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Posts posted by Escapist

  1. New Lens recomended to try out

    as you all know I do like the Tokina/Angenieux  28-70mm and the Nikon 28-70mm 'Bourne Lens' and I'm pleased alot of you have bought them and found them to be superb lenses.

    I was shooting a pop video for Rozalla last month using the Nikons and as I was shoooting with 3 cameras I wanted total glass parity so it all matched up look wise in the edit.

    So 2 cameras had the Nikon 28-70mm F2.8 IF EDs on them and I bought a Nikon 35-70mm F3.5 AI for the 3rd camera.....

    WHAT A LENS ! it matches the bigger Nikons exactly , colours blacks etc and it is very very good and cheap on ebay.

    I used it on a speedbooster so its f2.8 and looks great

    It has clicks on the apperture at f3.5 and f4

    f3.5 is a midges softer fully wide open but a f4 it tightens up alot , so I used it at f4 on the speedbooster = f2.8

    This is a late 1970s early 1980s lens and is built like a tank all metal , fully internal zoom and the focus only moves the end of the lens about 1cm forward

    72mm front end for filters

    But the glass is stunning ! the full Nikon 'Bourne ' look we all love and it edits in exactly with your bigger Nikon Bourne lenses the 28-70mm and the 80-200mm

    Its smaller and lighter than its big brothers but packs the same punch .......I highly recomend this great lens





    ​I bought the tokina because it was cheap a while back and thought I was the only one who even used this lens. It worked perfect on a C100. I only sold it because I want to switch to nikon mount for aperture control. What an amazing lens...photographers don't care for it but we love it.

  2. One thing I forgot to add is FCP X for all its greatness does not have curve for exposure. It only handles shadows, mids and highlights with 3 fixed points (I assume which means linearly). This looks really weird to me and I need to find some plugin because it's not enough. Anyone have any tips?

  3. I like Premiere because it was obvious where everything was, even if it wasn't particularly efficient at anything. FCPX at first seems unintuitive because it's so different, but they save you a lot of time once you learn them. In terms of design FCPX looks like its going towards the future, whereas Premiere just wants to stay the same.

    This philosophy trickles into the code base as well. Adobe refuses to rebuild Premiere, they just keep stacking code on code which creates tons of bugs.I found so many bugs with Premiere and corrupted projects that I just bought FCPX and never touched premiere again. Premiere ranks with some of the worst product experiences I've had, and the other two are Microsoft (Windows OS and Bing Ads).


  4. ​Thank you Escapist! :) 
    If you have other kind of lenses (like Canon FD, Zeiss M42 etc...) I'm curious if it's simple to match them :)

    ​Ok I just tried the 14-140mm f4.0-f5.6 panny lens out. The 14mm side translates to a 40mm view from FF, so it's slightly wider that the "normal" 50mm on a FF. It's pretty wide I'd say but you could probably go wider with a wide lens + speed booster and something else if you wanted to.

    Due to the lens being slower, I found that it's hard to get any background blur but that was probably obvious. Shooting in dark doesn't seem to be a major issue at the native 800 ISO, as long as the scene is normally lit. The Mega OIS is amazing though, even zoomed in all the way it eliminated a lot of jitter. 

    I think I'm going to keep this lens around, it's very versatile and could help get some difficult shots. 

  5. I was curious if anyone knows a viewfinder that works for the BMPCC but would work with other cameras later? I've searched a while and could't find many options except the Kinotehnik and the Zacuto but have no idea if these would work on say, my GH3 or whatever else. I know they are made for a 3.5" screen but I suppose that could be worked around as long as the mount is universal.


  6. ​Is the 14 wide and good enough for normal work? 
    Unfortunately I can't buy the Pocket online, because I want to give back the 12mm Olympus and the G6 (or a big Manfrotto tripod) to the shop.

    Is the aliasing and moire very strong on the Pocket?

    Thank you! :)

    ​Sorry for the late reply! It's coming in tomorrow I think. When I get it I can tell you the answer. I think 14mm x 2.88 crop factor will be around 40mm which is wide but not ultra wide. 

  7. I wouldn't pay more than $500 for it though. There was that recent deal at B & H where you could get the pocket, the 14-140 panasonic lens, extra battery and memory card for like $900.

    ​I just picked up this deal. It's actually $995 but still not bad. Although I rather they have a prime bundled, this lens should be interesting especially with OIS. I feel like everyone on EOSHD has a pocket camera except me or something.

  8. I heard it has decent DR, somewhere around 11-12 stops, and other times I heard it's not so good (10 or less).  I would expect different answers depending on the firmware version and knowledge of using the camera.

    Does anyone know what the DR is like in optimal settings with Gamma DR?

    How does it compare to the C100 Or BMPC DR? I've realized that 12 stops is plenty, but being close to that is fine.

    I see people lowering contrast in Wondershare - does that actually help with highlights or shadows? https://vimeo.com/115004338 


  9. Yes censored.


    So I'll mention this on here instead...


    A few years ago when I was starting EOSHD, I was banned from the DVXUser forum due to disagreements with some members and some of the moderating team. There was a bit of an element of a personality clash.


    At the time I was also running some articles strongly critical of Red and their delays / price / spec changes with the Scarlet.


    Landmine Media who run DVXUser actually went to Jim Jannard's legal department and together they sued me for $70,000.


    Sued for forum posts and my own opinion at EOSHD.


    In order to drop the case, Jim Jannard's lawyer said I would have to sign a non-disparagement agreement which I duly signed and faxed over under pressure of a very stressful court battle which I couldn't afford to defend myself over. I simply wanted a quiet life.


    There's always been a very vocal anti-EOSHD group of users at DVX, BMCC and Personal-View. In recent months it has become borderline harassment.


    I've been caused no end of stress from this and it is beginning to really get to me, personally and privately.


    I hope this helps to give some perspective as to my strong feelings towards the BMCUser taunts.



    I've had some very sketchy experiences with dvxusers, but even I'm surprised they would go that far. 

  10. The main difference between a C300 and a GH4 (not that I've used one, but I have used the GH3 a bit) isn't the image quality but the workflow and ergonomics. For a working professional, efficiency on the job and in post is crucial; for a hobbyist image quality is more important if you're a camera nut. Canon caters toward mid-range pros (B cameras for tv; A cameras for indie and mid-range corporate) by making something that's very easy to use and easy to work with in post with good enough image quality. The image is great but not a lot better than much less expensive options (and not a lot worse than anything other than the Alexa, even then it's a fine B camera).


    The C300 is also an affordable rental. And "future proof" is for your clients to decide. When they demand 4k only then do you need it. :)


    I'd say like that's more of the difference between a C300 and a Blackmagic Camera. DSLR's may have worse workflow and ergonomics, but Blackmagic have terrible ones. 


  11. Don't get me wrong, I totally agree with you on the value of the C-series. Yes, I would say without a doubt in my mind there are pricing issues. it's not for everyone, but RAW isn't either. I guess it's going to be an uphill battle as many of the claims on raw here are just borderline cult-like and I haven't seen much respectable inquiry into the subject.


    I don't mind as it isn't personal/ad hominem...forcing everyone to defend their opinions is the most efficient education you can get. I know this is a forum for low-budget hackers and my urging people to upgrade out of that miasma will run into a lot of resistance. But it's good for you...do you think if you become a successful filmmaker you will still be using DSLRs?

    As a truly great filmmaker once wrote, "That's a consumer mentality, not a filmmaking one." ;)

    The Atomos and Odyssey recorders double as field monitors, so not that much of a PITA. Plus having the recorder be external lets a thousand flowers bloom in that sector...you can get any recorder you want, at any price, with whatever features and media you want. And it's quite standard at the C500 tier to have external recorders, even though some of them clip directly onto the camera (e.g. for the F55 and Epic) rather than hook up somewhere else via cable, which can be better ergonomically (as counterbalance, as a monitor, etc.). Generally higher budget productions want redundancy in digital recording which this enables at full quality. If the recorder maker is charging a lot for firmware and media, that's an opportunity for a competitor. When the camera maker fashions themselves a monopoly in RAW recording and media for their camera, as most have, that forces the customer to pay. And you're criticizing Canon for this? You have never bought a professional camera is all.


  12. whatever man. I had respect for this site, but you can go with the haters. BTW, My jobs have always separate sound with a separate sound mixer and boom operator. Simple image from the C system? Do you know anything about the C300? perhaps you should read some material about it before being so firm.

    Raw whatever. I am a still photographer as well. If I need raw I rent or buy a RED o similar. I'm certainly not going to rely on my flimsy 5DIII for a job that requires me to shoot raw. That is a professional contradiction in terms. 


    My last post here. Hate at your pleasure. 


    If it makes you feel better, I got into filmmaking with DSLRs as a non-pro. Then I started doing real client work and suddenly time and money mattered. People depend on you to deliver. The c100 looks really good in that respect. raw on the 5d hasn't changed my mind because that wouldn't help any of the variables I depend on (except image quality, which is only one part).


    but for a non professional project, I wouldn't mind. 

  13. it´s really funny. MÖVI is the biggest thing in film industry since the 5d mk2. compared to the raw hack for the mk3 it´s really a joke. laforet should say this. or he will loose his credibility. i think it´s really a ego thing. for sure the 1dc was until now a very good camera, besides it´s very high price, but now it lost a lot of it´s worth and if you are a 1dc owner, for some people it´s hard to say, "ok maybe i spend a few dollar too much for it". but i think people like phillp bloom and vincent laforet should really stay neutral because it´s their job and a lot of people listen to them. maybe not to laforet. he takes money from manufactors. and since the mövi thing nobody really listens to him:)


    That argument is not an argument at all. Whether or not MOVi was some sponsored marketing ploy or not, the raw hack for 5D3 wasn't even known to work at that time...just FYI. The big surprise he didn't announce was Blackmagic's 4K camera.

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