andy lee
-
Posts
2,338 -
Joined
-
Last visited
Content Type
Profiles
Forums
Articles
Posts posted by andy lee
-
-
Andy's not going to cheat on his g6 with just any broad, so I'm thinking the a6000 might be a winner. I thought the 11fps burst very good. If you can get that continuous on a 95mbs card then you have a poor man's 4K. Unless you're filming people in dialogue, that kind of motion is often desirable anyway. I've noticed I can shoot continuously with my GF3 on newer cards (but 3fps).
The only reason I sold the Nex 7 was the proprietary hot shoe and, admittedly, slow focus. Seems like both those have been improved. I don't mind the lower res EVF because the problem I had with the Nex 7 in that regard wasn't resolution but responsiveness. It would black out, hesitate. And getting APS-C size IQ.
I wish it had all-I though and a higher bitrate, though, I have to admit, I can't see the difference between the g6 and Gh3 with the latter is shooting 70mbs.
BTW, Andy, bought that focal reducer from China for $100. Going to pair it with my Nikon 24mm 2.8D on the BMPCC
Maxotics - well I downloaded the file Andrew Posted of the A6000 filming cameras and lenses on his desk - its low light he said filmed at 640 iso
well just look at the blacks - look at that Cooke lens he is filming on his desk there is no noise on it in the blacks .....much less than my g6 in low light at 640 iso .....its looks unbelieveably clean the A6000 image.....
So I might use it for night time low light Fincher style stuff - still keep the G6s for everything else.....
Also Maxotics can you do me a big favour when your speed booster arrives film the same clip with and without speedbooster and send me the files - they dont need to be long 10 secs etc as Im really keen to get one of the boosters ...thanks!!
-
put a Cineroid OLED EVF on it and thats all you need
-
this camera actually excites me more than the new batch of 4k cameras as the low light and very fine grain / lack of noise on this camera and its small size is very appealing.....
-
Most prodictions need lights and crews for commercial jobs , I just shot this weekend with a whole new LED light rig like used in 'Only God Forgives' , its superb and quick to rig and small ..and no heat on set - tungsten lights get like a greenhouse on my sets.
think of the big picture Andrew - this is good news as others will have to respond ....will we get a new cheaper Red camera soon? - they know how to make them .
-
The jobs and projects that need Ursa already have Alexa or F55.
Surely productions that the Ursa is aimed at consider $6k as small. If they have the budget for a crew and all the other stuff necessary to operate the Ursa, then surely they can use an F55 or an Alexa?
The beauty of Blackmagic so far, for me, has been the high image quality for low prices in small boxes.
Very artistic tools.
The Ursa is more a workhorse in search of work.
there is a mid price range of productions that will jump on this like music videos
Record companies have slashed video budgets this past 10 years as record sales have dropped , but you could buy this camera outright with the budget of one job these days, yet these productions would not buy outright an Alexa or Eric they just rent them.
-
-
Im pleased Andrew as they are now going in the right direction with this camera , the first 3 had a 'unique' form factor
we desigened and built a rig for the first camera they sent me one early on to work with so I could shoot with it on my shoulder with a Cineroid EVF ,
http://www.eoshd.com/comments/gallery/image/180-tecnoir-blackmagic-anamorphic-cinema-rig-lores/
this new camera is following the form factor of the big boys and yes you will still need to add bits but they are making something very cheap compared to the big boys and this hopefully will be the way forward for Blackmagic evolutions of this camera now they are on the right path
this camera COULD be the big seller as they have addressed all the design issue of the previous models
-
The Ursa is like Blackmagic have acted on a satire and made it real.
It reminds me of that joke ENG box for DSLRs to make them look more 'professional'!
thats what real cameras look like , they are square , boxy and sit on your shoulder, all 16mm film cameras I ever used where like that, Aaton and Arri
for me Im quite excited about this camera it has good form factor and on paper loooks great
- Sean Cunningham and Xiong
-
2
-
never used one , but I have an Olympus OM 200mm that is very good
-
I used to shoot on AATON and Arri 16mm cameras then Sony DigiBeta Cam cameras only this last 6 years I've been on DSLRS
now the Blackmagic URSA is back in the form factor Im used to using for many years - a proper camera!!
-
I honestly don't see it this way mate.
Trend is to go smaller and lighter.
This goes in complete opposite direction.
We already have the same 4K capabilities and likely even same sensor in the Production Camera. Rig a monitor up to that and you have Ursa without the bulk.
Also those ProRes HQ 4K files are virtually unmanageable when it comes to archiving footage. Be prepared to delete and compress a lot of master files if working with those. I am already dreading it with the A7S... And will be begging all the recorder manufacturers to come out with some lighter codecs for it.
The URSA doesn't suit me as a filmmaker but that's not to say I haven't considered the possibilities and who it WOULD suit.
I just don't think it's well conceptualised or designed to be honest. A massive heavy screen on a little hinge? A 7.5kg camera body? No thank you.
It smacks of greed to go after the production market before you have even satisfied the indie crowd... who are constantly asking for basic features and updates.
I'm afraid I don't be shooting any Blackmagic in 2014. What a shame.
People make real films with Arri Alexas and Red Epics
this has a similar form factor and very good specs so I do really think indie film makers will jump all over this
is it is very very cheap !
Black Magic have seen what people want and designed a great product that film makers will want -
This camera is aimed quite squarely at film makers - I want one!!
- Aussie Ash, Xiong, Caleb Genheimer and 1 other
-
4
-
spec wise it ticks all the boxes
super 35mm size sensor 4k and global shutter in a usable body form like an Alexa -
what more do you want
Blackmagic have listened to all the feedback off their other 3 cameras
indie film makers will jump all over this - superb!!
-
what camera as the crop factor is important to know what zoom might even work !!
full frame
aspc
micro 4/3
which?????
-
I was paying that for my Panasonic P2 cards 5 years ago
-
let the madness begin!! this looks very good .........
-
Panasonic cameras use a pixel averaging system to dump data for video where Canon use line skipping to achieve the same thing.
Panasoinic Cameras are very very good at pixel averaging that is why the images from their cameras are so good and have so little moire compared to other cameras - so Im not really that concerned that the GH4 is a 16mp sensor.
, and mega hi iso does not really appeal to me , I rarely ever shoot over 400 iso
-
buy some sensor cleaning swobs of ebay and clean the sensor
I had to clean my sensor today before filming a scene and this is what I used , it takes 2 mins to do it
-
Canon FD 35-105 f3.5 is a very good lens on a par with the L Series Canon FD glass in terms of IQ - it is almost par focal - i drifts a bit but not enough to be annoying
its is well paired with the Canon FD 24-35mm L Series
Super Paragon 35-100mm is insanely sharp and very cheap - I like this lens alot
the Vivitar 35-105mm f3.5 gives the Canon a run for it money and has a warmer look , the Canon 35-105mm has cool blue tinge to it
the Tokina 28-85mm f4 is parfocal and low contrast and has a very good 70s retro look and is cheap
-
Manual only for video , AF is no use on any camera !! the camera will never know what item you are focusing on in a scene.
-
I also have a Kiev 88 45mm and 65mm KMZ made in Russia
both are very good and very cheap on ebay
there is a guy in Russia on ebay selling adaptors for them
-
Not according to what I've read (here's one: Vintage Zeiss MF). If you're talking about the 80mm. The older non-MC are supposed to be the ones to get. That's what was used for the 35mm portions of The Master.
just read that link Sean , so it looks like mine is a 1963 model with the plastic ring pre zebra , so 51 years old!!
and yes they will be faster on a smaller sensor , so not really f2.8 on micro 4/3 maybe more like f1.7 maybe
will do some tests and see
this is the one I have , looks like the plastic focusing ring has come off this one on ebay
-
thats the one I have the old one , it amazing to think a 50 year old lens is just as sharp as any L Series modern lens , they must have been very good at making glass in that Zeiss factory 50 years ago ! I imagine alot was done by hand ! no computers to assist!
they where made to resolve an image over 2 1/4 inches square - thats a big area to cover with no distortions!
thats about 55mm x 55mm
- Sean Cunningham and nahua
-
2
-
So that is to the Jena 80mm as the Helios is to the Zeiss 58mm? Do you or have you had access to both? I'm curious how they compare, not that the real Jena are terribly expensive. Even if the design itself is a carbon copy I would imagine the source or formula for the glass itself and coatings would make some kind of difference. Even with the Helios 44 there seems to be a palette of available looks based on era, manufacturer, etc. even though they're all the same lens. You kinda roll the dice.
A mathematician and human visual system specialist friend of mine has interesting things to say about Russian glass that syncs right up to what I think I recall Rich mentioning about the glass itself and micro diffusion properties. They have a built in point spread function that's been engineered out of modern glass that wants to simply pass light through as unaffected as possible (which exacerbates the bad mojo you get from fixed grid sampling in CCD and CMOS).
the Zeiss one is slightly better the Russian one is slightly more arty - there really is not much in it at all , this was the 'Standard' lens on these cameras so they made them good!!
I only have a 1964 Zeiss one not the newer MC version ....that might be even better?
-
the 24-35mm is better than the primes - it has aspheric elements and is insanely sharp . so sell the primes and buy this!!
Its a great lens with a very cinematic look
have read of this
http://www.mir.com.my/rb/photography/companies/canon/fdresources/fdlenses/fdzooms/2435.htm
Originally, first introduced back in 1978 as a Canon FD 24-35mm f/3.5 S. S. C. ASPH and upgraded a year later as Canon FD 24-35mm f/3.5L in 1979 with a revised FD lens coupling at its rear. Optically, bith lenses are the same except for the updated version is lighter. This appealing lens, the first wide-angle zoom in the world to offer an aspherical element, covers an angle of view from 84° to 63 °. The aspherical surface of its first element minimizes barrel distortion at short focal lengths and effectively controls curvature of field (an error which affects image quality by fall-off of sharpness towards the edges), coma, astigmatism, and lateral chromatic aberration. The optical performance of this lens virtually exceeds the performance of a fixed focal length lens.
here is a tip for the Canon 24-35mm
if you add a Red Eye 72m wide angle adaptor like this on the front of it with a +3 diopter
it turns it into a 20mm lens with hardly any optical loss...
Sony A7S - does it have Super 35mm 4K mode too?
In: Cameras
Posted
this is looking very good!! roll on Sony