richg101

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About richg101

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    Filmmaker / regular forum member

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  • Gender Male
  • Location Bristol. UK
  • Interests Designer, Photographer, Musician, Film Enthusiast

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  • Website URL http://www.richardgaleoptics.uk
  1. New Canon 1DX Mkii Footage

    it's an official promotion from Canon. 20K on that promo was a low estimate. It probably cost canon more than 5k just for the travel, acomodationand insurance. It may only look like 3k's worth of budget to you, but you;re obviously not aware of all the other costs associated with working on projects where the brand are going back and fourth with umpteen different creative directors and marketing people, asking for adjustments to edit and grade. The post house probably charged £10k extra just charging for extra work
  2. New Canon 1DX Mkii Footage

    actually of all the modern offerings the loxia are definitely my favourites. If I had the cash I'd be all over them! The problem with modern lenses is that they all seem to be over contrasty meaning they don;t render things like skintones quite as nicely as older lenses IMO. TBH, it might be that correct use of diffusers and netting might make canon L series more appealing to my eye, but the fact remains is that the lenses have been used extensively in non cinematic environments to the point where they impart a non cinematic look. It's like the opposite of panavision lenses. if you take stills with a panavision c-series lens the still looks like a frame from a movie. when you shoot a movie with an L series lens it's like a series of still images taken by a newspaper photographer.
  3. New Canon 1DX Mkii Footage

    For sony, You could fit panavision lenses if you wanted to. But in the real world with a very cheap e-mount to oct18 adaptor you can fit lomo copies of the old arri 35mm format lenses. at £100-150 a pop the oct18 lenses are the cheapest way to get the look I consider 'cinema'. for canon you are pigeon holed into using lenses that can be adaptoed to eos - so most 35mm motion picture lenses are not usable. but IMO a set of old 1970's nikon adapted to eos are a good call. or better, some leica summicron-r lenses. The problem is that unless you're using the full sensor of the 1dxii (which you are not when shooting in modes where they take a full readout - full frame mode is mushy and lacking the image quality you get from the aps-c and aps-h modes), without having a full frame sensor area, you are then obliged to purchase an additional wider lens than you'd normally have to. assuming a set of full frame lenses like a 35mm/2, 50mm/2 and 85mm/2 were in your budget they'd be great in full frame, but when in aps-h or aps-c modes you'll need to invest in a wider lens (25-28mm) whch will be more costly and likely not as good image image quality as a good 35mm/2.
  4. New Canon 1DX Mkii Footage

    I assumed correctly they shot this on L series. and it looks like also the L series 'cine' versions. It's not the camera that makes this feel the polar opposite of the look of No Country for Old Men. It's the glass. If they'd had cooke s4's on the front of the 1dxmk2 i imagine the image would look like a real movie. The fact that they can be in just about the most filmic location I can imagine and it still feel like a dslr shoot is because of the lenses. Canon glass = photo journalist snappinga criminal after his day in court Cooke glass = Hollywood. Shame Canon stick with their EF mount and stop people using real lenses. If you want it to look filmic you need filmic glass. An Alexa mini with an EF mount and L lenses looks just as nonfilmic
  5. Though in a consumer branding/marketing strategy, I'd argue the A7Rii + native FE lenses is without a doubt the best performance full frame camera systemout there (for stills in typical situations). Best dynamic range, best resolution, and now 14bit raw- the threemost important aspects of a camera for stills. To get close (in image quality terms) to a 5k$ investement in a a7rii and some fe lenses you need the d810 and some otus lenses - a d810 and a single otus is enormous and costs over 2x the price of an a7rii and a couple of loxia lenses. The AF argument and durability argument will no doubt be the card most nikon and canon fans pull, when really very few of these guys are actually using thesecameras in arduous conditions to warrant the higher level of durability, nor are they shooting motorsports - where the af advantage actually matters. INFACT, most of these guys to talk out are shooting with the canon or nikon non professional modelswhich have lower shutter count durability and weather sealing properties than the a7 range! I know of many professional photographers who now use an a7rii for their personal work, and Phase One for their professional work. Nikon and Canon dont get a look in because they neither fulfil the needs of true professionals or professional level photographers in their time out. For the sake of argument against those who claim nikon and canon have better ergonomics.. if this is the case then fine. I don;t believe this is the case. But if out and out image quality is important you should be willing to work around the differences. A F1 racing team don't send their driver out in a volvo estate with side impact protection system,with lots of leg room and air conditioning do they? - they send the driver out in a dangerously lightweight and uncomfortable tin can that will win races.
  6. Canon if you read this.

    Just buy an a7s, a7sii or a7rii. stick a canon logo over the sony one if it makes you happier. That's the only way you'll have a non cinema-eos canon camera with good video performance.
  7. New Canon 1DX Mkii Footage

    give the crewa $60k budget to shoot, and a $20k budget to pay for the edit/post fora promo video for the nex5nand the results would be just as awe inspiring. The level of production value on this video makes it impossible to judge the camera because in real instances with these budgets they'd just add another $2k for the rental of an Alexa Mini for the couple of days of shooting. $80k for 8bit acquisition and a lens mount incapable of using real cinema lenses, or $82k for arriraw acquisition and the ability to use cooke s4's.. Nothing more annoying than consumer advertising techniques selling a dream to people that they'll be using a dslr to shoot these types of projects.
  8. Good third party Canon LP-E6 batteries?

    they're a little heavier than authentic canon batteries andtwice the weight of the usual aftermarket cells. also being white you don;t get them mixed up with your inferior batteries and know which are yours if you;re sharing batteries with colleagues.
  9. Is a Sony F3 worthwhile buying in 2015??

    The 1080p from the f3 is better than the 4k from any camera system within the same budget (sub $3-4k).
  10. Good third party Canon LP-E6 batteries?

    http://www.ebay.co.uk/itm/Ex-Pro-LP-E6-Ultra-White-Series-Battery-7-4v-1850mAh-for-canon-EOS-5D-Mark-III-/331467112824?hash=item4d2cfac178:g:oLIAAOSwBLlVRRFY badboys. better than the originals by quite a way.
  11. One Lens?

    yep. as a aps-c user the 35mm/2 is a must have. Imagine you took the 35mm/2 you;re used to using on m4/3 and aps-c then used it on full frame for the next widest option. If a particular full frame fast 35mm can deliver good resolution on m4/3 for short tele work, it'll do great for 'normal' on aps-c and 'wide' on full frame. The nice thing about the summicron is that it's nicely controlled in terms of fringing on high contrast edges. so you can take full advantage of the big aperture. I expect the loxia 35/2 will be even better than the summicron for a single lens option of full frame!
  12. One Lens?

    if I was limited to one lens from here on, it would be the helios 44. There are plenty of lenses I love. but only one that I couldn;t do without and that's the 58mm/2. for a 'working lens' that will deliver almost every conceivable shot I'd go for the summicron-r 35mm/2 on a full frame sensor. shooting full frame 4k on an a7riigives you the ability to use full sensor for your wide, aps-c for your normal and crop in a bit more with clear image zoom for a tele. a lot will wonder why the summicron vs any other 35mm/2.. it's because very few other full frame 35mm/2's deliver good enough resolution and image quality wide open. with a summicron-r the iq is good enough to use wide open on full frame. using sensor crop of a nice clean 4k full frame area gives similar look to a 50mm at 2.8 when at aps-c and an 85mm/4 when windowed in to just under fullhd's worth of pixels.
  13. Veydra anamorphics discontinued

    I think the low end anamorphics sector has died. SLR magic seem to be hoovering up the users who don;t know any better, and rental houses not on the ball hoping to capitalise on the anamorphic bubble. They'll send those new slr magics out once or twice then they'll stay on the shelves since their image aint good enough to warrant the hassle and expense. If a modern lens can't match or outdo an iscorama from the 1960's for image quality, have beautiful character, and be cheaper than an iscorama then people are more happy going for a kowa 2x and a focus module or rangefinder or plump for an iscorama and get the gold standard. I watched the original veydra lenses kickstarter and liked the concept but knew that their market would be limited. Without a kickstarter campaign I doubt they would have come to fruition- now m4/3 has lost its edge sincethe rest of the competitors gave us full sensor readouts. if the gh2 were still top dog then veydra would be killing it. Sadly very few shooters are using m4/3 format unless it's with a speed booster, meaning native lenses are unusable. Most are now shooting on sonys. 2 years ago I had many requests for a wider angle than the TRUMP38. Now everyone with a brain has migrated to the sony a7 range or are using speed boosters on aps-cand now the 38mm is nice and wide. If an anamorphic ain't good enough for at least s35mm it's gonna fail. if it's not gonna deliver on full frame it's not going to compete with iscorama's - which are now going down in price. I think the veydra would have been more expensive than an iscorama and probably wouldn;t have done the job as well. Their price point dictated everything.
  14. Anamorphics and Blackmagic’s URSA Mini: NAB 2016

    I'd suggest as the producer he findsthe extra $500 a day for an alexa mini and get his money's worth out of any anamorphics he's fitting to the camera(which will cost a lot more in rental than the camera). makes no sense renting anamorphics if you can't use their full image circle. a 3k image area on the ursa sensor is a 1.5x crop of an alexa mini in 4:3 mode! The $500 saving on camera rental is moot.