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Somewhat embarrassingly, I originally bought the EF-MFT SB to replace my M42-MFT SB, but when I put my Takumar 50mm F1.4 on an M42-EF adapter and that onto the EF-MFT SB, the rear element of the Takumar interfered with the EF SB glass when I tried to focus more than a few meters away (nowhere near infinity focus). I probably could have determined that before I bought it if I'd searched enough, which is the embarrassing part. I'm not really sure how to tell which M42 and C/Y options would have this problem too.. is there a way to know? What Nikon lenses would be F1.4 or faster? and are there issues with the SB? The native MFT lenses from TTartisan / 7artisans are good options, but aren't as fast as the two Voigtlander F0.95 lenses I have, and are also bettered by a F1.4 lens on a SB. I did shoot with the TTartisans 50mm F1.2 in Japan and it seemed pretty good, but at 100mm equivalent FOV it's on the long end for my hand-held stuff. The Zeiss ZE Planar 50/1.4 looks like a potential option, being cleaner than the Takumar+M42-SB combo. The Mikaton 50mm F0.95 would be a stop faster than the Zeiss, and would be cleaner than the Takumar too, but is more expensive. I should look at the Sigma F1.4 primes too, in case something there stands out, although they're competing with the Zeiss Planar, which I would imagine is tough competition? I already have a ton of options and combined with my very specific requirements I'm really pushing things to find any options I haven't thought of, but I didn't think it would be so difficult to find super-fast FF EF lenses! -
By Aussie Ash · Posted
Black magic generation 6 color science is supposed to be on their latest high end cameras,I can't find anything on their website for firmware updates for cameras in use.Hopefully more will be revelled at Cine Gear Expo June 5 & 6.Generation 5 came out way back in July 2020 . -
Thanks for the feedback! The gate weave was applied at the timeline level, so is the same settings throughout. It's funny how it appears differently on different shots through, maybe because the coffee equipment is motionless the gate weave stands out more? The original gate weave within the FLC looked like periodic horizontal movement, which surprised me as I would have thought that the film moving vertically at high speed and then being abruptly stopped for each frame would have resulted in more vertical positioning error than horizontal. Sadly it doesn't have any controls other than Amount and Rate. I ended up completely rebuilding it using the Camera Shake OFX plugin that has lots of controls. Sadly it seems based on a SIN function with a bit of randomness built in, so I had to play with the rate slider so it would interact chaotically with the frame-rate to appear relatively random. It does have separate amounts of vertical and horizontal (and also rotation, which I didn't use). I asked AI about the different characteristics and during a decent discussion it suggested: I got it to update the numbers with a 16mm projection print and projector, which made them slightly larger, but later on in the discussions it also suggested that having a small gate weave on each frame and occasionally have a larger registration slip of 3-5px, which it said was what people remember about the look. I don't really know how to do that in Resolve, so didn't include it. It also suggested that a worn projector might include some horizontal wandering and that film emulation plugins might emulate that as well, which might be what the FLC was doing. I ended up adjusting the vertical and horizontal so they were stronger than V4 but not so much that I hated it. Another thing it mentioned was on larger screens the amount will appear much more than smaller ones, and I'm editing in semi-cinema conditions, with a FOV of someone sitting in the middle of a normal theatre. If you're looking on a smaller device it might appear less. When I went to see Goodfellas at a theatre that was projecting from original print distributions, they played a bunch of old ads and a bunch of previews (IIRC a lot of these were 16mm) as well as the main feature on 35mm. The gate weave was really inconsistent, with some items having lots and others having none and being noteworthy for how absolutely rock solid they looked. Anyway, what else separates it from looking like real film? I suspect we're not there yet, and probably not even close...
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As you aren’t bothered about the AF aspect then Nikon F mount lenses adapt easily to EF so you could open up that path. The issue is that with the f1.4 requirement you’re looking at fairly pricey options in both vintage and more modern versions. Similarly, M42 and C/Y to EF adapters open up other paths for you. To be honest though, in my view, the path of least resistance to get fast manual focus glass on to MFT cameras economically probably lies in native MFT lenses from 7Artisans and TTArtisans. More size appropriate for what you have in mind for them too. -
By Clark Nikolai · Posted
To my eye this seems like the right amount. The shot of the coffee maker seems to have noticeable vertical gate weave that I don't see in the other shots and it was distracting. Are there adjustments for vertical separate than horizontal gate weave? If so then maybe only use horizontal. But other than that one shot it just seemed "natural" for the grainy look. By "natural" it's of course what I've come to associate with grainy film from a certain era. Later cameras were so stable that they didn't have any really.
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