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Everything posted by biginvegas

  1. The 2X you refer to was designed for a widescreen immersive cinema theatre experience, here on Vimeo it looks like a bad crop. For budget filmmakers who want to shoot an anamorphic feature and project at a few festivals and then likely only get online distribution, 2X would frankly look ridiculous. 1.5X would be the ideal but I am really liking the 1.3X SLR from what I have seen here over the last many months.
  2. S16 was adopted and adapted for television delivery in the 70's through the present, the highly influential NFL films still shoots S16 (as of 2012) to Walking Dead. If you shot a doc through the 90's for the BBC you used S16. S16 was kinda the 5D revolution of the day, as a filmmaker you sensed it was possible to make a film on low budgets. There is a tendency to romanticize the Bolex, truth is it was a nightmare to use certainly if you only had the spring loaded version. Like you said pretty much only used in film schools and hobbyists although great for animation. The 80's it was trying to get your hands on a 16mm Arri, Eclair npr (the great doc camera of the 60's) or the S16 Aaton to make your short films.
  3. Don't underestimate the student, hobbyist, amateur photographer with aspirations of being a prophotog who invest thousands of Dollars buying and upgrading their Canon DSLR's to shoot weddings for a living. DSLR's still make you look like a pro to a client.
  4. What were the technical specs or reasons by going with 1:3X and not 1:5X stretch?
  5. The taking lens and the adaptor are connected by a step up ring?  Missed that detail...
  6. Not everyone is buying the BMPCC for feature work.   The joy of C mount lenses from CCTV's to Kern Switars is the great stylings they give for other applications, commercials, music videos, experimental etc etc.   And they are cheap. My collection of C mounts will never worthless as long as cameras like GH2 and BMPCc are made.
  7. I picked up the Nikon 20mm 2.8 manual,the 24mm 2.0   manual and the Metabones SB for the BMPC and my GH2.  Will report back with some samples when they all arrive.    The Nikon 20mm 2.8 can be modified as previously reported by Metabones that it was incompatible with the lens.   I'm betting my future on the BMPC , Nikon glass and the SB so it better work! http://www.dvxuser.com/V6/showthread.php?310326-Review-and-Grabs-Metabones-Speedbooster-Nikon-F-to-M4-3-on-AF100/page5
  8. http://www.hotrodcameras.com/lenses-optics/pl-mounts-adapters/panasonic-micro-4-3-af100-series/hot-rod-pl-mount-for-all-micro-4-3-cameras-pl-mount-only.html   Hot Rod make one as well.  I own it and its very well made.
  9. Andrew, Anyone, reposting to this thread....   Have more information on these CCTV lenses for possible use on the BMC Pocket Camera? I have emailed them for a price quote, but know they are not cheap CCTV lenses. http://www.qioptiq-s...es/MeVis-C.html   They were used on this Ikonskop shoot as well as sequences of Slumdog Millionaire. https://vimeo.com/36804057     As the Ikonskop sensor is a S16 in theory these lenses should work fine with the BMCP? Ikonskop is a 2/3" sensor (10,6x6mm) as compared to the slightly larger true S16 BMCP sensor....     US$ prices on quote I received: $2,541 each = 0020-005-000-40 MeVis-C 1.8/12    2/3"       $1,349 each = 0020-004-000-40 MeVis-C 1.6/16     2/3"         $1,059 each = 0020-002-000-40 MeVis-C 1.6/25  1"
  10. Andrew, Anyone,   Have more information on these CCTV lenses for possible use on the BMC Pocket Camera? I have emailed them for a price quote, but know they are not cheap CCTV lenses. http://www.qioptiq-shop.com/en/Precision-Optics/LINOS-Machine-Vision-Solutions/LINOS-Machine-Vision-Lenses/MeVis-C.html   They were used on this Ikonskop shoot. https://vimeo.com/36804057   As the Ikonskop sensor is a S16 in theory these lenses should work fine with the BMCP? Ikonskop is a 2/3" sensor (10,6x6mm) as compared to the slightly larger true S16 BMCP sensor....     US$ prices on quote I received: $2,541 each = 0020-005-000-40 MeVis-C 1.8/12    2/3"       $1,349 each = 0020-004-000-40 MeVis-C 1.6/16     2/3"         $1,059 each = 0020-002-000-40 MeVis-C 1.6/25  1"     Back to Product
  11. Long time GH13/GH2 user but was not taken with the Gh3 and BMC.  The pocket BMC is the no brainer replacement.   A grand, you kidding me?  Just checked specs on my GH2 DCage and the pocket BMC is 128mm to the 124mm GH2.   Durn it, don't think it will squeeze in.
  12. [i]we go to the cinema to dream, not see things too clearly.[/i] Love that comment by the way. Andrew and y'all, you've all lost your minds. We are living in the cinema digital age generation, it has begun... this is  fun , I love reading about new technologies, latest camera and equipment designed to make that picture of yours just a little more cinematic but you have to jump into the deep end of filmmaking, sharks and all. Work with what you have and use the look from the specific camera and lens [i]you own[/i] to tell your story.  There is no Hollywood, broadcast bias or cabal  telling you your shit 'aint good enough because it was shot on a GH2.  They don't care, they want authenticity and courage from you. This film in Berlin last year was shot on a 7D, one lens, a monopod, crew of one, zero budget. http://www.youtube.com/watch?v=zCBRhgic2Jw The filmmaker lives in Calcutta... My point is Andrew, can you use this unique platform of yours to mix it up just a little!
  13. ok so was looking up comparing specs with the BM and  my favorite cam out there the Ikonoscope A cam D2 ( here is a fine video to show you what it can do with Linos machine lenses https://vimeo.com/36804057) now the Ikon shoots 1080 RAW right as opposed to the 2 1/2 K sized Blackmagic? Now looking at the Ikon 1080 16 sensor 12 bit from that video ( yes it graded) why the insistence on 2 1/2 K as the holy grail for cinema?  The Ikon is a $9k camera that should be  sold for less but I get their philosophy and limited output, these Scandinavians aint getting rich off this cam.... but 12bit RAW, I mean wouldn't that be a real option for  camera manu to deliver at even better price?  The form factor on the Ikon as a cinema camera is just stunning BTW as compared to the BM alarm clock.
  14. this is the final quote from an article by Michael Murie in Filmmakermag about 4k that pertains to 2 1/2K as well and why buying this camera for most filmmakers is even at $3k a waste of money. http://www.filmmakermagazine.com/news/2012/04/the-empire-strikes-back-canon-goes-4k/ [i]It’s ironic that today we’re salivating over 4K cameras, when the reality is that many of the current HD camcorders haven’t been pushing the resolution that can be stored in a 1920×1080 frame. With the line skipping, debayering, and other processing, it’s often difficult to tell the difference between 720p and 1080p images. I can’t help but think that the majority of shooters buying 4K cameras over the next couple of years will be upgrading their computer systems, storage and archiving systems to deal with the large amounts of data these 4K cameras will produce, all with the ultimate goal of producing a more detailed and vibrant HD image, rather than 4K deliverables.[/i]
  15. a camera that shoots raw for $3000 a fail??? hahahaha...the only other option is a scarlet at 5-6 times the price. [i]99% of productions rent RED either from an owner or rental house. If you own any RE camera mostly you have some income from your work. not everyone but if you have any common sense.[/i] i like that its made from people thinking about post production, thats usually where we start on a project, what format does post need to create and finish this project? they can finally give us a tool that answers all those questions. what i dont like about his camera is that its the first one, now they just need it out there and get feedback from people actually doing the productions and shooting the projects. what we need in shooting films is some variable frame rates, 32fps, 36fps, 40fps, 48fps, something else besides 60p. i for one am axcited about the form factor, i like the slick streamline look too and its about time we had a onboard monitor built in that is big enough to see! yes, this camera is not for consumers, not for documentaries, not for news or interviews of any kind. [i][i]So documentaries are only about its interviewing people? How about a doc verite style 2k feature that needs authentic improv and scenarios out in the field away from a wall socket?[/i] [/i]for professionals or people moving up that want to make a film and have no problems in post with the footage. [i]Who are these people moving up that will have no problems in post just beacuse you are shooting 2 1/2K , your problems in post are only beginning pal.[/i] its also for lower end commercials, right now we have a 3 camera choice, epic, alexa and if they cant afford that then they actually write in the treatment "this is a 5d job"... so for the proce of a 5d we can have raw? [i]Like I said if you have a production company it makes sense[/i] wow! what id like to see is what hold up better, compressed 4k from a 1DC, or raw 2.5k...this is going to be an interesting comparison, especially with the massive price difference...i think canon should think about adding clean hdmi to our 5dmk3s to be able to keep up with this price point! [/quote] [i]it fails because it should have been a $3K 2K Ikonoscop  that I cannot afford [/i]
  16. Only for it's 2.5K RAW everything else in this iCam is a massive fail.  Ergonomics, battery power, compatible lens issues,  utilitarian use no.. for what or who exactly is this niche camera?  The original Scarlet 2K and a mighty still camera was to me the future for Pro's but obviously not at price for low budget indie filmmakers.  $3000 is some cash though and you need extras to make it adapt for even the most basic day shoot. It has no modularity all solid state, much like an Ipad  It will depreciate in value in 18 months, unlike a 5D or D800.  I am surprised Andrew you have a hard on for it or is just the fact that Black Magic just undercut the camera industry that makes it the sensation?  If Ikonoscope came in at this price I could see a win - for the price.  It shoots RAW.  In my mind the only application for RAW is to grade for ... a cinema screen or a higher end commercial. There are many option for commercials as they have huge budgets. 1080 for creative work to Vimeo/YT embed is so fine considering the camera options out there.  That means this camera is for indie filmmakers wanting to make a narrative low budget feature. How many  films does the average independent filmmaker make a year?  Even if you make one a year, that's a 3 week shoot. For the doc feature filmmaker, in my opinion the biggest growing market for camera manufactures this camera seems to be unsuitable for even 1080 capture. It's internal battery system is baffling. Over at no film school the admin created buzz for his choice of camera a year before shooting.  Making a feature is not about the camera.  Black Magic, Canon and web forums are tapping into 1st time filmmakers gullibility and telling them you have to have your 2K or 4K otherwise your film will be no good.  This camera is for a production company with several DSLR's, an AF100 who need cheap fast 2K for grading in studio and green screen and occasionally rent lenses.
  17. If anything else a fascinating insight into the biggest camera company in the world. Canon assumes that the 5DMK111 will own the prosumer market with just the bare minimum upgrade, this the line that will make them them their biggest profit margin.  Then they announce "Pro" cameras that will literally take on Hollywood and use the C brand to sell more 5D's... but they forgot that to sell a dream in this era of instant info and blogging, filmmakers 'aint dumb.  Anyone researching to buy a camera know perfectly well that camera companies now have the ability to make  camera's that yield a damn fine cine look, it's about choosing the least crippled option against what you have in your bank account.  Canon could have changed the camera industry forever by truly democratizing hardware.  A company will do it one day, make an Alexa for $4999 and cheaper and cheaper... then let that cameras cannibalize it's other divisions.  Imagine what Apple would do if it was in this industry?  You are a photographer... you are cinematographer ...you are an artist... here is the tool.
  18. So you bought the FS100 and [i]consistently never mention[/i] or dismiss the Panasonic Af100 that has now dropped into that $4200k price zone. I have just shot a feature doc, shooting it solo with a hacked GH2 (driftwood) and AF100 with mostly the Voigtlander 0.95. as it was mostly a night shoot.  The only issue I had shooting daily for 6 weeks with the GH2 was inconsistent decent sound (Beachtek to XLR mic or Zoom H4N) as compared to the AF100 plug in my Rode NTG and go.  The AF as a pro doc camera for its price is the best out there.  I often backpacked both and would shoot depending on circumstances. Intimate more personal space the GH2.  Events, out door run and gun, the AF rocked handheld or with a monopod, no rig needed even though I own the Cineroid EVF.  I did the full comparison with the FS100 when I bought the AF.  Barry Greens ( I know how you love the guy!) comparison pretty much summed up the two for me. [url=http://www.dvxuser.com/V6/showthread.php?260461-FS100-and-AF100-compared&highlight=af100+v+sony+fs100]http://www.dvxuser.com/V6/showthread.php?260461-FS100-and-AF100-compared&highlight=af100+v+sony+fs100[/url] The only issue I have is blown highlights in the AF100 that I get around by either figuring out composition in shot, use the GH2 or live with the image and try grade.  This is documentary after all and it's always how I tell the story first (that is get the story!) rather than what my footage looks like.  BTW peaking on AF100, in camera ND's and waveform excellent when I'm handheld run and gun. I'm putting in an order for the Voigt 17mm 0.95 and with that and my Nikon primes figure I'm good to go for next few feature docs and several years to come.  At the moment cutting and still shooting and I'm 60-40 GH2 ratio of shooting but expect to be 50-50 by end. 
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