Zak Forsman

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Zak Forsman last won the day on May 13

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About Zak Forsman

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    : Los Angeles, CA

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  1. Can the IBIS be turned off?
  2. Sure. For me, it's not just the wider field of view -- it's the compressed spatial and defocus qualities of relatively longer focal lengths married to a wider field of view that really revs my engine.
  3. Haha! Well, I am a bit of a gambler when it comes to things like this. If I had one, I'd definitely give it a shot. The BMPCC speedbooster worked fine with my GH4. Also happens to work very well on my BMCC giving it 1.33x crop.
  4. Well, I just used it inside a cheap junker lens. We'll see what happens,
  5. Anyone know if a product like this is safe to use inside a lens to make a repair? Want to avoid a potential issue of off-gassing clouding the glass. It's called "Bondic" and is a liquid plastic that you use a UV light to harden and set the bond. Thanks!
  6. They drove right by my neighborhood along Beverly Blvd (keep an eye out for El Coyote on the left). Also their new campaign slogan, "$8K for 8-bit" is not very compelling.
  7. hey, me too. 24 hour sale at B&H?
  8. I've been searching for Varicam vs C300 comparison videos to get a sample of how the EVA1 and C200 might compare. Will say this. *IF* Panasonic can pack the EVA1 with their Varicam color science, and maintain 14 or 15 stops of DR, I'd choose that over the C200. Like Mercer, I love shooting RAW, but I'm fortunate that I've got an Odyssey 7Q+ already and am sure that with Mitch Gross involved, Convergent Design is one of the first companies that will have an update to capture the EVA1's RAW output. But more important than that to me are color and dynamic range, and I'm keeping my fingers firmly crossed that Panasonic will deliver.
  9. That's good to hear. Definitely keeping an open mind. I've got a big four month job coming up that will finish in the fall, leaving me flush with cash for a new camera this fall. PS -- my very first camera, when I was a teenager, was a Panasonic SVHS camcorder.
  10. I was pretty excited that the C200 was offering compressed RAW, 15 stops of DR, and solid color science. buuuut there are a lot of compelling specs in the EVA -- 240fps in 2K, even in short bursts, would be fun to have. If they can truly attain Varicam color and 14+ stops of DR, i might be tempted. But I worry that 400mbps won't be enough. That's half what 10 bit ProRes 422 HQ would be at DCI 4K. Anyone know the crop factor for the Varicam line? I know, I know, screw crop factor. I only ask because I want to calculate the widest taking lens I can use with my anamorphic set. Canon Super35 is 1.6x. Not sure about Panny. 1.5x maybe?
  11. in an hour. 4:15pm pacific.
  12. are audio crossfades working yet? i jumped ship the second I encountered that bug (and verified others were experiencing the same) in the initial v14 beta release.
  13. yeah, i was a bit paranoid about that. I used a thin slice of double sided tape on the far left and right edge of the disc. People have also suggested Canadian Balsam to me for use in lenses.
  14. I modded a set of Conax Zeiss lenses myself. Wasn't without its challenges as this was my first time tackling something like this, but 100% worth it. The set includes 28/2, 35/1.4, 50/1.4, 85/1.4, 135/2. Mods include: 1. seamless focus gears from Helicopter Sean 2. bolt on Canon mounts from Leitax 3. knurled step-up rings to 82mm from Breakthrough 4. 82mm push-on lens caps from Kaiser, Canon brand rear caps 5. and most importantly, I custom-made 2x fixed aperture cut from a .4mm thin sheet of stainless steel After sourcing all the lenses from ebay (all are mint or near-mint condition AEG or AEJ), I opened up each one and took measurements for the aperture discs. designed them in adobe illustrator (making alternates that were smaller, and smaller still). When I received the aperture discs I auditioned the different sizes, selected the one i was happiest with, and finally mounted them inside with a semi-permanent adhesive so i can remove them later if i want to re-sell the lenses. Haven't been able to shoot with them too much yet (busy at work). But I did take the 50mm pictured above for a spin. See below. Surprisingly, I've taken some flack when i mentioned this project in various facebook groups because these lenses are highly regarded (and pricey). I don't know, maybe they see me as either incredibly stupid, or reckless... maybe I'm both. But I can definitely say I'm also completely happy with the results.
  15. The only work I've gotten via social media is making DCPs for indie filmmakers. But that doesn't exactly pay the bills. That's more for what my dad used to call "walkin' around money." My bread and butter is cutting featurettes and other marketing content for the major studios. And those jobs come from real life relationships. That being said, I've somehow put together 15,000+ film-industry related followers across FB, twitter and IG. Not a ton, but it has raised my profile enough that when I bring a film to a distributor, they already know who I am. And I think that helps curtail any lowball offers or shady practices, i assume because they know I have an audience -- not that I would wield my social media presence as a weapon, but you know. To me, this question boils down to "do you want a fighting chance to have people to see your work?" and I do. An active social media presence is not the only a powerful component to achieve that.