andy lee

get a carl zeiss 80mm f2.8 biometar in pentacon 6 mount to go with your Yashicas

or get the Volna 80mm f2.8 Russian KMZ lens its cheaper and just as good( its a biometar copy ) keiv 60 /pentacon 6 mount

The Yashica 42-75 is good just a but slower - worth having if you get a cheap one

24mm - well get a Miranda 24mm f2.8 , it goes well with the Yashicas (its made by Cosina) and its just as good but soooooo much cheaper than the Yasshica 24mm -(which is an Ok lens but not worth £240 they go for on ebay for that money you can get a Zeiss Distagon C/Y 24mm !!

 I would recomend g6 and nikon primes and the amazing nikon 28-70mm f2.8 IF ED

yes vlc is always more saturated and punchy - I referance it all off premiere

then try watching it on VLC Media player and the colours are different again!! .....vlc is very vibrant

 yep 50mm 1.7 Carl Zeiss in C/Y is a killer lens - may fave 50mm

warm saturated colours and high contrast ----- get the best get Carl Zeiss Distagons in C/Y Mount - exacty what you are looking for ...

or if they are a bit pricey get the Yashica ML range - practically identical optically (made in the same factory)

Ive posted alot about the Yashica ML prines so do a seach for the thread on them

thanks for that info , very useful , as Im trying to find a set of lenses that replicate that look - economically !! as they are now very expensive sets of glass !!

Ive just spent 2 months filming web videos for Zoom Corp , H5 , H6 and the new IQ6 for iphone which is superb.

I do like the H5 , Ive been using it alot recently , the audio is superb and the IQ6 is very useful just clip it on your iphone and it turns it into ahard disc recorder! - amazing and small to keep in your pocket with your phone.

40mm lens

s35mm apsc

2.40 aspect ratio spherical lenses (non anamorphic)

Exactly !

most of the people are on this forum to learn how to extract evey last drop of value out of their dslr or mirrorless camera.

You are an exception to that as you are shooting on hi end cameras and lenses 95% of people on here are not .

Alot of people on here dont own lights either......

Its not the Reduser forum this , its more about how to get your DSLR ticked out and working to the max with some nice lenses.

I know that the objective on this and many other forums is to make images that are as like the movies as much as possible (which is odd considering how much is talked about the camera bodies themselves rather than the lighitng.. but I digress)...
But doing something because someone else is doing it is an awful reason to do it.
 
Yes, a lot of films are shot on S35 sized sensors (or celluloid) and are often shot at T2-2.8 or T4-5.6. 
That doesn't mean that it's right for you, or your style of shooting, or for your film.
 
I've shot at T8 in the past. I've shot entire movies at T1.3 for a certain look. If you do things because 'that's how the professionals do it' you will never develop your own style and you will always be second rate. 
If you want to do anything like the pros do - light like the pros do. That's what will make an actual difference to the look of your image.
 
You are correct when you say that cinema lenses are designed to be sharp wide open. With a modern cinema lens, the characteristics of the lens and the sharpness tend to be the same whether you're wide open or stopped down. 
I think it's unfair to compare them to s till lenses which are made to a price point, and which don't have the same quality. You can say 'feature films often shoot at T2.8 all the time, so that's where I'm going to shoot' but feature films are shooting on lenses that are sharp at T2.8. Many still lenses won't ever be as sharp as cinema lenses, let alone wide open. There's a certain DOF aesthetic and certain aesthetic to shooting wide open or close to on stills lenses, but the lenses are so different to cinema lenses that you can't really accurately compare them and use that as an argument.
 
 
 
 Jax-rox

as a Moderator on this forum the single most asked question I get is how can I make my dslr shoot a 'Hollywood look' and what lenses do I need to do that economically without spending loads of cash.

 

I get asked that question day after day .......my inbox is full of them ....  thats what people want to know on here and they want to know what stops to shoot at too

Too many noobs put a kit lens on and shoot f16 outside and wonder why it looks like video . Getting the right stop is essential to get the look.

 

I came from a film background shooting super 16mm on Zeiss and Angenieux with Aaton and Arri bodies -

The 15 years I spent doing that was the time I developed my own style of shooting and lighting -(my garage is full of lights!) nothing beats shooting on set day after day year after year .Then digial came along 10 years ago and I switched and never looked back.

I didnt go to film school I got thrown in at the deep end having to Direct hi end expensive pop videos for MTV , week after week.

 you cant buy experience you have to earn it..

 

There are alot of great dslr lenses especially by Zeiss, Nikon, Tokina  and Angenieux that are optically just as good as cinema lenses (you can shoot fully wide open all day on them ) and thats what I pass onto people on this forum freely as they want to know what they can readily afford to use on their Dslrs and mirrorless cameras now .

I have made a point of hunting down the still lenses that are used on big features , DPs like  Roberto Schaefer, Trent Opaloch, Newton Thomas Sigel, Phil Meheux , Oliver Woods and Barry Ackroyd regularly use them on big movies and now alot of members on this forum are using them too - the knowledge is filtering down to new users and democratising film making - which I am all for.

When I started shooting film was very expensive .

 

 

You came from film school , focus pulling and now a DP , which is a great route to come from in today digital times , so how about you posting your tips on how you shoot your films and your stops and lenses and lighting choises .

These are the things people on here want to know from you.

I'm sure the forum members will like to hear about any new developments you are coming across on a daily basis.

I know I do .

 

I look forward to reading some posts from you

 

thanks for that.

Andy

 

 

 

 

as you say the Sony is alot better than a Canon in low light so its the exception to the rule ,

Its all about what ever you are used to working with

I came from Super16 for along time, Super 35 then DigiBeta Cam and B4 lenses , then 5D , then Panasonic because of your work on the GH2 .

So I'm used to small gate/ frame size .

And this past year now there are so many good speedboosters for Panasonic cameras it has transformed Panasonics into very serious workable cameras that have a Super 35mm field of view - you can use all those focal lengths exactly as you can on Super 35.

Also don't forget Directors like David Fincher de noise everything they shoot on Red Cameras in post, so its all cleaned up - Red Epic is noisy in the blacks too its not super clean.

It's just that lenses behave on s35 as they do s35 mm film on big features, full frame is a different look so that's a factor to consider.

yes exactly if you read American Cinematographer each month you will see most features shoot in the f2- f2.8 for night stuff

and f2.8 - f4 - f5.6 for day stuff....in general roughly speaking , every cinematographer has their own style , some set a stop and shoot the whole film to that stop  ..like Darius Khondji shot Alien Resurestion at f2.8 for almost the entire film so it kept a uniform look .   

I can't to that kind of stuff on full frame so I stopped using my Canons......

When Shane Hurlbut shot Act Of Valor on Canon 5ds and Full Frame Zeiss primes he had to shoot at around or below f4 or f5.6 to get the look they wanted anything faster was just tooooo narrow dof on full frame .

proper modern cinema lenses are designed to work sharp fully wide open.

I mainly buy f2 or f2.8 lenes as thats the dof Im looking for and I can use them wide open ; like the Nikon 28-70mm f2.8 - great wide open good fully usable sharpness at f2.8

or the Tokina/Angenieux 28-70mm f2.6-2.8 now that has an artistic sweet spot at fully wide open and f4 thats where the magic is looks wise .

great interview a must watch !

yes they are the same -  its the same item

they are all good nex and m4/3 same optical makers so glass is good

lt's keep this nice and friendly guys! 

in answer to your innital question -

this is one of the reasons I don't like full frame as you do end up having to stop down to f4 - f5.6 range in general to make it match the dof of apsc / 4 perf 35mm film cameras etc .

I prefer to push a lens into its sweet spot of artistic look ....full wide open or just one stop down from there thats where I find the magic of a lens is looks wise...not at clinically perfect f5.6 - at which all lens are pretty good.

So stopped down to f5.6 in a low light situation is not so good as you either add more lights to the scene/ location (if you artistically can do that without altering the look too much )

or you increase the iso ,

I dont ever like to go over 800 iso on my Panasonics , I shoot f2 in low light as thats just enough dof without it getting silly narrow .

Thats why my Canons are only used for stills every now and then  and I shoot everything on micro 4/3 with speedboosters.

I prefer a smaller sensor not full frame.

2 years ago these where very expensive now the price has dropped alot - they are all good ...its making it work on your system thats the trick - making it stable -

so yes for the money its a bargin!!

Angenieux was THE lens of choise of all THE FRENCH NEW WAVE directors

Jean Luc Godard , Francois Truffaut etc

also Sergio Leone shot all the Clint Eastwood 'Dollar' Films on Angenieux too

the 25-250mm T3.5 was the single lens used for 95% of these films.

save the money and get some lights , lighting is the key thing!

.....all the rest in number crunching pixel peeping -

I would go the opposite ...... as an Arri MFF2 will cost you more than you paid for the Sony A7

get a Kamerar folow focus

http://www.ebay.co.uk/itm/Kamerar-V-Shoulder-V2-Follow-Focus-Unit-for-15mm-rail-rod-support-5D-MkIII-3-2-/351215611501?pt=UK_Tripods_Heads_Stablisers&hash=item51c614ee6d

its good it does the job and save you a ton of money -

its a big knob that helps you focus -

it doen't make you a better cinematographer so no need to spend a fortune on it as its for a dslr not an Arri Alexa .

also you do need to be aware that plastic lenses like the modern fly by wire kits lenses flex when used with a follow focus -

you are imparting an up - down force on the lens it was not designed to take as its a dslr lens not a fully metal cased cimema PL mount lens

So just beware it does happen .also you can get mount flex too on dslrs .

Cable tie your lens to the rods to try help prevent this.

Follow focus is great on an Angenieux 28-76 Optimo on an Arri Alexa - it was designed to be used with it

Not not so great on DSLR lenses you need to work a bit harder to make it stable.

in day time outside in bright light the gx7 and g6 are very similar iq wise

at night in low light the gx7 is maybe 10% better - cleaner than the g6 - less noise in the blacks

g6 is your best choise then , the EVF and peaking are essential - I can not work without them .

g6 is a superb camera and will do the job for you very very well ,

but - gx7 is the best panasonic 1080p camera they have made to date - it has the same sensor as the gh4

its is very very clean , produces a superb image .so if you can get one its a better camera longterm

Jeff Cronenweth is one of the best ......his dad was a legend.

 I liked 'Hitchcock' film Jeff did too its was more brighter and more vibrant and a different look to his work with Fincher.