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Sony’s 1.2x Crop in 30p mode – Does It Matter To You?

hey Peter Gregg Miami Florida welcome to
the Christmas room sit back relax you are about to watch a Peter Gregg video
something warm human and wonderful happens when you watch Peter Gregg what
I want to know is is the one point to crop a deal-breaker is it may be an
inconvenience is it a little inconvenience or is it a big big big
inconvenience all right well let’s find out this is not going to be too long of
a video I’m the a nine right now and the reason
I got the a nine is is because the focus system is similar in nature to the A73
the a seventy three let’s call it an a seventy three so I have a Canon 50mm L with the Sigma MC-11 adapter on the camera now so what’s the
reason that I did that is I wanted to show you what a 50mm looks like
in 24p because we’re recording 24 P even though the timeline is going to be a 30P so if you see it a little bit choppy that’s why but I can’t show it to you
otherwise the difference so let’s say you’re gonna get the A73 the A73 I want
to call at the A73 and you want to save a little bit of money so you need a 50
millimeter because you want the compression and you want the blown out
background which I can’t say that I blame you
so what they have from Sony is a Zeiss 55 millimeter 1.8 so the lenses on the
camera right now what do I have it set up its the 50 millimeter Canon L which
means it’s a 1.2 but I don’t have it set to 1.2 I have it set to F 1.8 because
this lens is an F 1.8 now this lens goes on the Sony body very nicely because
Sony is making a really strong effort to make their their bodies smaller because
in the minds of many people mirrorless equals smaller all right
and I can understand that honestly because that’s one of the
ways to shrink down a camera however I think in my opinion this is a personal
opinion because other people have the complete opposite as a matter of fact I
will say something in favor of the Sony sighs after I say something against it
alright this GH what is this the five of the four this is the GH4
the GH5 is the same size basically it’s just about the right size camera so
it looks like you know people are not people but the camera companies are
aiming towards smaller and smaller so what happens is when you have a big lens
to put on there like this 50 millimeter 1.4 on a small body
it looks very awkward it kind of looks kind of like if I put this on here it’s
kind of like a weird balance even holding the A9 is weird now just so
you know the A9 from Sony the A7R3 from Sony and the new coming out or is
out in parts of the world A73 from Sony are basically the same body there’s
a few different changes the A9 has an extra dial on top so you can control a
few things the A7R3 has a lock on the button where
you the PSAM button to the mode button and you have to hold it down to turn it
whereas something like the the gh4 and the GH5 if you push the button down you
can’t turn this but it’ll pop up and it freely will turn all right so the A73
doesn’t give you that option you actually have to hold it for it to turn
I don’t like that I like the Panasonic implementation the best I have a choice
push it down for it to be locked all the time or release it for it to be unlocked
all the time so that’s on the A7R3 okay the A73 which I don’t have it’s
not out in the United States yet it’s coming it does not have
that pop up button so the lock is not on that dial so that’s basically the
biggest amount of difference is in actually looking at the bodies between
the three cameras the the extra dials on the A9 the lock are on the permanently
locked dial on the PSAM the mode dial on the A7R3 and on the A73 you get
none of those so I like the A73 in theory the best I haven’t held the
camera yet so I’m always reserving that last little ounce of opinion until I
actually have the camera in hand so with easter and passover and them being
closed and i ordered mine from B&H it probably won’t be till next week when
the cameras get shipped and that’s even if I’m in that first shipment because I
understand that the A73 threes the A73 is actually really really being sold so
back to what we’re doing in this video I’m gonna put this lens now the the
lenses the 50 millimeter lens from Sony is $1,400 dollaria for a 50 millimeter 1.4
what’s the purpose of that lens why would I be aiming for that lens the
reason that I’d be aiming for that lens is because I want to do compression of a
lens and in combination with the f-stop I want to get a beautifully blurred out
image in the back all right now I’m not going to talk much about compression but
compression also adds to the blurred out background and the way or the size that
the background appears in your background so the the bigger the
millimeters the more compressed and the more compressed the more flattering
that’s the general rule so let’s say a 25 millimeter F 1.2 on the the
Panasonic GH4 GH5 even though it’s a 1.2 it’s going to give me some
background but a 25 millimeter lens is a 25 millimeter lens is a 25 millimeter
lens no matter how you crop it it doesn’t change the physical aspects of
the lens so it does not have the same compression that a 50 millimeter lens
has so Sony in their way to reduce the size to go with their much smaller
bodies they came out with a second 50 millimeter lens except the second 50
millimeter lens is not 50 millimeter it’s 55mm so they add five more
millimeters so that kind of like if you’re in a tight space like I’m in an
inside room so if you’re an inside room in a living room how big is the room if
you’re in a second room in your house where you’re using it kind of like as
they make do studio or your your you’ve got your tripod in the kitchen and
you’re looking over the dining room table which has the living room as the
background you still have a limited amount of feet so the that camera is
against the back wall which you can’t see all right but right where the camera
is is the wall that Christmas tree is against that wall and the difference
between their two there is 24 to 25 feet so that’s a pretty good sized room not
too many people have a room that large however if you go multi room like you
put the tripod in the kitchen and you look through the the pass-through
counter and you sit in the dining room and then the people never know you know
that that’s your setup but it’s also inconvenient if you have kids or if
you’ve got friends you’ve got family you know you’ve got to be able to record
when there’s not gonna be traffic otherwise it’s gonna mess up your video
all right so the big question here is the 55 millimeter I’m gonna look at how
much is in the background now I didn’t crop this because normally on the 50
millimeter I have been cropping to taste I don’t like all the air up above my
head and I like to crop between the Santa Clause on this side and the
grandfather’s clock on that side but this time
the 50-millimeter in 24p now the reason I pick 24p is because I’m going to show
you what the difference is when you go from 24P to 30P this is something a
lot of people don’t talk about it’s oh it’s not much of a crop it’s very very
little ok so let’s say you want to save a little bit of money like five hundred
dollars and get the 50 millimeter 1.8 to 55 millimeter 1.8 for $900 instead of
spending fourteen or fifteen hundred dollars on the 50 millimeter 1.4 so what
kind of a handicap is that going to give you in terms of space alright let’s stop
this let’s switch it over to 30P which is going to be the native timeline for
this video and put the lower price lens even though it’s a lower price lens it’s
still a really really good lens it’s a zeiss tagged lens and the optics are
very good it doesn’t go down to one the way they kept it small doesn’t go down
to one point four it goes down to one point eight and the other way they kept
it smaller is instead of 50 millimeters it’s 55mm so all these little things are
little by little just inch by inch handicapping us now the question is does
it matter to you or it doesn’t because if it doesn’t then you don’t have to
worry about this but when I’m going to change to this to get something similar
I’m already hitting the back wall so now I’m thinking hmmm I’m gonna have to do
something about this alright so let’s switch the you to the to the to the Sony
lens these the zeiss 55 millimeter 1.8 now get a good look now because as soon
as I change the lens I want you to compare the difference of what we are
doing here even where the table is because I got a feeling actually I know
I’m gonna have to pull the table back a little bit because I have it in line
with the edge of a door there that’s my marker I know I’m gonna have to pull it
back to the middle of the door so let’s do that let’s go change the lens I’ll be
right back okay through the magic of editing you didn’t have to watch me walk
all the way to the camera wait they changed lens put the other lens on
take this lens off so now we’re we’ve changed two things I’ve changed to the
Sony native lens the 55 millimeter 1.8 and I’ve changed some 24P to 30P
that’s what he looks like I don’t know what that was about alright
the 30P this is the lens that I took off so the the the 50 millimeter lens is
the Canon 50 millimeter lens and now we also have autofocus operating which is
also face detection which is one of the reasons that this camera is very
likeable and this is the MC-11 adapter from Sigma now from pictures or for
pictures the combination of the 50 millimeter L lens and and pretty much
yeah I’ve just about every lens from Canon that I’ve had the Canon mount that
I put on the MC-11 for pictures not video works very well I don’t have a
problem with it at all when I switched to movies it works really poor I have a
hundred percent problem but now with this you noticed we have the 1.2 crop in
effect and we also have the 55 millimeter so we lost 5 millimeters
which is not that great but instead of tilted for us instead of being a 45
millimeter they went the other way to 55 but in this mode and with this lens I
have the advantage of having full-time Sony autofocus which in my opinion is
kind of comparable to the Canon dual pixel focus I have a Canon 80D right
here okay and with the dual pixel focus on this camera I can tap and I can track
I can do that on the Sony so I’m doing a few test shots with this flash unit
that’s why this is sitting over here like this okay that hey you want a
commercial for one of my products this is a better bounce card this is the
flash diffuser that I invented in 2003 2004 and I’ve been selling ever since
then and it’s the best one I’m sorry that’s
the way I feel about it that’s why I invented it not to sell flash diffusers
it’s what I needed but I’m not using the phone because if I use the phone it
actually will kill my face detection and I do one face detection because I’m
gonna go over to say hello to jingles who very much looks like he’s kind of
knocked out so again we’re watching this on the Sony A9 and even though it
sounds like it’s probably not fair to be doing it on the A9 the focus systems are
very similar I’ve read where it’s the same focused system and I’ve read where
there’s a few different things regardless the focus systems on the A73
and the A9 were is basically the same foundation so I expect it to do the same
so this gives me the freedom to walk away from the desk to be myself and come
out here and say hallelujah and turn around and sit down and I can actually
tell you a story once upon a time in a land far far away ok so this focus
system allows me to pretty confidently it’s not perfect it’s it’s got its own
problems and I’ll tell you one of the problems that no one has even talked
about I think I’ve seen one person comment on it and that’s been it and and
that is something called focus breathing focus breathing is hard to see but it’s
there on the Sony camera system including on the A9 if I step back and I
step forward alright find yourself a marker on the one side
and mark it with your eyes now watch how the picture itself gets bigger and
smaller as I move and it follows focus with me so I’ll come here and I’ll sit
down and it followed focus with me and the picture is actually a different size
now it expands and contracts and that’s is focus breathing
and when I come up here the picture is again getting bigger or smaller now
unless I actually pointed out to you you would not have noticed it but if I scrub
you know what that means if I say I scrubbed that means I took the playhead
in the NLE or the software in the computer and I moved it back and forth
quickly I could see the picture pulsing like this okay does that happen on the
Canon on the 80D well I had never noticed before until I noticed it on the
Sony so I tried doing some video with the dual pixel focus on the 80D and I
scrubbed and the picture does not change size so there’s no focus breathing on
the Canon compared to the Sony so but that isn’t the point it’s not going to
deter you if I if I didn’t mention it you wouldn’t have noticed it maybe one
out of 10,000 people would have noticed it and then one out of a thousand of the
people that did notice it which is very few would have actually commented on it
so it’s not a major issue the bigger issue is I can’t move the walls
I cannot come over and knock out that wall and move the tree farther back or
whatever background that you’re going to be using because if you’re gonna go full
frame and you want 4k Sony is the only game in town at the moment with a focus
system that’s going to be face detection and full frame so that is kind of like
my highest priority so the canons have been beautiful but they only go to 1080
and the 1080 that they do give you is not that good so if I do put the 50
millimeter lens on the Sony A9 or any of the 3 the triplets
you know the a7s2 which is supposed to come out with A7R3 the A73 are the 3 the
A9 and the new A73 so if you’re gonna do manual focusing that gives you a few
other options what’s the biggest sensor you can get if you do manual focusing
well you’ve got Michael for Third’s but you could step it up from
micro four-thirds and go to something like the 5d mark 4 but that takes it
from a 2x which this is the crop factor here 201 74 on the 5d mark 4 so you see
what I mean when I say it’s the only game in town is the Sony if you want
full-frame so if you don’t need full-frame then boom BAM done the the gh
5 and the gh series is is becak basically the best camera camera Sony is
a good computer that takes pictures because it’s more computer the the it
isn’t for nothing that you hear so many people go like the menus on here are
terrible well they’re not really terrible they’re they’re very hard to
get used to they’re not logical and things are buried inside of other things
so if you have two months with the camera and you get to know it intimately
you’re gonna go hey what’s the problem with the menus there’s no problem for me
but a lot of people do have that shellshock of moving over from camera
system to the Sony and I would be included in that because I use the Canon
system very heavily into the Nikon system which is doing nothing with video
at all and then panasonic has risen to the top I think it’s the best camera
that you can get and even with that I’m going with the full-frame abilities of
an A73 had $2,000 and we can’t throw that out you know as if it’s like
nothing is you know if it’s nothing for you to spend $2,000 or $4,500 and get
the a mine or $3,200 and get the A7R3 if that’s if you want more megapixels
but you lose how many focus points there are because they’re 693 on the on the
$4,500 camera that I’m using now and there’s 300 and something and even much
less depending on what you’re looking at contrast or phase detection on the
$3,300 camera but take it down to the two thousand dollar camera
and whoa what are they doing they put all the focus points and basically most
of the guts of the focus system of this $4,500 camera whoosh right into the
A73 so the A73 becomes a bargain bargain but you need to get that one
little gotcha understood I’m not labeling it as good
or bad at the moment I’m just labeling it in a way where you can understand
this is what the picture is going to look like at 30P so let’s change the
lens one more time let’s leave it at 30P and let’s put the 50 millimeter on and
just kind of show the difference between 55 and 50 and you’re gonna see it’s not
that much difference but since we’ve gotten this far we might as well take it
all the way down so you go okay I’ll spend the extra money on the on the 50
millimeter from Sony with the full focus capabilities let’s see what it looks
like well I don’t have that lens but this is a 50 millimeter L lens from
Canon they should be comparable in 50 millimeter being 50 millimeter but
that’s not always exact either but let’s change from the 55 to a 50 and we’ll
lose the autofocus I won’t be able to walk around like I can now another cool
thing I love about the autofocus I can do this
and it’ll focus right on that that’s a Canon 80D in case you never saw what
one looked like and then it’s back to me all right so let’s put this on now
you’re going to see the difference still staying at 30P if you actually buy the
more expensive Sony version of a 50 millimeter 1.4 lens all right so let’s
change it I’ll be right back again alright I’m back I focused on this
target because now with the 50 millimeter Canon lens I can’t use
automatic focus in the in the camera because it really is very poor with the
meta bones so even though I have a lav mic on which is right here just on time
you can make sure it’s on otherwise there’s no sound in this whole video
I have a lab mic on here I’m free to walk around and if I come over here
you’re kind of gonna say Peter I’m getting dizzy you’re out of focus that’s
okay we are at actually I do need to check
that okay I checked I wanted to make sure I was at F 1.8 so this way all the
lenses in this entire test is at F 1.8 so that just occurred to me cuz I just
changed the lens again so I’ll head up the Zeiss over there so the Zeiss lens
is quite small let me grab it since the focus is not
going to change and just grab the lens and it’s very small you know I don’t
think you call a lens cute but this goes with that body the A9 the A73 that’s
coming out in the u.s. those of you that you have it you know on in Europe you
will actually enjoy this lens because it’s very sharp
it’s the Zeiss 1.8 lens you know I’m going to put all the stuff that I’ve
been talking about on a my own page on B and H B and H gave me a page baby and
all you got to do is click on that and anything that I used in this video
including the mic everything except him hey will be
available on that page so you can go read about it and one of the secrets to
using the B & H page is you can read comments because you’re getting my
comment period here so there’s other people and some of them are dumb ok but
some of them will give you something very interesting to read so all the
equipment that’s on there Yuri comments and then anything that you do buy no
matter what it is from B&H I will get a finder’s fee it doesn’t cost you
anything it just helps bring some money into the channel so that I can buy
cameras and stuff so I appreciate that so this is what the 50 millimeter looks
like not much of a difference right I didn’t see that much of a difference
between the 55 and the 50 that’s on there now however if I was going to
spend 900 or 950 I don’t remember how much
disease is I would like to find the 50 millimeter Zeiss lens the Sony lens on
sale because I’ll get a one point four lens because that’s the point why I’m
even moving to full-frame is because I do want my backgrounds blurred out now
alright thank you for being with me today I will catch you later Peter Gregg
Miami Florida bye-bye you have just watched another Peter Gregg video
something warm human and wonderful happens when you watch Peter Gregg thank
you for watching description of all equipment used in this video plus any
notes Peter took while filming are always placed in the description box
show more box or down arrow thingy next to the title
on mobile apps duly noted and Jingles is sitting there so patiently because he
got he knows the habit now don’t you look none of that stuff
he knows the habit now that at the end of the video he’s waiting to come up on
his little table now he’s beginning to think this is his spot yeah he’s
beginning to think this is his spot let’s pick him up so he came to say
hello we just ate a little while ago he had a half a meatball made with ground
turkey and a nice cup of veggies all mixed in and the vitamins and you know
something I think he’s gained some weight you know
I think you gained some weight hmm I think you did so he wanted to say hi and
I know you guys wanted to say hi Jingle Bells rocks right because this is jingle
bell time at the end of the video it’s Jingle Bells Jingle Bells Jingle Bell
time alright guys thank you for being together with me in this Jingle Bell
time and Jingles has allowed me to come into his little special time and that’s
what we got catch you guys later bye bye okay you’re ready to go down
okay now you’re back on your couch and we got to go we got to go over and turn
the camera off manually because the phone is not operational I would lose
the focus but this is Jingle Bell time now about time never mind about the camera! Bye Bye 🙂


  1. Stefano Cancelli Author

    Focus breathing has nothing to do with the camera. Its a by product of the lens design. Nikon lenses have by far, the most severe focus breathing issues. I also wish you had compared apples to apples. No idea why you started at 24p with a 50mm lens then switched to 30p and the 1.2x crop on a 55 mm lens to exaggerate the apparent reduction in the field of view.

  2. Orio Menoni Author

    Boring (lots of repetitive talk), unfair (comparing a 50mm lens in 1.0 crop mode with a 55mm lens in 1.2 crop mode makes the difference look bigger than it actually is), technically incorrect (focus breathing is a different thing), incomplete (you should mention that you can buy the Rokinon 50mm f1.4 autofocus lens for less money than the Sony 55mm.

  3. jeffhalebopp Author

    Maybe wait for the new Sigma Art 35mm f/1.4 for Sony E-mount native lens. Perhaps the focus breathing will be less with this lens? Then move the camera a little closer. Or put it in crop mode which will give you 52.5mm without the dreaded additional 1.2x crop factor at 30p which might be just wide enough vs the 55mm lens in full frame 30p turning into 66mm. At 1.4 it should still give you enough background blur. Plus a nice advantage is a narrower DOF if you want it since it is a wider angle lens so it should have a much easier time auto-focusing. It does sound like to me that you shouldn't settle for the 55mm lens with that 1.2x 30p crop factor. It's just too tight for your room. Also using the crop mode will give you the full frame down-sampling for a better picture since in full frame mode their is the stair stepping artifacts. In crop mode, no problem because they won't be there. Perhaps those new native art lenses will track as well as the Sony's? It's hard to say without testing of course. Or get the new Sigma Art 24mm f/1.4. Put it in crop mode which puts it at 36mm, then you have an additional variable crop from 1.0 through 1.5x extra zoom without loosing quality. This will give you the choice of 36mm, 39.6mm, 43.2mm, 46.8mm, 50.4mm, and 54mm. That is the ultimate flexibility for one prime lens. I do realize that this won't give you as much shallow DOF of course but maybe it will be enough since it is 1.4? You'd have to figure out if that would work for you or not.

  4. cooloox Author

    Hi Peter, is it my imagination or did the A7Riii do a better job of keeping you in-focus as you move around? It seemed noticeably better to me.

  5. James Ryan Author

    A73 is the best hybrid camera on the market, I wish I would have waited and got that instead of the a7r III. Crop factor is a non issue, not like the massive Canon m50.


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