Monday, November 07, 2011

Quick Links

Sony SAL1650 on NEX-FS100 | Shawn Lam | Blog
Shawn plays with the Sony SAL1650 16-50mm F2.8 [$699.99] lens on a Sony NEX-FS100 and compares it to the Konica Minolta 28-75 f/2.8 [$799.99] and Tokina ATX-Pro 28-70 f/2.6-2.8. His conclusion: Buy it!
I’ve been waiting to try out the Sony SAL1650 16-50mm F2.8 lens since it was announced in August. My interest in this particular lens is for use on my Sony NEX-FS100, for which I had not been able to find a suitable wide zoom lens. There aren’t too many 16-50′s on the market yet (B&H is still not showing any inventory) so rather than wait another few months (like I expect to for Sony LA-EA2 FS100 firmware) for someone else to review it, I decided to see if I could beg, borrow, or buy an SAL1650 that I could test on one of my two FS100s.
UPDATE 6:00PM: Removed incorrect link to Konica Minolta lens: that lens is now discontinued, and is not the same as the current Sony/Minolta 28-75.

Sony NEX-FS100 Q&A - Lens Adapters | Aaron Nanto | Vimeo
A short video looking at using the NEX-FS100 with different types of lenses; specifically Canon and Nikon. He has two budget adapters bought from eBay, and a more expensive Fotodiox adapter which he doesn't think is worth the extra money.
The adapters featured in this video are considered "dumb" adapters and will not allow you to control aperture or focus from the camera body. The Berger FS-100 adapter is currently scheduled to be released in early 2012 and will control aperture in most Canon lenses.

The Adobe Premiere Pro timeline for Final Cut Pro users | Scott Simmons
| The Editblog
For those switching from Final Cut Pro to Premiere Pro [Hands? - Ed] a comparison of the timeline:
The first thing you’ll probably notice is that they look similar in that both are track based. There are video and audio tracks just waiting for media. Both applications have a “patch bay” on the left for routing source media into the desired tracks. In PPro the source side media patches don’t disconnect or break like they do in FCP7 but rather you turn them on and off with a click, which highlights when the tracks are on.

Devilish Ways | Michael N Sutton | Vimeo
Slow-motion pumpkin smashing and other fun, shot with the Phantom Flex & 25mm Zeiss Super speed.

LUMIX GX1 from Panasonic - Sample video in Turkey Part 2 | Panasonic | YouTube
Impressive video that was shot with the recently announced Panasonic LUMIX GX1, a micro 4/3rds point and shoot that will shoot 1920x1080 video quite nicely it seems.
PanasonicUK: The Panasonic LUMIX GX1: Ultra-stylish photography in the palm of your hand

1 comment:

Shawn Lam, MPV said...

Just a quick point of clarification that the Konica Minolta 28-75mm f/2.8 that I reviewed is a different lens from the SAL2875 Sony 28-75mm f/2.8 lens that is linked to.

I've tested the SAL2875 as well but it has a much cheaper feel to it than the KM 28-75, although the SAL2875 is probably a newer version of the same or similar design. Having said that, newer isn't always better when it comes to a video-friendly lens and the SAL2875 just doesn't feel as solid.