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Matt Kieley

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Everything posted by Matt Kieley

  1. No speedbooster, just the straight adapter. They do look nice, and I used them a lot for a while. But there's a lot I disliked about them too. The 12.5mm Is tack sharp int he center at f/1.4 but you had to stop down to f/4 to get sharpness from edge to edge. Plus the entire fronts rotate when focusing which can cause problems with polarizers. I'd only recommend them to people who are able/willing to do the heavy modification needed to adapt the 25 and 50. The 12.5mm and 50mm had nice sizes though, not as tiny as the 25mm and other c-mount lenses. The Fuji zoom lenses are good though. Here's a few more things shot with the Fujis: Edit: top is a Reel of some of my favorite shots from a short film I DP'd years ago. It's called Escape Room if you want to watch the whole thing (I'm not even sure if it's online) but the director opted to add a shitty sepia filter to everything, though I offered to grade it for him. So this reel consists of my favorite shots (Micro + Pocket + Fujis) with proper grading. This was a little promo shot for a friend/local library (one of a few I've done for them with these cameras. The only shot that isn't with Fuji lense sis the B&W stuff which was a Computar 8.5mm 1.3 that I used for effect. The Canon TV-16 Lenses are probably my favorite c-mount lenses for the same reason my FD lenses are my favorite FF lenses: that vintage Canon magic. I can't put my finger on it, but they're soft and a bit dreamy wide open, and stopped down they get sharp but not overly sharp. They just hae a pleasing rendering that goes well with he Pocket and Micro. Here's a bit more of them. Nothing special, just some random BTS footage and another home movie: This was all 3 lenses in the set, mostly wide open (the 25mm shots were at f/2) with the Micro. This was the 25mm the first day I got it. Shot on the Pocket. This was shot on the Micro. Two fo the interviews are shot with the 50mm 1.8, one shot on the 13mm. The b-roll was a mix of the 13mm and 25mm, plus the Fujinon 18-108mm 1.8 and 18-108mm 2.5 zooms. I know the newer 1.4 cctv versions were made by Pentax, not sure about the vintage ones which have the Cine Ichikuza logo, which are the best ones. They're sharp wide open, and look nice, and don't need any modification, unlike some of the newer ones. I used to have the "zebra" versions but now have all black ones that are a little smaller but seem to have the same optical quality. I got the 12.5mm for $10, the 25mm for $30, and the 50mm for $50 I believe. I also have a more modern 8.5mm 1.5 that covers the s16 sensor and a Pentax 6.5mm 1.8 fixed focus lens that covers s16. I always go back and forth but keep coming back to these little cameras and c-mount lenses. I have a lot more videos shot with them, including an entire concert at the Wasteland Weekend festival (it's like Burning Man + Rennaissance Faire + Mad Max). There are more home movies as well that I shared here a long time ago. The entire concert is on my YT for those morbidly curious and 45 minutes to waste. Above is an excerpt. We shot with a Pocket and Micro with Fuji zooms, plus a friend's Canon 80D and Sigma 18-35mm for the wide shots of the stage. I've been hired to do some pretty fun little jobs and I've used used the Pocket and Micro cameras for most of them. I also shot a number of episodes of a food contest web series, a country music concert, promo videos. Too much to share, really. A few feature length scripts. My pet project for years now has been a feature based on my Crazy Pete shorts. I want to shoot it this winter possibly. Unless Covid gets in the way again.
  2. Thanks man! The first two narrative shorts were shot with Rokinon Lenses (10, 16, 35) The 15 second horror shorts and the promo video were shot with Fujinon c-mount lenses (18-108mm 2.5, 17.5-105mm 1.8, 12.5mm 1.4, 25mm 1.4, 50mm 1.4) Lonely Astronaut was the Canon TV-16 25mm 1.4 c-mount lens. Catch Hold was the Cosmicar 12.5mm 1.9 c-mount lens.
  3. I've posted older versions of some of these, but I thought I should post some old BMPCC/BMMCC videos, some of which are uprezzed to 4K. Narrative shorts: This is a promo video a friend I did shot on the Pocket/Micro with only available light: And some personal home movies:
  4. I figure this thread might as well be about the original bmpcc too. I just bought it again. It's like an old girlfriend I just keep going back to. I was going to sell my Panasonic G9 but decided to keep it as a paid gig workhorse since I have some new work coming in. But the bmpcc will be for my narrative film projects. Also, if anyone happens to have a cage for the bmpcc they need to get rid of, message me because I need one.
  5. Cages for the original bmpcc are hard to come by now. If anyone here has one they'd be willing to let go of for a reasonable price, please message me.
  6. What was your ISO/aperture in this shot? I was thinking of getting the FS300 for this kind of set-up (exposing the interior and exterior through windows) as well as possibly using it as a fake sun for some shots.
  7. I want to switch to an S5 so I'm selling my MFT gear. I have the G9 with Vlog Upgrade in great condition, just a little wear on the bottom from the tripod plate. Includes the box (a little bit of wear) OEM battery, charger, strap, cap, + additonal large EVF eyecup, manual/docs $900 Panasonic 12-35mm f/2.8 (old version) - heavy cosmetic wear but fully functional. Glass is in great condition. $500 Panasonic 42.5mm f/1.7 - moderate cosmetic wear but fully functional. Glass is in great condition. $200 Panasonic 25mm f/1.7 - Good condition, fully functional. Glass is clean. $100 Panasonic 20mm f/1.7 (silver & black version) in great condition. Fully functional. Glass is clean. $150 Mitakon Lens Turbo II FD-MFT focal reducer with caps and box. Glass is clean. $100 I'll cover the shipping costs, but I'll only ship via USPS to the United States, otherwise it's too expensive. Payments through PayPal only.
  8. I recently upgraded to a new laptop that can actually handle Resolve Lite, which only occasionally worked on my previous laptop, so I threw in some old EOS M (with Canon FD 35-105mm 3.5) footage I shot behind the scenes of a music video in 2017 or '18. I just wanted to see what Resolve Lite could do with this old 8 bit footage scaled to 4K, with the WB pushed to a cooler tone, and 16mm grain added. There's no music as I only made this for my own reference, but decided to share anyway for anyone else who might be curious, or just for EOS M fans. I still have one and it I still think it looks pretty good with the right lighting/lenses/post.
  9. It goes above your budget but I just switched from the Blackmagic Micro to the Panasonic G9. In 4K the Ex Tele Crop mode gives you a 2.8x crop, very close to the 2.88x crop of the original Pocket and Micro. I got one used with Vlog already installed for $900. I'm very thrilled by this camera. You can get a 4K s16 without all the horrible moire and IR pollution. With Vlog and the Panasonic Vlog lut I'm getting great color and dynamic range. Plus with a focal reducer I have s35, and of course the native MFT sensor crop as well. And I can still use all my c-mount lenses. And I have IBIS and good battery life, and more importantly, I don't have to rig it up to make it more usable. A friend of mine still has a Micro, so I may be doing a side by side test soon.
  10. I used to have one. You only get prores and raw with an external SSD. And the Rolling shutter is pretty bad, even with fairly slow pans. And it's bad in both 4k and 1080p. Otherwise you can get a nice image out of it, with a lot of detail retained in the highlights.
  11. The SmallRig HDMI cable is pretty small and flexible. It's not angled but also doesn't stick out far.
  12. I'm rebuilding my kit and just got the Feelworld Lut7 7" monitor mainly for the price/brightness ratio (2200 nits/$269) and it's good but it's way too big and heavy for me, even without the f970 batteries. So I'm going to return it. I'm looking for a 5" (ish) monitor that's bright enough to be visible in daylight without horrible reflections, that runs on f970 batteries but won't drain them in a short time, for the $300 range. I've read good things about the Atomos Shinobi so I'm leaning toward that. The Portkeys BM5 is intriguing but maybe a bit too expensive. I thought I'd toss it to you guys in case there's something I don't know about, or if I should just go with the Shinobi. I'm using it with Z Cam E2C.
  13. I know a couple of guys who bought brand new Red cameras, cine lenses, and gimbals but didn't own lights, or had one or two of those $50 Neewer LED panels you can buy in pairs on Amazon.
  14. After dipping into LED lights with my Godox SL60W a couple years ago, last year I decided to go all LED. I have 2 more SL60W lights, a Falcon Eyes F7, an Aputure MC (my first Aputure light and basically a mini Falcon Eyes F7) and Lume Cube 2.0 (a decent little kicker light). I might also get the Godox S30 and LC500R.
  15. I was excited for the Media Devision video and watched it in full the other day. A few months ago I finally put together a new FD lens set that I converted to EF mount and de-clicked: 20mm 2.8, 24mm 2.8, 35mm 2, 50mm 1.4, and 85mm 1.8. I also have the 35-105mm 3.5 and 80-200mm 4 zooms but I haven't converted them. And I have a really shitty copy of the 24mm 2 that maybe I'll get repaired if it's not crazy expensive. The nFD lenses have been my favorite lenses for a long time, so I'm satisfied with the little kit I have, even if it is the "budget" option vs "Luxury" option. They're still sharp yet subtle and pretty.
  16. Wow, I feel really stupid for selling my BMMCC for a GH5. It's fine, but it just wasn't really doing it for me. I returned it, but now the used prices on the Micro and the original BMPCC on ebay seem to have gone up stupid high. The last BMMCC I had I got for $555 and it included an Olympus 17mm 1.8 that I sold, within minutes of listing on ebay, for like $250. I want my old camera back.
  17. Can anyone who's owned the BMPCC original and/or BMMCC compare those to the 1080p from the P4K? I want the slightly soft but finely detailed, sharp but not too sharp, rich, nice color and skin tone look of the BMPCC/BMMCC but with the more convenient body and features of the P4K (big touch screen, better low light, bigger sensor, 120fps, the ability to bake in a lut in prores). I've seen a convincing side by side video where the P4K was made to match the original BMPCC, but I honestly kinda suck at that sort of thing, plus I hate the added time and work in post so I want to try and achieve the look I want in camera as much as I can. And the look I want is the original BMPCC/BMMCC but with more features and convenience. I'm also wondering if the S16 crop can only be utilized in 2.6K BRaw, or if it can be used in 1080p ProRes as well. I want to be able to use my FD lenses with a focal reducer with the full sensor, as well as my c-mount lenses with the crop, depending on the project. I'll be using the camera mostly for narrative film projects of mine, and the occasional paid video gig.
  18. I'm getting the GH5. I just want something less fussy that I can use with minimal-to-no rigging/grading. And I like the idea of the Open Gate mode and the 4k Tele Crop that gives you a s16 image area so I can still use my c-mount lenses. Plus the high frame rate options. Although I'm keeping my FD lenses (I'm also getting the Mitakon focal reducer) and converting my 85mm f/1.8 and 24mm f/2.8 to EF mount to finish off the set.
  19. If anyone wants to try this camera out, I'm selling mine. I made a post in the "Gear For Sale" section.
  20. I'm clearing out a bunch of gear to make way for more gear, because I have a problem. BMMCC + SmallRig Cage/HDMI Clamp + Sandisk Extreme Pro 64GB card (this is an older one that is compatible) + Wasabi LP-E6 battery + Lanparte LP-E6 DC Coupler (dummy battery), Tilta NP-F Battery Sled, DC cable. Everything is in great condition with a bit of cosmetic wear. $600 Metabones BMPCC .58x Speed Booster Canon EF Mount (compatible with BMMCC and BMPCC Original/Super 16 sensors only) - Glass is clean and clear $350 Canon nFD Lenses Converted to EF Mount (Declicked Aperture) - All fairly clean optically except a little dust. All fully functional with declicked apertures and smooth focus Canon nFD 20mm f/2.8 with chipped metal EF Mount (Declicked Aperture) + Caps - $300 Canon nFD 35mm F2 with 3D Printed Nylon Mount from Shapeways (Declicked Aperture) + Caps $200 Canon nFD 50mm f1.4 with 3D Printed Nylon Mount from Shapeways (Declicked aperture) + Caps $100 Sankor 16c Anamorphic Lens + VidAtlantic Clamp w/ 52mm Ring + Metal Real Cap + Tiffen 52mm Diopters (+1, +2, +4) + Anamorphic Shop Custom Pressure Fit Clamp w/ 52mm Thread Sankor has some sort of mark in the real glass. I;m not sure what it is (pictured), but I haven't noticed any issues in the test videos I shot with it. The focus ring is also very tight. It's still a usable lens with great optics, but be aware of the issues. $250 Here's a test video I shot with the Sankor and BMMCC (with some Tiffen Diopter shots) VidAtlantic Cinemorph Filter with Neutral Flare filament + Case + Cleaning Cloth + 52-58mm Step Ring) $50
  21. BMMCC (ProRes LT), Sankor 16c, VidAtlantic Clamp, Cosmicar 25mm f/1.9 c-mount lens, Tiffen +1, +2, +4 diopters, Tiffen +1/2 Split Diopter, Firecrest IRND I really love this camera/lens combination, and I'm happy to be shooting anamorphic again after selling my previous lenses 6 years ago. The BMMCC's Super 16 sensor goes well with anamorphic because you can still get a shallow enough DOF, but deep enough wide open to be usable/practical. You get sharp, low light anamorphic that's actually in focus (this whole video was shot wide open at f/1.9. I can get similarly sharp/usable results at f/1.4 with my Canon TV-16 25mm, which is why I need to fix it).
  22. Anyone know of a good adhesive for repairing a lens? The front filter thread/hood part of my Canon TV-16 25mm is slightly loose (and can be easily unscrewed). This wouldn't really bother me if I were using the lens as is, but I want to use it as a taking lens for Anamorphic, and a slight focus turn skews it out of alignment. Anyone have any experience repairing lenses who can recommend an adhesive that's safe to use with a lens?
  23. So I read back in October that the BMPCC 4k added at 2.6k crop mode that "suitable for Super 16mm lenses" according to cinema5D. Has anyone used this? Is it a proper s16 crop or something fairly close? With a tax return coming, I'm thinking of upgrading from the BMMCC, which I'm using with my beloved vintage c-mount lenses, and I don't want to buy more lenses to cover the full sensor). I'm curious to hear from anyone who has had both the Micro and P4K. I'm thinking of going for the P4K for the low light and higher res (2.6K also seems optimal for going higher res but not as high as 4K, to save card/drive space and possibly use the same cards from the Micro. I've seen people online able to get 12:1 raw on the 95mbps Extreme Pros). The Micro has a wonderful image most of the time, but some things that bother me about it.
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