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Everything posted by Lucian

  1. I saw the explanation video too, it sounded more like an infomercial for canon because I don't know how anyone with eyeballs could advocate the c500 over the alexa for a theatrical release with a straight face. Esp considering the footage shown in the tests looked like a wedding video. I love Shane's posts though, full of insights.
  2. Cool, bokeh looks pretty pleasing to me! I reckon i'll end up going with 2.8, tis cheap and since I'm planning on pairing the nikkons always with SB, it should be reasonable sharp even at f2. Burnett, have you ever used any of the russian m42s? curious how folks think they compare character and optical quality wise to the nikkons ais.
  3. here's KR's review of the 35mm 1.4 , about halfway down the page are the night pics http://kenrockwell.com/nikon/35f14ais.htm The day stuff looks ace!
  4. Very cool, thanks for the info! Manual focus need not be great as it's "set and forget "when using with the iscorama as you focus with the isco. Re the 35mm 1.4, the footage looks great, i'm not surprised though as this lens mostly turns into a turkey (crazy smears and blobs around lights) f1.4 to 4 when pointed at hot light sources, i.e night filming.. supposed to be quite excellent for day shooting!
  5. Dahlfors: really!? the AF-D Nikkor 35mm f/2 can be operated manually, even aperture?! That lens has superb reviews but I did not think it would be usable with an iscorama. I usually avoid modern lenses as they are mostly too clinical for my tastes, but this might be worth compromising on over the 2.8 28mm is too wide, I vignette with 28mm on the gh2 so I will surely on a 1.76x crop. Even 35mm +isco on the gh2 can be a problem if you stack too many diopters and ND :P
  6. Good point, I had not considered the fact that I will only be using part of the lens circle even with the d16 +SB. the d16 sensor with the x0.58 SB brings the sensor to the equiv 1.74x crop, that sits right between the aps-c (1.6x) and the gh2 (1.86) I will re-check kenrockwells 35mm tests, but the f2 is definitely a turkey due to ghosts. @Bioskop, is your f2.8 reasonable wide open, if it is then should be work at f2 very nicely on the SB. the 1.4 looks like it has lowlight issues until stopped down to f5 which makes it unusable for me. Very interested to hear how your 54 + zoom taking lens works out.
  7. They are making an EF bmpcc (0.58x) apparently. But i'm not holding my breath. The only thing missing from the Nikkons is a decent fast 35mm. the f2.8 is slow, the 1.4 has horrible coma and smeared lights at low apertures and the f2 is also no good for low light as it suffers from bad ghosting.
  8. Very cool. I wonder how the Nikkon's stack up against the Russian MF primes like mir,helios/,jupiter,tair. I love them but now I'm shooting on the digital bolex they are mostly too long to be of use. Speedbooster would bring things back into useful range but theres no m42 compatibility. guess I might try a cheapo Nikkon like the 35mm 2.8 first and see how it looks.
  9. very helpful reply :) I've actually seen these video's before, lovely stuff, but I never took note of the taking lens. Will re-watch! The 200mm works with the iscorama? I'm also curious how the heck you managed to get those shots of the burning fields, gorgeous!
  10. Hey guys, I'm looking for opinions on this combo specifically, even better if you have paired them with speedbooster on a s16 format camera (bmpcc or D16). It seems they would make a fast, consistent set, quality, affordable set of matching primes for pairing with the iscorama. Currently I use the usual m42 russian suspects, which are good, but can be inconsistent, slow and not compatible with SB. Can anyone vouch for these? Cheers!
  11. Update: I put tape around the rim of the lens and am now able to squish a 49mm nd on backwards securely. Hopefully it still works :)
  12. I've got a cosmicar 6.5 that i'm quite fond of, doesn't seem to have a front thread and need to ND it. Mattebox is overkill. It takes a 48mm cap that fits over the front element. Anyone have any experience with these or a hack (taping filters on)? I've heard of pop in filters also.... Thanks!
  13. It looks not too bad, nice job. I don't think it's rendering real anamorphics redundant though, but seems like a cool hack if you don't want to spend a fortune. Have you seen DSO oval aperture lenses? I think they fake the anamorphic bokeh a little more convincingly.
  14. Could you remove the song and re-post then? or post it on vimeo? I want to see!
  15. Selling my 7" field monitor. They are fantastic, but I need to trim down. 1280x800 Resolution IPS LCD Screen 600nit high brightness HDMI in & out, HDMI Loop Through YPBPR in & out Video in & out Check Field ( Mono / R / G / B ) Peaking with red outline False Color with adjustable under luminance & over luminance warning Clip Guides with adjustable threshold User-Defined Image Ratio ( H-Start / H-Size / V-Star / V-Size ) DSLR Scaling ( FULL Screen / 16:9 / 3:2 / None ) Movable Pixel-To-Pixel ( Left / Right / Up / Down Movable) Side-By-Side Freeze Frame ( Window 1: 16:9 Mode / Windows 2: 4:3 Mode ) Guides ( 4:3 & 16:9 Framing Safe Area) Full specs here. It's barely used it, only on one shoot. Comes with additionally purchased battery and charger. Asking $300 US, plus shipping. Sale via a safe transaction method (i.e paypal or ebay) only. Thanks
  16. Worst. Post. Ever.
  17. DB is not for everyone but it's not outdated. As Andrew mentioned the digital bolex shares the same CCD kodak truesensor used in the gorgeous Ikonoskop, which creates very film like images. So no rolling shutter, or tearing, or nasty video-ish motion rendition. The 4k has a global shutter but it's still a cmos sensor and IMO has a much more video look. The bm4k is marketed as "production" camera and not a cinema camera, and I think the sample footage reflects why. It is superbly sharp but does not look cinematic at all (not necessarily a bad thing if that doesn't matter to you). the BM4k seems more geared towards ENG/Broadcast users and not filmmakers. Cinemas mostly project in 2k with 12bit color space and think it's indicative of the fact that color gamut and dynamic range are far more important in creating a pleasing image than pushing resolution past 2k, IMO. To that end if i had to pick a BM for narrative work, I'd take the bmpcc or bmcc over the 4k for increased dynamic range. For me all that matters is the final image, and the DB has the most all round pleasing to my eyes in the <$5k market. That said, I think bm4k and d16 are slightly different markets, gh4 and bm4k are more so direct competitors.
  18. I wonder what happened with Duclos and the other persons isco? I'm reluctant to send mine to Bernie either as someone here sent their's in and he was unable to open it, so I'm not sure of his familiarity with this type of lens. If only Rich was in L.A!
  19. Drew, let us know how you go with duclose. I've considered having mine re-lubed but don't want to send it all the way from LA to bernie in NY. My isco turns smoothly, but definitely a ton more resistance compared to modern lenses. Not sure how silky they can go :P
  20. Rob: I think these are the wider zip ties from half inch rails/wide open camera that quick hit record was talking about. http://www.amazon.com/Lensgear-Large-Sized-Lens-Gear/dp/B005GKAMN4/ref=sr_1_3?s=electronics&ie=UTF8&qid=1391709638&sr=1-3&keywords=wide+open+lens+gear I'm considering giving them a go before forking out for duclose. Did you ever hear back from helicopter sean?
  21. Hi Rob, not sure how you went getting the custom gear made. But another isco owner told me he just puts a filter or hoodring on the front of the isco so theres is a flat surface for the follow focus. Of course this would be not great at the wider end because of increased vignette...
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