Texan living abroad in the Pacific Northwest.
They're abandoning 8k and jumping to 12k.
And every lens except medium format/65mm motion picture size will vignette.
This is missing the Dr. Strangelove pie fight.
Oops. My post seems misleading and it's past the edit window. I mean I have not used the Revolvr. I've used the FF4.
It's funny people complain about the cost. I haven't used it or seen it yet, but an FF4 is like $5k with both studio/LWS and both sides. If it's anything of the build quality it seems like (and based on the great products of theirs I've used), and if it has no noticeable backlash as advertised, this may be the low cost option to the industry standard.
Measuring t-stops are not why cinema lenses are more expensive. I mean, sure, they have to calibrate them (you know, measure the light going in and compare it to the light coming out the other side), but that's really no different than making sure your 25mm lens isn't really 24.9mm or your 114mm front diameter (or 104mm, 95mm, 80mm...etc...) isn't mismeasured. It's just how they are marked for cinema.
As far as why still lenses use f/stops...who cares? This is a film blog. It sounds crazy to me to use a light meter, but *know* that if you set it to that f/stop, that you aren't feeding the sensor or film enough light because there is no compensation for the light loss...especially since there aren't markings on the side of the lenses to help you compensate for the light loss the way filters will tell you the filter factor. If you're using slide film with has so much smaller a latitude that it could really affect your exposure. I guess more still shooters are measuring through the lens more often, but still...plenty of people use light meters in the stills world. Using t-stops just means you don't have to worry about it or think about it at all. You don't have to know that one lens takes more light than another or spend any time calculating and compensating for the light loss.
Internal Codex drives are in all alexas except the Classic, I think.