preowned they can be had for under a grand a lens. great value. from tests I've seen they look great. Still they're not gonna give you any more of a cinema look than typical modern low end zeiss like compact primes. I'd sooner spend the money on a 35 50 and 85mm cooke s2 remounted to PL.
True creative people will deliver better results with better gear than they will with inferior gear. However limited equipment and resources will direct a creative person into thinking out of the box and as a result magic can and often happens. One skilled person will use a single lens and get more variety from that one lens than a gearhead with 20 lenses can ever get. Creative people work with what they have, then they get to the point where gear isn't a factor since it's just rented on the production company's budget. Non creative people who like the idea of being creative use their limited equipment as a reason for their lack of productivity, they make NOTHING, and consume more and more gear thinking it might help in their success, 2 years later they give up and start a family and work a job they hate. Then they die without leaving a trace of their existence.
You may be at the point where your work demands better dynamic range, capability to use better lenses than those for m4/3 etc in order to stand up against competitors at the same level, with the same level clients who might be shooting on higher end equipment. The higher end equipment might not improve your creativity but might add to your overall output, boost your confidence, speed up efficiency etc. It might also bankrupt you, cause money issues and affect your happiness and thus harm your creativity.
good news is its on an easy to access element. keep it in direct sunlight in a sealed clear bag surrounded by silica gel pouches. always do this if lenses get used only occasionally. the light and lack of moisture will kill it dead.
I use a ikea jansjo desk lamp to blast light into lenses on a regular basis - as well as some silica pouches.
be selective of the tech you use. most wont have experience opening an isocrama.
my choice would be this:- Metabones Speed Booster Ultra Maxi=
optics to provide 0.6x focal reduction from 80mm image circle to 44mm image circle (medium format down to full frame). No expense spared, even if it were the same cost as an otus. mount: hasselblad v/rolei 6000 to e-mount - with electronic interface for af and aperture control of rollei lenses.
I'd love to compress all the information from my rollei apo symmar 90mm onto the 42mpx a7rii sensor.
on paper its an f1.7. (or t1.6), but in practice shooting 4k on the gh4 it equates to the same dof/fov as a 40mm/f5.6 on full frame. not as wide and 4 stops deeper dof than the 35mm/1.4 zeiss. all in all a boring lens with little capability to separate in and out of focus subjects.
Sony Full frame cameras might be marginally more expensive, but the huge availability of full frame lenses from a bygone era make glass investment a lot cheaper - particularly on the wide end. Anyone who wants to prove me wrong... show me the m4/3 equivalent of the £650 contax 35mm/1.4 on full frame. There aint one!
Why else would Bob Richardson (currently one of the most in demand and respected DP's) have shot the Hateful Eight on the bigger format? Just for the fun of it? At the top of the game professionals look to the Esoteric in order to differentiate themselves from the norm. Many younger dp's (proper dp's from Hollywood) and colleagues of Mr. Richardson will follow suit. - maybe not shooting 65mm film, but shooting big frame digital in order to get a similar look. I bet my life on it.
It wont be the standard, but will become the benchmark and naturally the first choice for top DP's who want their work to exhibit a look different to the norm. The Master 'looks' better than There Will Be Blood. Both films have the same production values. One is shot on 65mm film. They look drastically different aesthetically and in quality terms. If someone can;t see the difference - even when watching a 480p dvd release, it's likely they'll never understand the point i was making.
Projection is nothing to do with this discussion. the fact that the master was shot on 65mm film means it has a 'look' different to s35. Same with The Hateful Eight. watch it on a netbook and the look of 65mm acquisition is still there.
Exactly! Cinematic TV is exactly why Hollywood (Theatre movies) need to have something to make it stand out. The 'Average movie goer' does notice the difference - that's why they still pay to watch movies in the theatre. The Average film viewer sees the film for the first time on Netflix. If you think that The Hateful Eight won't receive extra press based on its larger format then you;re ill informed. The Master (large portions shot 65mm), Interstellar, etc. It was widely broadcast that these films were shot in a special way, and as a result had an aesthetic which was different to 'Cinematic TV'.
Pulling the actors, script, sound lighting, budget card is null and void in this discussion since it is a given that such things are in place for Hollywood pictures!
Hollywood needs to upgrade to bigger than s35mm in order to differenciate itself from the roves of cinematic mcdonalds adverts.
Red - Vista vision (2 times the surface area of s35mm) Alexa 65 - 3 times the area of s35mm Alexa Mini - 4:3 sensor - 133% bigger than s35mm A7S - almost twice the area of s35mm Kinifinity kinemax + focal reducer = 1.1x crop of full frame - giving almost th elook of full frame FS7 + Speed Booster Ultra = another attempt to get rhe full frame look Quentin, Nolan, etc = the best film makers are going for big format in order to maintain the aesthetic edge. Me - I've built FORBES70 which dwarfs even the alexa 65 in terms of image capture area. - I get 3 emails a week from dp's asking for quotes. It's only a matter of time before I get an email from someone with the budget to build a unit based around the Alexa mini for a project requiring the big frame look.
it happened in the 1950's-1960's where the corps needed to regain the advantage and overshadow tv. they did this with large formats for the epic and visually immersing look. Arri are limiting the availability of the alexa65 for one reason - so they have a system to offer to the proper film makers. The hire rate prevents shit kickers devaluing the system.