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Bioskop.Inc

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Everything posted by Bioskop.Inc

  1. There are just too many films out there for the term Cinematic to have any real meaning or relevance to filmmaking. Personally, I think the term should really refer to any film that gets shown in a Cinema. The way the term is thrown about in forums makes me laugh, because every film is different & so the requirements are also different. So, basically if you want your film to have a documentary feel to it, it will be pointless to make it look like a big budget Hollywood blockbuster with fancy lighting etc. & vice versa. As far as a camera goes, the term that should be used is Filmic & by this I mean a digital camera that tries to or does replicate celluloid/film [without it being so]. If you only watch Hollywood films or big blockbusters, then you really can't have a good grasp of how many films are out there, with so many different styles of cinematography! Remember The Blair Witch Project? Shot for the price of a used car, got shown in cinemas all over the world & made a shed load of money - cinematic? Who cares - it got made for the price of a used car, got shown in cinemas all over the world & made a shed load of money! This & only this! Stop worrying & shoot something! ATM i'm editing up some footage shot on a Canon 60D from years ago & it's not the greatest IQ wise. The main thing is...I don't care what people think of the footage, it's not important to me, the only thing that matters is if the story/idea for the film works.
  2. Wasn't the whole point of this thread, originally, to show what this adaptor can do i.e. allow people with FF cameras to adapt MF lenses to a different sensor & allow them to use these lenses the way they were meant to be used? Perhaps I'm just being silly here? I personally do not really like using speed boosters on the Pocket cam - I bought it because of its physical size, the S16 sensor size (which was more to do with nostalgia), ProRes HQ & the price! I use anamorphics to get a wider FOV & step back a little. I hate wide angle lenses. Oh, and i'm the guy that refers to a 24mm lens as a 24mm lens, regardless of what sensor i'm using it on!
  3. I love this forum for the fights that break out! Sometimes, I do wonder how much of it is down to trolling & how much is down to confussion over terminology. The way i see it, is that there is no such thing as a "sensor look", what it we are really talking about is how a sensor transposes the qualities of a given lens to create a picture or image. I have noticed this with the swirly bokeh madness created by the Helios 40-2 85mm f1.9: depending on how big the sensor is (FF, APS-C or s16mm), will have have an effect on how much of the lens circle the sensor will be able to use in order to take a picture. So, no matter what sensor/camera you use, you'll always get the insane swirly bokeh, because that is the LOOK that this lens produces. So when you put the same lens on different sensor sizes, you're not creating a new LOOK, just a different focal lenth & interpretation of the lenses characteristics? Shit, now I think I am confused!
  4. Bioskop.Inc

    Lenses

    Jupiter 9 is a lovely small lens - soft & dreamy wide open at f2, but stop down to f2.8 & it is sharp. Beware that there are 2 versions of it & i've only got the older/orignal version - so can't speak about the newer version (which has a thick pre-set aperture ring). If size & weight aren't a problem then go for the Helios 40-2 85mm f1.9 - again dreamy wide open (with the added super swirly bokeh), but stopped down to f2 & it's sharp. The only downsides are the weight (1kg) & once stopped down the bokeh is star shaped, unlike the Jupiter 9.
  5. The most revealing thing about the Pro camera is that BM have now dropped their use of "Cinema" to describe this camera & have re-aligned themselves towards the "Broadcast" moniker, which means TV & I don't mean Drama. It looks very much like they realised that there was no way they were going to be able to compete with ARRI or RED & have gone all out to try to grab a share of the Broadcast TV market. Jobbing TV cameramen don't rent, they buy a camera system that works & is on the acceptable list of cameras that TV companies will accept. When TV moved from SD to HD, people did rent to try out what was the best system to invest in (30-40k investment) - hell, camera companies even lent cameramen stuff to try out, because they knew producers were being very picky about what they would accept. As far as Broadcast TV is concerned, they want a good image that is pretty much ready to go & requires the least amount of work being done to it - this is why the Pro has the ability to use SD cards, is 4K TV ready & the ProRes Video mode WILL be used. The Pro, once it has been able to convince people that it is stable, useable & gets onto the right approved lists for TV, might start to break into smaller budget Drama projects & that's where ProRes Film mode will come into it's own & for a few projects RAW will be used (for greenscreen work probably). If anyone has a Pocket, have you tried using the Video mode recently or at all? If you haven't, then you almost certainly missed one of the biggest updates to this tiny camera a few years ago - it's very very useable & is far better than anything you'll get coming from a DSLR with H264. I believe that they didn't see that numerous people would buy & kit out the Micro - this is why we might not see a Pocket v.2. The only camera that they will almost certainly produce a v.2 of will be the BMCC - in a new body, with a flip screen, removeable battery & the ability to use handheld or rigged.
  6. My next purchase is the Rectilux Core DNA - just seems the most sensible thing to do. Was going to get a speedbooster for my pocket, but.......?
  7. They're absolutely still worth it, as cropping just sucks! It's not the same thing at all, as you'll never be able to replicate the creamy out of focus qualities of an anamorphic. Also, the great thing about them is that they really do/can minimise the video feel of some cameras. What i really like about adaptors is that you're not beholden to one look, you can change the taking lens & by doing so alter the look/feel of the image. So, if you want different scenes in your piece to have a distinct & different feel to them, you can. However, if you're a modern clinical sharpness enthusiast, who doesn't appreciate/understand the various different types of flares or image distortions then stay away from them - as they'll drive you crazy!
  8. The only thing that i could find via google (gotta sometimes look past the first page or two!) was this post from cinematography.com. It does offer a suggestion to which mount it might be (BNCR-mount or DeBrie - never heard of them). http://www.cinematography.com/index.php?showtopic=2539 Did find mention of Agascope in another article in Swedish, but once translated it didn't offer any technical details just who used the lenses.
  9. Bioskop.Inc

    ASSEMBLAGE

    What you can do with free stuff!
  10. Try Mega - it's very fast to download & not sure if there's a file limit for upload. I was recently sent some footage via Mega & it was a breeze to download - much easier/quicker than Dropbox et al, which are seriously lacking. Oh, and to boot, it's completely encrypted as well! Free too!
  11. Didn't mention that anomoly on purpose - think that guy has his head in the clouds! Hope he gets his price, cause i've got both Voigtlander close up lenses (+1 & +2) & other assorted things. Not too sure that it's solely down to it being a seller's market, but that people are over charging/being greedy? But hey, I'll probably sell some of mine if the prices continue to go up or stay the same - would be stupid not to take advantage!!!! Those multi-coloured isco projection lenses used to go for £50 a few years ago, but now they seem to go for a lot more! Also, I think that people need to realise that these anamorphic lenses are, for the most part, projection lenses & there is a lot of competition from those that want to use them to project films. As a consequence, there are still bargins out there, but they aren't necessarily listed like those lenses aimed at those that want to use them to film.
  12. Yes they do check, think you need a University e-mail or proof of somekind (can't remember what exactly) - it would be too easy if they didn't check/need proof. However, if you have a friend that works for an educational establishment or studies then you can get them to buy stuff for you - don't think that'll work for software, but great for the rest!
  13. Funny, I've been comparing old & new prices [on ebay] recently. The thing that has me most surprised is that an Iscorama 36 (or pre-36) doesn't go for more than a 54 - so plastic-fantastic doesn't outshine a full metal jacket! So to answer your initial question, I bought my Kowa for B&H (similar to a 16H) for £200 about 5/6 years ago.
  14. Well, this could be a cheaper option for using film & it sounds as if they are making it easy to get everything done under one umbrella. Yes there might be better options out there, but with this camera you get the complete Kodak ecosystem & not some DIY hack job. Will be interesting to see how things progress.
  15. Still think that our once resident 65/18yr old scam artist was the funniest thing last year. Trump bound to end up having a Heart Attack or being Impeached or just straight up being Isis'd - screwing with the CIA gotta be the dumbest thing this side of stupid. Canon....like a fluffy pink unicorn....ahhhhh!
  16. Yep, a friend had one & it's exactly as billed - Kowa Prominar 16, can't remember if it's x1.5 or x2, but I do seem to remember that it vignetted on an aps-c sensor with a Helios 44 (58mm). I could be wrong though as it was some time ago. I know that the other Kowa Prominar anamorphics were x1.5. This has always been pretty useful as a resource: http://super8wiki.com/index.php/Anamorphic_Lenses
  17. I'm really looking forward to seeing what they do with their new S8 camera - just hope it isn't a fixed lens.
  18. I have the Krasnogorsk pistolgrip/shoulder brace & it is by far the best/easiest for a quick small footprint (you might need an adaptor to fix to the bottom of the pocket if your cage doesn't have different screw sizes, but manfrotto do a cheap quick release one), get a cheap viewfinder too & you are set to go for very steady shots. As far as batteries go, I just have a handfull batteries (see the link I provided - very good quality EN-EL20s ) & change them out when i change out the SD card after 45mins. I went for this option as I didn't want to add anymore more weight to my small rig. As far as lenses go, I'm manual all the way & focus by hand.
  19. If you've got the Pocket SB, then stabilisation shouldn't be a problem - just make sure that you've got enough points of contact with your body & you'll be fine. Never understood what people were on about with the screen, it's perfectly ok (not the best, but far from being the worst) - a viewfinder is a great thing to have, as it allows better stabilisation. As far as batteries are concerned, you can either go for something that will last all day or just get loads of small internal ones: These are great EN-EL20s http://www.ebay.co.uk/itm/Ex-Pro-Ultra-White-Series-7-4V-1100mAh-Replacement-Battery-for-Nikon-EN-EL20-/182393892158?hash=item2a7785ed3e If not this gets a lot of thumbs up: http://juicebox.direct/product/magic-power/ or this one: https://www.amazon.com/XTPower-10000mAh-Recorders-Sensation-Connectors/dp/B00935L44E/ref=sr_1_1?s=wireless&ie=UTF8&qid=1447976251&sr=1-1&keywords=battery+charger+bmpcc
  20. It really looks like Apple haven't just dropped the ball, they've lost it completely. I was looking forward to the MBP as a replacement for my old iMac, but am now thinking that going over to the darkside (pc) will be a better idea & buying a full copy of Resolve. I'm still holding out for an iMac update, but am starting to really hate the way Apple are operating/treating their customers - it's like they are slowly turning the knife that they've already stuck into you! If Microsoft can admit that their loathing of Linux was a mistake, why do Apple continue to think that crippling their products is a good business plan?
  21. So you've come full circle! Not much of surprise really as nothing comes close to the Pocket/Micro for image & grading. There's an identical thread over at BMCuser & people are in agreement - for the price there is no beating the Pocket. It'll be interesting to see if BM come out with another camera - hopefully a replacement for their original camera.
  22. Yep, looks like it - 52, 62, 77 & 82 http://www.slrmagic.co.uk/slr-magic-accessories.html Yes you can rotate the whole thing without unscrewing it, so you can cut polarisation. I wished they'd come in a bigger size, but hey, they cover most of the most popular ones. I went with the seperate Hoya IR/UV filter, which stays on at all times & then add the Genustech Eclipse Vari-ND. If you shoot RAW, then you don't really need an IR cut as you can alter any colour cast in post (more hassle though). But for ProRes an IR cut is a must at all times. And yes, the BM sensors are seriously lacking in the IR cut department. If you've got the extra cash then the Firecrest ND filters get the best praise for BM cameras - pricey though.
  23. The MK2 is meant to be better - take a look at this thread from BMCuser: http://www.bmcuser.com/showthread.php?11193-SLRMagic-Vari-ND-thread
  24. Nah...90% is a good place to be, as you can still let things clip (you have to, that's filming & you don't keep things under 90%, you let them clip at 90%), so in the end you don't have nasty looking blown out shots & keep the majority of things exposed properly. 100% on the BM Pocket is for RAW & not for ProRes, just not a viable option whatsoever (as I said, ETTR is a false economy when filming in ProRes & for RAW only, if you want). Now, keeping the zebras at 70-80% is being ultra safe (again, you let things clip at that point), but a good place to start for beginners. Anywho, Zebras are just a guide & not very accurate - I never use them to expose, just to let me know when things are clipping. I'm so used to exposing on the Pocket now that I do it by sight, its become second nature - you expose the shot not the hightlights, but again if you dramatically blow the highlights its looks nasty. Gotta let go of ETTR! On a sunny day, you simply can't under expose footage - well not in my world, just don't know how to.
  25. Yep, I just use Prores as RAW produces more artifacts (the dreaded M&A is worse in RAW) & quite frankley ProResHQ is flexible enough to be able to push grading quite a fair bit - if you're coming from H264, then you'll be in heaven! As far as I'm concerned, I never ETTR whilst using ProRes (in fact I never ETTR full stop, with RAW it can help but too much hassle) - so I set Zebras to about 90%, so extra sure nothing clips & expose properly! The whole ETTR thing was only meant for RAW & if you have to push anything over the top, then you're not filming properly - if you do things properly, you never have to worry. The wisdom amongst BM users for a while is just get it right, so you only have to make minor adjustments. If you are shooting with minimal additions (available light or minimal lighting, practicals etc...) then ProRes will give you enough wiggle room to achieve a good image. If you get noise outside during the day, you're doing something wrong. Indoors in low light, well show me a camera that doesn't & the Pocket's noise is not distracting - you can even push the ASA to 1600 and get very good images. The obsession with prestine images just annoys me, as there are so many good films that aren't perfect - too much noise reduction & you get that plastic looking image, then you add grain back in......pointless. With BM cameras minimal noise is really pleasing to my eyes - nearly on a par with ARRI cameras. Too many people out there using these cameras without any grounding/experience in filming - I've shot film, so know what to expect & what's acceptable. Testing a camera to its limits, so you know what you like, is the first thing anyone should do when getting a new camera, but don't do stupid tests, do practical realistic tests - a candle in a blacked out room doesn't reveal anything apart from you can't film like that. When you find the limits to your taste, that's when you know when/how to add extra lighting, reflectors etc... Practice, practice, practice & test, test, test. Once you know your camera, you'll do things through instinct & filming will become second nature. Finally, use an IR Cut filter & NDs.
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