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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    Filmmaker / regular forum member

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    : Los Angeles, CA

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  1. 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.
  2. 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.
  3. 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.
  4. this looks great. wanted to share something I learned to do in resolve. see at the far left and right of your image the blue/red chromatic aberration along hard lines of dark and light? I get that with my Kowa B&H anamorphic too. but in resolve, if you split your image into red, blue and green channels, you can apply slightly different horizontal scaling to the red and blue channels to eliminate the aberration completely. it also sharpens things up a tad. and you'll get to experience the same, very satisfying, feeling I get everyone time I apply this fix.
  5. yeah, exactly. Raw Magic and into Resolve. Although i did try that Footage app that guy is developing for mac users. Seems pretty good. And it can handle the new lossless raw from ML, unlike Raw Magic. No color grading on these. 4500K. BMD Film to BMPC v2 LUT.
  6. Shot some this evening. 5D mk3, Contax Zeiss 50mm with oval aperture mod.
  7. I shot the full 1920x1080 frame, used my SmallHD monitor with a 2.39:1 overlay to compose with. this way I can tweak the framing higher or lower in post before cropping the final 2.39:1 frame. I prefer 5D + ML Raw overall -- things I like better than the BMD sensors are (1) full frame, full frame, full frame, and (2) the BMD sensors in the Pocket, Micro & BMCC all struggle to maintain good color rendition under tungsten light. While the Canon still looks fantastic. Now, if I could just get 48 or 60fps working...
  8. I'm losing anywhere from 1 to 1.3 stops on a set that contains f/1.4 and f/2 lenses.
  9. other than the lens, the biggest expense was having the aperture discs cut from a .4mm sheet of stainless steel. that was $180 USD. to install them, I was quoted $400 USD per lens, but ended up rolling the dice and doing it myself. $35 for the seamless focus gear and another $35 for the breakthrough photography step-up ring to get all the lenses uniformly to 82mm.
  10. Finally got a chance to fool around with my secondhand 5D mkIII. I also recently (last night, actually) modded a set of Contax-Zeiss lenses with fixed 2x oval apertures. These were shot with a 28mm. oval bokeh and a full frame sensor is a great combo for faux anamorphic. not only do you get the unique defocus characteristics from the oval aperture, but full frame gives you the increased field of view you'd expect from using a real anamorphic lens.
  11. i'm still doing it. this isn't part of that set.
  12. Selling a Contax Zeiss f/1.4 with C/Y mount. It has a seamless focus gear (easily removed). No haze, no fungus, mechanical operation is smooth. I'd rate it as being in excellent overall condition. There is a scratch next to the red T* on the front of the lens (not on the glass itself). This is the AEJ model with the signature "ninja star" bokeh at larger apertures. $300 shipped within CONUS.
  13. Question, if I want to try one of the high frame rates, do I need to set the Canon menu to 60/720p and then the ML FPS to 48 or 60 depending on the mode I've selected?
  14. well, what can I say... shooting full frame raw has ruined me for other cameras. and mercer, you're right. the blackmagic LUTs for their 4k sensor are looking pretty good at first blush. I like v2 in particular.
  15. no, i asked him first but he's too busy.