Bioskop.Inc

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!

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.

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!

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.

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!

I hear you i have kowa B&H i did a test with wide angle lens and kowa kowa just has this cinematic fell and look right out of camera

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!

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.

I've never heard of any fellow film shooter that pours E-6 in the drain... they would be total outcasts in our community.
And we can always compare the environmental impact of Chinese camera factories, mountains of "old" digital cameras that quickly gets replaced, trees for their boxes, diesel for the container ships, the batteries, the plants to provide the power, etc.
Nothing is good for the environment these days.
On Topic!
 
 

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!

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

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?

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.

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?

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

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.
 

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?

I bought the Pocket again last month because nothing else would cut it. It just has such a pleasing, rich image to it, with great color.

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. 

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.

Cheers mercer, yes it's far too long & it was even longer, but as I cut, I ended up putting other things into it.
Going to give it another good chop at some point, just got to decide what to take out of it & what needs improving.
I did cut up a speech from JFK & made his words relevant for today's climate - so that has to go in. Oh well, it's Christmas now & time to relax & enjoy!

The tip about using an adjustment layer is also a really good thing to do - I use FilmConvert that way (for colour &/or grain).
My the experiments with underexposure are iffy at best, as it's really difficult to get the footage shot in daylight to match stuff filmed indoors or in low light. But you see a lot of films that are clean one minute & then get grainy the next - so not everyone adheres to an even amount of grain.
The two free grains mentioned (VisionColor & Gorilla) are good to use.

So I got myself a proper job (as some of my friends would put it) - you know, one that earns you regular good money, one that sucks the life out of you, one that you end up hating!
What do you do to get your mind back?
1) Take a song from a friend
2) Find some free footage/pictures online
3) Restrict yourself to only using your NLE of choice for everything
4) Learn where your shortcomings are & REACT in accordance!
 

If it's for YouTube or Vimeo, I use a heavy handed approach simply because too many times I've added grain just to have it eradicated by the uploading process.
Now I upload everything in 2K & use Filmconvert at 150% (super 35mm grain).
If it's not for the internet, then I dial back between 50-100%.
However, recently I've been experimenting with underexposing BM footage & then lifting it in post to reveal the noise, which I think BM cameras do very nicely - so no post grain needed.

Here Here! Goes without saying...
Think I've said it all in my previous posts, but lets be clear about this once & for all - this is NOT an Iscorama, not by a long shot! It's a focus through & NOT a single focus anamorphic attachment like a true Iscorama, which will focus from 2m to Infinity.
If it works like the Isco Widescreen 2000, then it does produce really nice images but it's a PITA to use.
I came on this thread initially to warn people about this lens - there's a lot of bad info about these sorts of lenses. So, lets be clear about it - the 2000 will not focus to infinity, not now, not ever. It's blurred & not in focus. The 2000 is fixed at 5m & it's focus through range is from 4m-6m, at best. When you're filming with it things will kinda look in focus, but if you zoom in it's soft/blurry. Project your footage on a big screen & you'll have a fit/curse the day you ever believed this was a good purchase.
However, if you get some diopters & stick to the 5m mark on your taking lens, then you can change it's focus range - you can also use different lens for close-ups & wides etc... At 5m it's stunning, everything else is meeeeeeh!