andy lee

try the Zeiss Distagon 35mm 2.8 C/Y that lens pops its so damn sharp - the 25mm 28mm and 35 are all stellar lenses insanly sharp - the 45mm pancake has a great character to it , its a slight bit softer than the distagons as its a Tessar formula , but it has a look to it I really like , the 50mm 85mm 100mm and 135mm Sonnars are superb very cinematic for actor close ups, these lenses have the exact same glass formaulas as the Zeiss Super Speed cine lenses

Ginirigs.net has all their cool cages and stuff , the follow focus is great and the slider is superb too , I have tbe grab handle offset always as it gets in the way when I line up shots if its in the centre , plus it overhangs the lens if you want to get in there and focus by hand , its just there to lift the rig on and off the legs , thats all it does so off set works for me

Ignore those last pics of cages they were just some test rigs I threw together from spare parts from our grip store , The Cages I use to shoot with are GINI RIGS see pics of the 2 Nikon Bourne Lenses fully rigged up with Gini Rigs 5D MK111 cages , I like these big cages as I can get my hands inside on the camera to make adjustments , I dont like small cages that totally cover the camera - so all my shooting rigs have these superb Gini Rigs cages and lens supports and super smooth Gini Rigs follow focus , these are BIG follow focus great for very fine focus moves, the camera is mounted ona quick release plate inside the rig so you can de rig the whole camera and lens assembly out the rig when needed , lenses are all cable tied to lens supports to stop any lens movement due to follow focus .

G7 is a totally natural progression from the G6 , it does all the G6 does plus more - so sell your g6 and buy a G7

Metabones XL is built like a tank - very tight sung fit onto the micro 4/3 mount no movement at all very solid - no issues at all I have 8 Metabones XLs in all ...all are perfect

over the past 2 years I have bought and used every make of speedbooster that has come out , and without a doubt the KING DADDY of them all for shooting on a 4K Panasonic camera is the Metabones XL - that x.64 glass is amazing , giving you a Super 35 field of view back to your lenses and gets rid of the 2.3 crop factor totally - the Metabones XL turns the 4k Pannys into a very serious piece of film making kit - so much so Im uing 4 Metabones XLs on 4 Panasonics G7s to shoot the feature film I'm DOP on - its that good!!

internal is superb amazing at 100mbs - external is even better 700mbs very clean and detailed

no you have 4k UHD at 24p and 25p at 100mbs thats what I was testing not any other settings have a look on the Panny website for all the spec for the other details

it is the younger , faster , quicker , better syndrome , its a new camera and has significant improvements made in the 18 months since the GH4 came out The G7 is amazing in low light with super clean blacks NO FIZZY NOISE !! unreal in a such a cheap camera its image quality is outstanding , no banding issues either . I highly recomend you get one

Nikon 80-200 2,8 stunning lens Nikons finest hour this lens pops like no other , good enough for Bourne Ultimatum ...nuff said

90% of THE GODFATHER was shot by Gordon Willis on a 40mm lens (Super Baltar) ,

camera tests where paid for by the production company so they own them , I can't post those , BUT take it from me the results where mind blowing , I was amazied it was so good and clean in the blacks in low light no fizzing noise at all and NO BANDING at all , I did lots a of graduated Gelled lights spread across walls and tested from Bight colours to falling off into shadows and NO BANDING !! very nice clean images , did alot of heavy grading in a DaVinci Suite at Media City in Salford and we pushed the images to the max and they held up to all we threw at them , this camera is significantly better in my opinion than the GH4 , rigged up correctly it is a very serious film making tool and a very good price for what it delivers all the tests where done 24p UHD 4k in Natural Profile contrast -5, saturation -5 (I did not use Cine D we tested it alot and it takes too much correction to get it back usable. ) Maximum ISO I used was up to 800 , I'm lighting sets to f2.8 and max 800 ISO is cool , I'm down at 400 and 320 alot .

it is alot cleaner in low light - the blacks are stunningly clean, cleaner than the Red Epic we tested it against, image looks very similar to the Arri Alexa we tested it against - there is hardly anything in it !! amazing camera from Panasonic , the G7 camera lets you shoot in the shadows very cleanly in very low light. I am using 4 Panasonic G7 cameras for the new Pandora feature film I am DOP on , Panasonic have partnered up with us for this movie and we are working together to show how good the G7 is a film making tool. I am using Metabones XL Speedboosters on all the cameras, Brian Caldwell and Metabones have kindly supplied them for us to use in Nikon and EF mount . We are using these with Atomos Ninja Assassins and all the rigs for the movie are supplied by Gini Rigs , I will post some pics of these rigs soon.

Use this in the long end of the lens and it looks very cinematic , get watching all those Tony Scott films for long lens framing ideas , Tony always used long lens to great effect in him films it became his trade mark

yes it is very good , Its Zeiss and they dont make bad lenses , its modern C/Y Zeiss glass, tac sharp great blacks and contrast plus warm Zeiss look , in a one touch push pull lens without the 'tromboning' extenting push pull style it is VERY cinematic looking lens ...if you use it right - fully wide open , put it on a speedbooster and it becomes insane - its comparable to the Nikon 80-200mm f2.8 just a stop slower at f4- so get it on a speedbooster and you have a fast great zoom - you need to rig it on rods with a lens support on the end to make it stable . AND...its cheap on ebay ...go buy! https://www.zeiss.com/content/dam/Photography/new/pdf/en/downloadcenter/contax_yashica/vario-sonnar4_80-200mm_e.pdf

I will be speaking with Atomos next week at the BVE Show in London so I will let you know what they say about the G7

message me if you want to know what bits you will need for each rig - I presume you have gone for the nikon 2.8 zooms

I use Gini Rigs parts to custom make my rigs - they are suppling all the rigs for my new Movie Pandora based around the 5D MK111 CAGE .. WWW.GINIRIGS.NET but with a Panny in it on a quick release plate inside the cage Tiffen NDs are the Best I use Chrosziel matte boxes

You need to build rigs to support long lenses then they work fine , I have rigs to use them on tripods and totally different rigs to use them hand held on shoulder rigs , and they all have rods and lens supports to stop this movement jitters , some long lenses like the Nikon 80-200 I use as lot only work on rigs there is no way you can hold this lens just in you hands and shoot at 200mm .

the Pantax 28mm f2.8 is not that sharp fully wide open - the best cheap 28mm f2.8 is the canon fd version it blows the Pentax away for sharpness at 2.8 fully wide open you can get one on ebay for $50 ish the best 28mm f2.8 you can get this the Nikon AIS 28mm 2.8 and the Contax Carl Zeiss C/Y 28mm 2.8 - both are stunning lenses another great option is the SIGMA 30mm f1.4 it has aspheric elements and is also stellar!!

Pentax are good , My first set of lenses in 1979 was Pentax the 50mm 1.7 and 28mm , go for it !!

The Nikon zooms and Zeiss primes are very similar in sharpness both makes are very very good the way they differ slightly is the zeiss are warmer have more saturation and more contrast -the classic Zeiss look with strong deep blacks , the Nikon's are less contrast not as solid crushed blacks and less saturation , so both do a great job just slightly different ways they render light , now I don't think one is better than the other just use full tools to get the job done , the Nikon zooms on set are quicker to use as there is no changing lenses to change focal length , the Zeiss do have a 'pop' look to them that I like , both are worth buying and will last forever what ever camera you use . just adapt them If you just want to buy Two lenses that cover a huge range of shots get the Nikon's , you will need to make rigs for them they are big heavy lenses that need supporting , if you like using small primes that don't need lens supports get the Zeiss

Even the CarlZeiss 28-80mm f2.8 PL mount cinema lens that costs about £15,000 has focus breathing , it starts to get very expensive chaising lenses with no focus breathing

great Emmanuel Lubezki Interview http://blogs.indiewire.com/theplaylist/interview-cinematographer-emmanuel-lubezki-talks-the-revenant-working-with-terrence-malick-muting-the-ego-much-more-20160210