I agree. The mask routine is pretty much a hack. As I say, I've worked with parallax viewing and it really isn't a hassle at all, especially if you are accustomed to using depth of field charts for focusing or have a focus puller. Documentary work with long lenses would be a pain but generally dramatic film making is actually quite easy. Easier, in some ways, as the viewfinder is really bright.Anonymous wrote: Filmo's, Eyemo's, Kodak Cine Specials and some magazine cartridge cameras used a different system -- interchangeable screw-in objective viewfinder lenses. With these, it changed the magnification of the eyepiece but didn't change the size of the image. It's an immensely superior system, as long as you have an objective lens to match the focal length of each prime lens you're using.
Not totally. Long lenses shooting subjects close to the camera are where the parallax error is amplified. But telephoto shots of distant subjects are very easy with parallax and quite accurate. Just ask any sharp shooter that uses a scope on their rifle! But, basically, if you use telephoto lenses for their original purpose, the parallax isn't a problem just as wide angle lenses aren't a problem with parallax viewing either. While I agree that TTL viewing is more convenient, shooting with parallax view has its advantages.Anonymous wrote: Of course, the longer the lens goes, the more the parallax error creeps in.
Roger