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richg101

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Everything posted by richg101

  1. No probs man:) Be aware that what Allister Chapman says might not be what others believe is best for certain scenes. - so often s-log might be very viable for certain low light scenes where you need the huge dynamic range advantage in highlight detail. for instance just after sunset, shooting towards the sun. for the scene in your images you;re dedicating a lot of dr to the strret lights - which will be blown out even if you had 20 stops of dr.
  2. it's simply a artifact when the sensor is pushed too far. Mine does this. the effect only really shows where the dynamic range in the shot is beyond what it;s capable of handling - pulling the shadows down will remove this. the difference between the black sky and a street lamp is almost an infinity number to stops difference. a bounce board for your talent or a small led source on your camera will lift the talent and allow you to expose slightly less then the light sources wont cause this. it's a bit like the vertical flares often seen on 1990's dv cameras when they flare. if you
  3. I got extremely lucky and managed to do a straight swap on some lenses and custom work. The guy is a very high end photographer who had literally just bought the iq3-100 and had no need for the back. It had been sitting unused for a few years after some of his hy6 lens shutters died and he moved to PhaseOne. he'd seen that I was using HY6 lenses on FORBES70 and took a punt and asked if I wanted a back that I could use with them. Put it this way, I never thought I'd get hold of a full width medium format back. - The going rate is still madness. Goes to show there are some guys so high end
  4. indeed. because the front sections of the trump lenses are so over engineered, they are just waiting for some refined main lenses to be used with. it's looking like a 58mm biotar with an f1.4 widest aperture might be made this year - ultra clean, mc's, less of the biotar. drop in to replace existing f2 glass in trumps. it won;t be crazy good wide open, but will provide that extra stop to allow an f2.2 2x oval to be implemented. a 1 stop advantage. The 28, 38 and 88 attachments have been designed for 58mm/2 so when a 2x oval is used they'll be able to perform just fine. and at f1.4 they'
  5. I haven't even acknowledged those comments because he's deluded. There's nothing wrong with his camera. My pocket reacts exactly how his does - as does every other bmpcc. All his actions do is increase the price of future products from BM because they have to add costs for the idiot factor. BM's customer service personel:- "We got another email from a customer expecting his camera to perform with a iphone torch as lighting. What should I do boss?" BM's customer service manager:- "just send him another one. Don't bother wasting Mr Petty's time. The sooner we
  6. Often it's cheaper to just send a replacement than try to diagnose the problem only for the customer to complain online. I've yet to send examples of what I've found with my camera since I don't think the issue is really an issue unless the footage is pushed heavily. I'm on the fence. I always felt amazed how much the pocket could do, and know that what I'm seeing is likely a firmware fix rather than a physical problem. because i know how good they are with customer service I'm happy to sit back and see. if in 1 -2 months - or 8 months for that matter I feel the camera isn;t doing wha
  7. OLIVIA will indeed be more of a studio type lens rather than a hand holding affair. what should be considered is that because the lens isn't actually that long, one could set up a red weapon 8k with a leica M mount and a set of M Summilux's from 35mm, 50, 75 and 90 and have a very short optical protrusion coming out of the front of the camera. centre of gravity is closer to the camera body than with a typical 2x 25mm anamorphic from panavision meaning a well balanced shoulder rig is definitely possible. The less than optimal focus mechanisms on rangefinder lenses (in motion picture terms) i
  8. Tell me about it! - the design and manufacturing of the focus mechanism for such a badboy has been a task. it uses both a beautiful brass helical and a system of rollers / bearings to alleviate droop due to the weight of the huge pieces of glass.
  9. No one in high end fashion will discard a phase one mf camera for the benefits of having video functions of a canon or nikon. in high end fashion the stills are done one day on medium format and the video another - on an Alexa or Red. Usually with the same creative director, but two different shooters. That said, a lot of the guys I've dealt with in the high end fashion world are stills photographers who now shoot or more often direct video. I can;t see them ever moving to a canon for the benefit of being able to shoot low quality video - not until they offer a medium format sensor and len
  10. OLIVIA Scope was originally going to be a straight clone of an iscorama, just scaled up. It soon became clear that in order to make something really groundbreaking we had to start out with a blank canvas. Though OLIVIA Scope is operated in the same way as an Iscorama, because of the wide fov capability a racking adjustable diopter type 'untactful isco copy' focus mechanism would need a ridiculously over-engineered helical to provide shift of a big diopter element.
  11. hahahaha. thanks for the plug. though I'd advise against the DSO lenses as a primary lens set. I am always quick to warn potential customers that the lenses are a speciality lens rather than a go-to lens set. For me, some 1970's -1980's lomo's are the best option for 'cinema glass' that is affordable
  12. in purely aesthetic terms.. best value is lomo oct-18 lenses (35mm) adapted to PL with an adaptor. Works out at about £300 per adapted lens. fast, characterful, and filmic. next are arri standard mount zeisses (35mm). about £450 per lens adapted. IMO going for anything from Samyang or SLR Magic is the sure fire way to remove any sense of 'cinema' in visual terms. Neither of these types of lenses are designed by artists or optical geniuses. They're simply low cost copies/variants of existing canon lenses - of which impart the look of photojournalism rather than Hollywood IMO.
  13. in video mode the frame will be 16:9 so the biggest they'll get is 53mm x 30mm vs Full Frame which is 36mmx20mm in 16:9. It's a significant increase in sensor area, however I bet they window in. - the 11,000 pixels of sensor width skipped down to 3800 will not be nice!. Assuming they do use the full sensor width the horizontal crop factor is 0.68x. When the lens speed tops out at f2.8 on Hassy's boring lens line up a 5dmk3 in raw and some otus's are likely a better bet for achieving the look of medium format motion picture. Since it's a Phase One back, I expect video will be offe
  14. definitely looks like more than 1.25x squeeze. The defocus looks more pronounced and resolution is better than what I saw in the Hateful Eight. With such a CG orientated production I doubt those old ultra panavision 70 lenses would be up to the job. I wonder if the new Hawk 65mm anamorphics got a test drive on this?
  15. I've seen the fixed pattern noise from the bmmcc that wouldn;t be apparent from the same shot in the bmpcc. I'd actually say the bmmcc might have a slightly reduced usable dr because of this - you can;t pull detail from the shadows as much as you can with the bmpcc from what I've seen so far. I say this with a pinch of salt. the image is still lush, and the 60p capability is worth taking a 1 stop hit on dr. It just means i can't pull shadows up as much as I like to on shots where I;m exposing to retain highlight information.
  16. I actually modded both the a7s and a7rii with a cut down 5mm red LED glued onto the record button to it pokes out more and is easier to find. Everyone who sees the mod asks how to do it. it's the best mod to the camera. the bmmcc is in need of this mod too!
  17. You can buy stick-on buttons in various colours that will likely fit. maybe look for stick on rubber feet for hi-fi furniture and the like. http://www.ebay.co.uk/itm/16x-Round-Rubber-Foot-Self-Adhesive-Black-Feet-RF05-Size-6mm-WIDE-x-3mm-HIGH-/191688158450?hash=item2ca1812cf2:g:3i0AAOxyPc5SAhXY
  18. I'm gonna ask @Rob Bannister to chip in on this discussion. He's a user/owner of the kinemini 4k and from what I've seen him create with it, I started looking seriously into the kinemax as a primary camera for DSO rental purposes. The plan was a camera and lens setup with loads of options as far as focal reducers, behind the lens filters etc - all the exciting stuff the sub-pl system permits!
  19. PMW-F3 - go to vimeo viewer to download S-Log, Internal 35mbs XDCAM 4;2;0 Zeiss Distagon 25mm - from f2.8 to f11 ISO- 800 (0db/Base ISO) ND's - Used throughout. post - no processing applied to footage - dragged into timeline, exported at 150mbs 2-pass vbr (2560 x 1440)
  20. Moot. Kinefinity wouldn't be broadcasting about prores support if they didn't have the licence in the bag in some way or another. The person who responded to your email probably just went on their own website, saw the brand isn't listed and responded accordingly. I seriously doubt the person handling random unsolicited emails is taking the time, let alone even able to access the list of pending licencing deals going on in one of the biggest technology companies in the world!
  21. Never use the current buy it now prices as a guide. an auction of an F3 tends to end at half the buy it now numbers. Mine came with a rod/riser setup, a top plate, a nikon adaptor, a 16gb sxs (over 1hrs recording of the pretty damn rugged 35mbs xdcam codec), and a sxs-sdxc adaptor, vlock battery plate, 2x sony U30 batteries. I paid just over £1000 and looking back since a few similar setups have gone for less! Mine was a earlier unit which was 'unlocked' with the paid firmware rather than the later units which were unlocked as standard. If i recall there is a slight difference - the paid
  22. Single best 1080p image? Easy to edit? Small file sizes? Cheap? Sony PMW-F3 (unlocked for RGB and S-Log) shooting internal. under $1300 Slightly more grading resilient footage? - as above plus a bm video assist. Under $1800 Greenscreen work? - as above but with the Pix-E5 recorder. Under $2200
  23. IMO auto focus and 'cinematic' shouldn't really be uttered in the same sentence. However for things like an impromptu talking head in a run and gun environment with a large sensor, a good af system capable of tracking focus of a face will always be welcome. I highly doubt I'd ever use such a thing since I actually like the aesthetic of a human being pulling focus by eye. If people like to think a Canon will make their colours nicer without having to learn how to set up wb, profiles and learn how to use curves that's up to them. The fact here isn't about af or colour. It's about
  24. I've hardly even had time to test the little camera. It's soon to be fitted into forbes70, and I'm hoping global shutter gets enabled. from some of the footage I've shot I have noticed more obvious fixed pattern shadow noise than I have seen from the pocket. @Zak Forsman have you noticed this?
  25. I actually worked on a custom speed booster for a Kinimini4k. the kinemount is exactly the same as a PL mount but with a ffd of around 20mm(from what I remember) rather than the usual 52mm ffd of true PL. So their PL mount which you'd use for running say s4's or ultra primes is just a PL-PL extender tube of 32mm thickness. the EF mount is a tube of 24mm thickness with electronic contacts and a ef mount instead of a PL mount on the front. Effectively you could make a Leica M mount or just about any mount. infact I think kinefinity will manufacture custom mounts at your request
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