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richg101

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Posts posted by richg101

  1. as I see it the only selling point is the sharpness matched with the focus system.  if sankors/eikis had the same focus system I doubt there would be so much obsession with the iscos.  If you were shooting a proper movie you would use (hired) panavision lenses.  It's nuts these people paying more than 500 for a isco that is very unlikely to see any use within a real production.  all they will do is create test footage and then get bored and sell it.  the bubble will burst soon enough.  my 20gbp century anamorphic + diopter with enough light to allow the taking lens to be set at f8 allows more than enough sharpness for 1080p.  f5.6 is sharp enough for 720p and f2.8 is fine for when you need the speed and can handle a bit of softness.
  2. [quote author=ddueck link=topic=283.msg2835#msg2835 date=1332471020]
    Just finished this little montage using NEX-7 and Canon FD glass, and the techniques outline in my prior post...

    [url=http://vimeo.com/38994583]March 17 2012 Irish Parade - NEX-7[/url]

    (vimeo.com/38994583 if you can't view the embed)
    [/quote]

    I love your reluctance to blast the colour correction and contrast on this piece.  Really nice look to it.  and the slight green hint works well in strengthening the subject.  I think i may switch to 50p from now on.  though each frame during 50p mode is dedicated just 0.56mb compared to the 1.0mb per frame when shooting 25p.  I have to say, I have yet to gather much more than 10mb/s on most of the footage I have shot on the nex 5n.

    What would be the most bitrate hungry subject matter?  moving leaves all in focus?  lots of grains of sand blowing in the wind?
  3. its a funny situation.  they design a system offering budget film makers with a superb system, then cripple it with a mount designed for still photography.  why not just a damn pl mount?  or sony 'e' mount?  rangefinder glass will not work, lenses designed for 4/3's wont work, lets use a canon 50mm lens and end up with a field of view of a 135mm lens!  great job!  :-[
  4. [quote author=GlenPepin link=topic=797.msg5750#msg5750 date=1338408333]
    Real question: how good are the latest m43 sensors? Does  the GH3 stand any chance of having latitude/dr and high ISO anywhere in the same ballpark as the mk III or should I keep my L glass and upgrade to th mk III?

    I own an original 5D and fast canon primes (24 L II, 85 L II, 135 L). I'm in need of a camera for stills and want to get into some video.  The Mk III seems like a no brainer until you consider the upgrade price and video limitations (soft and not true 1080p).  If I got a GH3, I would sell all of my Canon glass, flashes, etc. and have money left over  for some nice lenses (Voigtlander Nokton 25mm F0.95?).

    Not sure what to do as I am considering still photos as well.  I would love to have a (much) smaller rig to travel with and if I thought the DR/latitude and High ISO would be close enough, I would wait for the GH3 for sure.

    I know that sensors have come a long way since my 5D, and suspect that some of the new breed of smaller sensors do better with DR (OM-5) and high ISO for stills anyway, and expect that the GH3 will do better that the mk III for video. 

    Any O\oppinions/help?
    [/quote]

    I'd keep your L glass.  soon there will be the boffins at magic lantern turning the 5dmk3 into what it is meant to be.  somewhere between the performance of the 1D cinema and the 5dmk3 as standard id imagine.  many suggest the 5d3 as it stands has had some firmware crippling features for product differentation.  the L glass has a lot more life and value than any 2 bit (in comparison) lenses for the 4/3 system.  eos cinama range, red, and lack magic offering ef mount as standard will continue the value of these lenses imo
  5. http://www.imdb.com/title/tt1446714/technical

    are they cropping in post?  Obviously the 65mm film is wide enough to warrant the crop allowing 2.35:1.  Will they have used anamorphic lenses during filming?  It would be interesting to understand how they achieve 2.35:1 on the s35 sensor of the epic.
  6. based on his sample video i'm not impressed.  no sharper than any other good anamorphic adaptor/lens combo sample i have seen.  I'm pretty sure I have seen crisper footage done with the cinelux + 50mm helios.  seems an awful lot for a tube with a slot in it to accept a piece of credit card with a hole drilled in it.  if it were that good he would have a proper sample up there.
  7. RedStan anamorphics create a 72mm thread mount which bolts to the front of the century/optex style anamorphic.  providing a 72mm thread.  I could not work out how much this adds to the total length (the dioper itself started to almost create vignetting even when held right against the front of the century adaptor.).  I decided to buy a 77 to 72mm step down ring then remove the 77mm thread leaving a ring with a 72mm thread on it.  I machined it so it is just 2.5mm deep (2.5mm worth of thread),  I made a series of keying in marks on both the century and the step down adaptor and then epoxy glued it to the front face of the century. 

    extreme closeup:- http://www.youtube.com/watch?v=pOYG_3dX1JQ with +0.4 diopter

    how does the nokton + la7200 work at wide apertures?  the century hates wider than f2.8.  :(
  8. really nice.  the LA7200 seems to be the optimum for impromptu filming in my opinion.  the rest look as if they have more potential but are looking like they are being  real pain to keep under control.  the final sample, with the massive flaring through the trees is really pleasing.  It's so nice that your girlfriend doesnt mind you filming her.  i find the endless flow of 'landscape' anamorphic test videos to be almost completely pointless.  you need a human subject like what you have shown, with glistening eyes, hair blowing in the wind, and movement to accurately judge how the lens will work in real life low budget movie making. 

    I have been out with a century 16:9 converter + tokina +0.4 diopter.  here are some more human subjects to dd to your comparison.

    https://vimeo.com/42685556

    using sony e mount 18-55mm lens (at 35mm).  The flimst lens has needed some extra re-inforcement to take the weight of the anamorphic.  lens OSS has added a degree of 'weight' to the shots.  a good combination I think. 
  9. http://www.youtube.com/watch?v=pOYG_3dX1JQ

    using +0.4 achromat from redstan.  250mm closeup here.  without the diopter the results are unusable.  I got my anamorphic for 20gbp(really lucky find!), then spent the 150 on the achromat.  worth every penny.  some of the nutters spending 300+ on the adaptor alone should take the plunge and make their 300gbp paperweight into something quite nice for the extra 150gbp.
  10. all looked stunning.  i was amazed how good the B+W bike shot looked with the GH2.  if anything the grain on the GH2 added a beneficial factor to the image.    all but the extreme 12,800 shots were really low in noise. 

    what post processing are you applying to this footage?  any de-noise in software?  im never sure whether to leave the in camera de-noise on or off with the sony nex 5n.  is it worth spending money on neatvideo for CS4?  I cannot afford to upgrade to cs6 + aftereffects yet.  so the 50gbp neatvideo looks worth it..  any comments?
  11. in effect his thread internal diameter is exactly the same diameter as the rotating rear element holder.  so it automatically centres itself.  to me that threaded part looks like a 55mm(male)-77mm(female) step up ring.  the extra diameter of the 72mm part means that when he tightens the bayonet the washers are jammed between the step up ring and the bayonet teeth.  if the step up ring(or whatever he has used) were thicker he wouldnt need the 3 washers.  but it looks like these are added to fill the gap.

    Uscrew the little grubscrew on the side of the bayonet and remove the bayonet.  it will become apparent.

    the way id do it would be to remove the bayonet off the large thread.  drop a step up ring over the rotating rear element. put the bayonet back nearly all the way.  then position the washers at the three points before tightening the bayonet all the way so the washers squeeze down on the step up ring.  finally fix the bayonet at this point by replacing the grubsrew

  12. This is why I recently embarked on the anamorphic bandwagon.  I found a century anamorphic for 20GBP, mounted it to an old olympus zuiko 28mm and am having so much more fun than with the usual 16:9.  Also, being that the camera is now handling less resolved detail from the lens it free's up more space within the limited bandwidth of the 25mb/s nex 5n video mode.

    I'm excited to put to good use an Achromatic diopter (bought based on Andrews recommendation (amongst others).  in particular i look forward to better close focus, alongside an increase in background defocus.  Very few people own both the century and the +0.4 achromat which will mean my footage has something original others dont.  It wont be the sharpest, but at the moment it is pleasingly organic and reminds me of a super16 blow up to 35mm


    Shot with no achromat.  mainly wide open.  close ups struggle with sharpness and CA, but some of the wider shots really show off the combo I think:-

    https://vimeo.com/41740231

    Finally thought Id sign up to this forum.  im glad i did:)
  13. pick the right lens hood (of your prefered thread (49mm is minimum).  remove the rubber leaving just the threaded part.  either epoxy this onto the lens (make sure not to glue the rotational part!).  or.. have a look how this guy did his:-  i kind of wish i had thought of this before epoxying mine:) :--

    http://www.ebay.co.uk/itm/261015233034?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649#ht_500wt_1361

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