andy lee

araldite works fine , give it a go ,

PANASONIC G7 ATOMOS NINJA ASSASSIN 4K

Is anyone on the forum using this combination to record the HDMI out the Panasonic G7 into a Atomos Ninja Assasin ,

I've been chatting with Nick Driftwood who recomends GH4 @ 4k with atomos ,

has anyone on here got any footage they have shot with this combination of G7 and Atomos?

As you can record Pro Res on the Ninja Assassin - so Im told!

1 hour ago, mercer said:

Hey Andy, I read in an old post where you said that the Fujinon c-mounts are comparable to Zeiss. I have the 35mm 1.7 and I can confirm that it is an amazing little lens, but I need to get it modified. If I go to the trouble and cost to modify the lens I would also like to pick up the 16mm and maybe the 25mm. Are they just as good and do you know if the 16mm will cover the m43 sensor in my G7? 

yes the Japanese Fujinon C mount lenses are very very good , superb sharp glass like no other c mount Ive seen , the 35mm 1.7 is easy to modify , unscrew the rear ring remove it then araldite the screw ring onto the rear of the lens mount then araldite the whole thing onto a c mount / micro 4/3 adaptor , the 50mm 1.4 is a similar mod , the 25mm 1.4 requires a new rear ring making and the 75mm requires part of the rear turning off in a lathe - ALL are worth modifying

1 hour ago, Cinegain said:

I have a 35mm f/1.7 C-mount as well. Unfortunately it's a 'Fujian' toy lens and not a 'Fujinon'.

Are they supposed to be remotely similar? Like the Chinese doing what the Russians did back in the day with Zeiss?

No Fujian is Chinese soft cctv lens , for fun only ....Fujinon is serious Japanese machine vision lenses - Zeiss quality glass

19 hours ago, JazzBox said:

I'm happy to hear that!! Which are the main differences on both m4/3 and Super35? 

all the Zeiss C/Y lenses are very consistant across the range of focal lengths , same Zeiss glass colours same blacks / contrast , same look , so the differance is that the 25mm is just that bit wider and the 28mm has just that bit more bokeh .....the 50mm f1.7 is brighter about 1/2 stop more than the rest of the range so if you have it at f2.8 its brighter than all the other lenses in the range at f2.8 - appart from that these are amazing lenses - same glass exactly as the  Zeiss Ultra Prime and Super Speed cine lenses at at fraction of the cost

yes 25 and 28 are quite different and I use both , worth having - PS did I tell you this glass is just the best - very very good !!

I watched it as a punter first , it is such a good script ,Kurt Russell and Samuel l Jackson are stunning in it some superb acting and great monologues.  It very well put together .

January 2016 American Cinematographer has full article telling you exactly how they made it all.

Interestingly it says

The
Revenant ultimately relied on a combination
of Arri Alexa cameras: the Alexa
XT, which was used primarily for
Steadicam and crane shots; the Alexa
M, which was designated as the
primary camera; and the new Alexa 65
system, an early version of which Arri
made available to the filmmakers

According to Lubezki,
approximately 13 percent of The
Revenant was shot with the Alexa 65.

“My preferred lenses are the
[Arri/Zeiss] Master Primes and Leica
Summilux-Cs,” Lubezki says. “A very
small range of lenses.” His main lens
was a Master Prime 14mm, with 12mm
and 16mm used on occasion. He notes
that the Leica lenses — of which the
production employed the 16mm, the
widest focal length available for that
series — were particularly useful when a
lighter-weight lens was warranted. The
cinematographer explains with a laugh,
“As I age, certain equipment becomes
very heavy for all the handheld work, so
the weight of the lenses does matter.
The Leica lenses are light, but [retain]
an incredible image.”
The production encountered an
ongoing back-focus challenge with its
extensively used Master Prime wide
lenses whenever the temperature
dropped to near 0°. The problem wasn’t
fully sorted out until a few weeks into
production, when Lubezki and Connor
teamed with Panavision to find a solution.
According to Connor, neither he
nor the Panavision team had seen this
phenomenon before on other shows
shot in similar weather.

As to the Alexa 65’s Prime 65
lenses — which utilize optics from
Hasselblad HCs — the 24mm was the
main lens, and a 28mm was used occasionally.
In terms of pulling focus, Connor
attests that The Revenant was “the single
most difficult movie I have ever done.”
Noting that he uses a combination of
classic and modern focus-pulling techniques,
he says, “I still like to be close to
the camera, with a wireless focus and
monitor in hand. About 20 years ago, I
took the Preston wireless focus system
off the Steadicam and used it on ground
cameras to give me an advantage with
ever-challenging styles of shooting and
extremely long lenses. It’s comprised of
a small 8-inch HD monitor with builtin
LUTs and real peaking. Chivo only
has Log C coming out of the camera,
and doesn’t like to see peaking on his
monitor or the director’s. The small HD
monitor allows me to apply any LUT, as
well as its own peaking. Along with a
Paralinx wireless transmitter mounted
on the focus unit, [the rig] gives me
complete mobility to move through the
set terrain and see the scene develop or
change.

its a very bold statement by the Director and DOP to shoot it all with available light , not many would have the guts to go that way on a modern made film , its such a unique look it achieves

they where shooting approx 9am - 3pm due to the light so it was short days so the shoot took alot longer

this group of Nikon zooms are just amazing lenses , they really do rival PL mount cinema glass - just as good opically and a whole lot cheaper ,

The Nikon 80-200 2.8 is in my opinon Nikons finest lens , its just so good for shooting cinematic looking images . you do need to make a rig for it and support the lens on rods .

the 'great color look'  you are seeing and like is the grade they did on it , it was shot digitally there is no Kodachrome film used in making this movie

September 2015 issue of American Cinematographer magazine has a full article on how they shot this film , worth a read it great !

Ive seen it 5 times now , its a great film one of his best , amazing cinematography , worth seeing just to see the opening vistas

Great story - taking the Agatha Christie murder mystery format and placing it in a different context -

Lots of classic Tarantino split diopter shots too .

Cant quite believe its been so passed over by the Oscar Nominations this year - no that many nominations .....

Zeiss C/Y lenses on speedboosters are a superb option I use alot , I made a full set of f2.8 Zeiss C/Y lens - yes the f2.8 versions so on the speedbooster they are f2 when fully wide open - and thats how I use them wide open , the glass in these lenses is identical formula that is in the Zeiss Super Speed cinema lenses and Zeiss Ultra Primes - the guys on RED USER have done loads of A/B tests and its identical , so for me as I like to shoot f2 max  the f2.8 Zeiss C/Y lens are amazing .

Cinema quility glass at affordable prices - I went for 25, 28 35, 45, 50 , 85 . 135mm

the glass in this is the same as the Nikon 28-70mm f2.8 and the 80-200mm f2.8 - The Bourne Lenses as I call them - these are all stunning lenses all highly recomended , also the 20-35mm f2.8 Nikon , all have glass parity and you can cut these lenses together in an edit with no issues - same colour same contrast same blacks same sharpness ...perfect!!

Contax Zeiss glass is very very good , its the same glass formulation that is in Zeiss Super Speed cinema lenses ,Im now using a full set of these primes as my main lenses .

Ive been very busy this year working on a film and my next film in prep for next year is all being shot of Contax Zeiss glass.

yes they are a very good pair of zooms to use together - or as I do on 2 cameras for a set up 

one at 70mm for a cluse up and the other 25mm for a wide

the minolta MD 45 mm f2 is nice too

the MD 28-70 (if it is like this one )

http://www.ebay.co.uk/itm/like/311109412651?adgroupid=16885268106&hlpht=true&hlpv=2&rlsatarget=kwd-124272973506&adtype=pla&ff3=1&lpid=122&poi=&ul_noapp=true&limghlpsr=true&ff19=0&device=c&chn=ps&campaignid=270621186&crdt=0&ff12=67&ff11=ICEP3.0.0-L&ff14=122&viphx=1&ops=true&ff13=80

is ok but not constant apperture , so as you zoom it goes darker

the MD 35-70mm is constant apperture f3.5 - nice good cheap zoom lens

its sister lens is the MD 25-35  also very good and constant apperture f3.5

get both of those together you have a very nice pair of useful lenses

if I was gonna go for an MD zoom the best one I have is the 35-70mm 3.5

this one

http://forum.mflenses.com/minolta-md-35-70-f3-5-t44170.html

these are very nice usable lenses

pentacon 50 1,8 m42            25€

helios m44-4 m42                  25€

Helios 44M 2/58 M42            25€

thanks for that , your first hand knowledge from using it is invaluable - big thanks

I think Im gonna go for it !!

they look superb - just read the rokkinon v veydra test - they are alot sharper than rokkinon .

As you know I do like the Tokinas as they are low contrast - so these veydras are very appealing!

the other thing that is good is the size of these lenses

I just shot days of car interiors dialog scenes for this film and I used Fujinon C mount lenses (machine vision lenses) , 25mm 35mm 50mm as they are small and dont wobble around at all , all at f2

these verdras are small enough to use for in car footage very nicely

thanks for such a detailed reply - Im sold I want some...all of them !! 85mm is a must for me as I prefer long lenses , I use them as much as I can ,

so what are the blacks like on these are they neutral then ,,, I find Zeiss C/Y lenses too contrasty for my liking.

wow! been reading alot about these lenses on Duclos web blog ..they sell them ...so whats it like , do tell all puuurleeese!!

in terms of lens graphics...these lens look the bussiness....whats the glass like??

getting the money !! the rest of it is easy once you have a budget you need haha !!

Thank you Mr Reid , back with alot of excitment over this V Log update - I have another feature film to shoot in March next year and I'm now seriously thinking of doing it with 4 x GH4 with V Log .......will have to test it alot first

have any of you see this test : Its very interesting

https://www.youtube.com/watch?v=xX-7k_WswJU

to my eyes the Panny has more detail in the highlights than the Sony, the 'white areas' are alot less blown out,

BUT is this all at the expense of more noise in the blacks? can some of you that use it comment on this

are the dark areas now very very noisy??

sounds interesting thanks for that .....are you now getting more banding on the plain walls? what is going on with walls?

There is detail in the sky and the highlights on the car , looks very useable...what the noise issue like? are you getting more noise and micro blocking in the blacks now with v log?

Ive been out the loop all summer directing a film , back on here again now and excited to see this v log update -

for someone coming late to the party whats the verdict ? is it worth having?

and alternate is the Russian Tair 135mm f2.8 is a killer sharp lens that is very very good ..and cheap on ebay

I highly recomend it - mine gets alot of use!!

this is good news and a bit of a rethink of my cameras in now going to occur.....

the Penatx 110 lenses are superb - very cinematic in their look - I've written alot of posts about them on this forum over the years -

I also add small washers onto the back of the lenses to stop them down (using blutack) this works a treat and also get a set of ND filters for them ....you can get them to fit these tiny lenses then you can shoot ourside full wide open at f2.8 - it doesnt get any more cinematic than that if you tried!!

Also stick some nylon fishing wire in the adaptor vertically behind the lens and you can turn them into anamorphic style lenses with ;loads of blue horizontal streak flare !!