Bioskop.Inc
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Posts posted by Bioskop.Inc
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12 hours ago, Gregormannschaft said:
I've only read about it in passing. Is it worth looking out for? Lucky that here in Berlin there are so many little boutique shops and markets where these things can be had cheap.
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.
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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.
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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.......?
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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!
- enny and Fritz Pierre
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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.
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ASSEMBLAGE
In: Cameras
What you can do with free stuff!
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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!
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Just now, Hans Punk said:
Especially the 54 currently on eBay for £8800
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.
2 hours ago, Flynn said:Thanks. That Kowa B & H seems to be one of the more desirable lenses. Not only are the popular lenses much more expensive, but I suspect there are far fewer of them available. It's a seller's market.
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.
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On 04/02/2017 at 8:42 AM, jase said:
Educational - does this mean you have to be a student? I mean, does Apple check for that?
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!
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7 hours ago, Flynn said:
For those who have been buying anamorphics for years, just wondering if the price has gone up in recent years and by how much. I was just checking out ebay and it looks like even most of the undesirable lenses tend to be priced at around $200. $600 seems to be the going rate for a possibly decent desirable lens, though I guess you never know till you actually have it and can test it. And the really desirable lenses are in that $1,000+ range. Is this how it was 5 years ago?
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.
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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.
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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!
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51 minutes ago, Adebowale said:
Does anyone knw what this thing is supposed to be? Kowa 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:
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I'm really looking forward to seeing what they do with their new S8 camera - just hope it isn't a fixed lens.
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8 hours ago, mercer said:
I was thinking about picking up one of those Krasnogorsk shoulder stocks for added stabilization. I have no problem using a monopod, but handheld does sound appealing. I don't use a follow focus, at most I'll use a focus lever, but usually I'll focus with my left hand underneath the lens. For that reason, I have specifically chosen lenses that have short focus throws for this reason... ai-s lenses instead of non-ai or ai, MD lenses instead of MC lenses, and my Tokina RMC 17mm and AT-X 24-40mm have short throws as well.
Most of the work I'll be doing is no-budget, narrative shorts. I have a decent amount of actors available and willing to help but rather than for hire, they've agreed to be on loan, which in my circumstance equates to a few hours here and there. So to keep things simple for time and production reasons, I want to go as light as possible. Changing batteries isn't the most time consuming of issues and since I'll be shooting on average between 2 and 4 hours a day, I'll most likely go with multiple batteries.
But I was looking at this...
https://www.amazon.com/gp/aw/d/B01EFSUK98/ref=ox_sc_act_image_1?smid=A22PRX6WI8E2K6&psc=1
But, then again, with the run and gun, guerilla nature of my projects, the smallest possible footprint will be the best.
The one thing I did learn from using the 12-35mm is that the focus button, mixed with peaking, on the BMPCC is very useful and accurate.
I am surprised more filmmakers aren't using it as a point and shoot cinema camera.
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.
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32 minutes ago, mercer said:
Yeah, I am getting out of the testing every camera I can get my hands on phase. I did recently pick up a GH4 for a very specific project where I need the specs. But after that the BMPCC will be my main camera. I've already collected a camtree cage, a Metabones Nikon to BMPCC adapter and am looking at a Small Rig battery adapter that I may pick up. When I had my lemon Pocket back in October I used the Panasonic 12-35mm... It's not the most interesting of lenses, but with the OIS, I could go handheld with it. Obviously battery life is annoying, but they're cheap and with focus peaking, the LCD isn't nearly as bad as everybody makes it sound.
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
If not this gets a lot of thumbs up:
http://juicebox.direct/product/magic-power/
or this one:
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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?
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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.
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1 hour ago, Stanley said:
Thanks heaps for that link. I'm half way through, but in the 1st couple of pages I see that Kholi hopes they can engineer the back of the filter to cut polarisation. seems like SLR took notice on that one?? Also the IR cut is big with those guys....makes me wonder about our cameras? anyways I'll read the rest tomorrow, but I'm sold on the SLR. Thanks. One final thing though, do they only come in 4 different thread sizes?
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.
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1 hour ago, Stanley said:
good link thanks. I'm only days away from buying the SLR Variable ND, but wondering about a couple of things concerning the MK1 and MK2 versions.
Firstly are the MK1 and 2 as good as each other, and secondly can you adjust the polarisation on the MK2 with the rear of the filter?
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
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2 hours ago, Cary Knoop said:
Perhaps if you have a 14+ stops of dynamic range on your camera you don't but mere mortals with pro consumer cameras must make compromises all the time.
Keeping everything under 90% on a sunny day is bound to underexpose your footage. Some highlights you just have to let go. If you work against the limitations of your camera by underexposing you will get hurt in the low and even the mid ranges.
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.
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21 hours ago, mercer said:
I've never denoised footage and only recently attempted to use any grain. After this week, I am finally done testing cameras and just going with the Pocket... like I should have back in 2014. I basically have most of the peripherals I need for it and a few hundred in BH gift cards, so I should have it by Christmas. If my memory serves me you shoot only with ProRes, correct? Do you use 100% zebras to expose it to the right? And if so, do you still get noise? When I had my dud pocket back in October, I shot only in mid afternoon sun and it seemed fairly clean, but I had the micro long enough to know that there are some noise issues, but as you said, it's fairly organic.
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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2 hours ago, mercer said:
@Zak Forsman and @Bioskop.Inc with your Micro and Pocket footage, respectively, do you guys denoise your footage before your correction/grade and then add the film grain as a title grade over the entire project... or do you just let BM's organic noise add to the grain effect?
Never denoise, never add grain on the Pocket footage - just looks so nice just as it is.
Now DSLR footage - always add grain in an adjustment layer.
If you are going to buy a denoiser then Neat Video is the best that i've used & it does a great job in the sharpening department too.
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8 hours ago, jonpais said:
@Bioskop.Inc It works for me. I wouldn't add a lot of narration, but maybe a few snippets of Kennedy here and there might be effective.
Thanks @jonpais I left it that long as a first draft & just wanted to see if the music/images could drive it forward on their own.
Wasn't going to add too much narration, as voice overs are a weak narrative tool.
Yes, the idea was to have choice phrases of something Kennedy never said, but which are relevant to today's political meltdown - a kind of comment on all the fake news stories.
My thoughts on the Kipon Medium Format "Speedbooster"
In: Cameras
Posted
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!