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Everything posted by itimjim

  1. You mileage will vary, but I use... Nostalgia - Contrast +2 - Sharpness 0 - Saturation +2 - NR 0 White Balance (Normally Auto) - Magenta (M-) +2 (i.e. 2 clicks down) - Amber (A) +2 (i.e. 2 clicks left) I use this for stills mode only, as I prefer Smooth -2, -2, -2, -2 with WB set against a grey card for video.
  2. Don't agree about stabilisation, I think it's fine for handheld and has that POV feel that is popular with TV dramas of the past 5-10 years. Most important thing is your handheld work didn't introduce jitters which destroy the image due to rolling shutter.   Regarding flares, yes it's controlled. I quite like it though as I think it's a better all round lens for it. In terms of leaping off the screen as an anamorphic image, remember you're shooting with a 1.5x on a smaller sensor so it will struggle. What aperture were you shooting at by the way?   Really nice look, I'd be happy with what you've got and go out and do some more :)
  3. BMCC passive mount. Only works on the BMPCC. My go to wide is on MFT BMCC + Tokina 11-16/2.8 + MFT>NIK SpeedBooster. It's as rectilinear wide as you're going to get before going fishing.
  4.   Well, the headlights in all the your shots are displaying the poor circular clipping. It's a shame as the footage in general is f^($ing amaze-balls!
  5. Hi Oli Is the focus definitely fly by wire? Would that not mean it needs power to focus? I'm hoping the focus is directly coupled but without a hard stop. Ideally It'd have a hard stop though.
  6. I'm going to guess that a 17mm will 'just' about work on the BMPC. Based on the fact that I can get a 28mm working on my GH2 with my Bolex 16/32. Not all lenses are created equally though :)
  7. Shot the following this weekend as part of the Sci-Fi London 48 Hour Film Challenge. It's a bit rough and I wish I'd had a little time to apply some NR to the Driftwood hack as it doesn't compress too well.   https://vimeo.com/63554916   Shot on GH2, Bolex 16/32/1.5x using Canon FD 35/2 and 50/1.4. One scene (lift) shot with Tokina 11-16 and given a 2.40 matte. Settings -2,-2,-2,-2 Moon Trial 5. Used mix of natural daylight and Arri Blonde / Redhead with 1-stop CTB.   Few straight out of camera (1.5x stretch in PS and to jpg) stills too:   [attachment=466:00002.MTS - 1 copy.jpg]   [attachment=467:00088.MTS - 1 copy.jpg]    
  8. As the chap above me, C300 is probably the best all round, or even C100 with Ninja. Then it's FS700 if you need the slo-mo. If you don't need the slo-mo, I'd going Canon. AF101A if I was really tight for cash and had a load of glass that I could already use on it.
  9. Thanks Andy, I must try it. To be honest my Bolex 16/32/1.5x and Canon FDs goes pretty nuts with flares as it is. However, .....challenge accepted :)
  10. Question Andy   Why does everyone love using the Helios 44 58 f2 with anamorphics? I've got one, and many anamorphics, but never got around to testing them together. I think it's because the anamorphics give the frame so much character I'm a bit worried the Helios will give it 'too' much character.   Would love to know people's thoughts.
  11. Does it come with a free engine hoist to mount it with? :)
  12. It's definitely got character, I like it. I wouldn't attempt to shoot a feature with it or anything, but I'd certainly like dicking around with it for experimental pieces. I've got a Proskar Ischico and Keiham which are a little better than the Sun but not by much. f4 and above realistically required, and works just about out to 35mm on my GH2.   I'd recommend cropping horizontally to 2.66 rather than 3.56. Although 3.56 looks nice, it's a little to severe playing back on predominantly 16:9 screens. It just loses too much vertically.   Lovely location by the way. Very jealous.
  13. Beautiful. I loved the movies of the 70s and 80s. It's when stories were actually told. That's not to say current films aren't enjoyable, just that I find the modern style tries to gratify the audience with each shot to add drama, when actually the screen is just a stage and the story and performances should drive the drama.
  14. Indeed you did sire! :). I've subscribed to your Vimeo group too, thanks.   Back to Storaro...Apocolypse Now vs The Last Emperor? I'm leaning to the latter, but I love them both so much. Visually The Last Emperor blows me away every single time I watch it.
  15. I thought Thierry Arbogast DP'd Leon, as he did Fifth Element too? Could be confuddled, it wouldn't be the first time :). Love Leon (and Fifth Element too).
  16. Nice looking footage!   Did you use warp stabilisation on the above video? The flares are bouncing around, where as the frame stays quite smooth. Admittedly I'm confused over why the flare doesn't stabilise with the whole frame though...I need coffee.
  17. The focal reduction happens behind the taking lens, which means you're widening the view 'into' the anamorphic in front of it. My suspicion is that it will vignette. Speedbooster with anamorphic will 'speedboost', but you'll need to use longer lenses, effectively what a full-frame user would use, i.e. 85mm typically.   A believe a good combo for APS-C with speedbooster would be the Jupiter 9 85/2. That would give you the equivalent of f1.4 and a 15 blade bokeh monster. Clearly would need a lot of testing though.
  18. I've chopped off the built in hood on the housing of the LA7200. Zmu has also chopped the bezel that holds the lens in place to get even wider. I'm tempted to do the same myself for my Tokina 11-16 :)
  19. Sorry should have ready the Vimeo notes :). Great job on the mods.
  20. Have you chopped off the built in hood? :) Looks great by the way...soft at the edges, but we all know that. What f/stop were you at by the way, and any diopters (looks like infinity though)?
  21. Yup, agreed. They will use the same optical element for both E-Mount and mFT. Makes sense really, as it keeps costs down, and it allows the usage of DX type lenses such as Tokina 11-16, which becomes a 7.5-11 :)
  22.   It'll be ready in March. Download the pdf whitepaper, it's not 'planned' it's already done. Plus a passive Nikon F version too.
  23. Doing it by eye sight without the proper workshop gear, give yourself many, many hours to get alignment. It's nano-degrees of adjustment, and simply tightening things up can mis-align again.
  24. Posted before, but here's the Tokina 28-80/2.8 with Bolex 16/32/1.5x. You should get a similar experience using BMCC and your Isco 54. I believe the Tokina 20-35 might work well on the BMCC with anamorphics also.   https://vimeo.com/48683270
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