal-Range-Graphs

VINTAGE LENSES

HERE ARE SOME MOTION STILLS TESTS I'VE TAKEN FROM RUSSIAN VINTAGE FF35 OPTICAL LENSES PRODUCED IN THE 1970'S WITH SINGLE COATINGS.

I'VE BEEN WORKING WITH A LENS TECH IN THE UKRAINE TO BUILD A FULL FRAME 35MM PL MOUNT CINE SET OVER THE PAST 3 MONTHS. TESTING OF THE VARIOUS CHARACTERISTICS & MECHANICAL OPTIONS I CURRENTLY HAVE MATCHED TWO FOCAL LENGTHS THOUGH IT'S AN EVOLVING PROJECT AND COMMUNICATIONS WITH SOMEONE IN THE UKRAINE IS NOT ALWAYS AS FAST AS I'D LIKE.

FOR THE RIGHT PROJECTS, PAIRING THESE OLDER LENSES WITH DIGITAL SENSORS I CAN ACHIEVE A SUBTLE ORGANIC LOOK CLOSER TO FILM

I'LL HAVE MORE DETAILS AND A COMPLETE SET OF FOCAL LENGTHS IN THE NEXT FEW MONTHS.