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Matt Kieley

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Everything posted by Matt Kieley

  1. 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).
  2. 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?
  3. 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.
  4. I have a Rokinon 12mm f/2 MFT Lens (non-cine version) Clean, barely used, includes original caps. No lens hood. $200 + shipping within the U.S. only
  5. This is an interesting interview about fair use with the creators of Nirvanna the Band the Show (which is hilarious and everyone should watch it).
  6. So a couple years ago I posted a couple of videos I shot with the Canon TV-16 25mm 1.4 c-mount lens and the BMPCC. I loved the lens, but had to sell it (and some other gear) for financial reasons. I didn't want to sell it, but since I had a full set of Fujinon-TV lenses and only one Canon, and there seemed to be few Canon TV-16 lenses on ebay, I ended up selling it. I'm working full time again and more financially stable so I decided to try and track down the Canon TV-16 lenses. I set up an alert with eBay, not expecting anything, but just hoping. As luck would have it, some lenses popped up. The 25mm 1.4, like the one I had before. I looked at the listing and thought "wait a minute, this one has a follow focus gear attached to it like what I had done to mine. Wait, the seller's username is familiar. Holy shit, this IS my old lens." So I made an offer and won He was also selling the 13mm 1.5 for a fair price. And there were a couple 50mm 1.8 lenses available from other sellers. So, I not only put together a set very quickly, I got my old lens back. I shot some BTS (with the BMMCC) for a friend's short film recently, using the lenses. The first two shots are the 50mm, last two are 25mm, everything in between is the 13mm. Mostly shot at f/2.8-4. The 13mm and 50mm flare like crazy, but I like it. These definitely have a ton of character and are probably my favorite vintage c-mount primes now.
  7. Thanks. I had to open up the project file because it's been so long I forgot what I did. Looks like all it was was the free Ground Control BMDFilm-709 lut in the Basic tab of Lumetri, plus the Fuji Reala 500D/Kodak 2393 in the Creative tab...and that was it. Plus Gorilla Grain 35mm Medium Grain overlay. I can't find the Super 8 project file, but I think it was the same grading but with a little blue added to the shadows and highlights, plus I believe Gaussian Blur to soften, and the "Hand Processed Super 8" grain overlay by Dissolve (free). And there are also Super 8 film burns by Austin Newman (also free).
  8. I shot and edited this back in November 2018, but didn't feel like sharing it. Looking back months later, I actually like the grade I did, so here you go: And here's some of this footage with a Super 8 look:
  9. You might be able to get a good deal on the 'bay if you're a little patient. I just won an auction on the Micro WITH an Olympus 17mm 1.8 bundled for $555, and I immediately resold the lens for $250 and used that to put together a solid rig (Smallrig cage/monitor mount, wooden rosette handle, NP-F bridge with NP-F batteries) that makes it very functional and usable. It's like a little baby Red camera now.
  10. My Feelworld 5.7" "4K" monitor can do both horizontal and vertical flip. Edit: this is the one I have: https://www.bhphotovideo.com/c/product/1367937-REG/feelworld_fwf570_f570_5_7_4k_hdmi.html
  11. Well then I guess you better set up those tracks and do it for real. If it's really important, then it's worth doing right.
  12. I guess a slider for short moves, for longer tracking, maybe a gimbal + someone pulling the camera operator in a wheel chair? A wheel chair was my poor man's dolly back in the day.
  13. I re-bought the Fujinon-TV 12.5mm to go with my 25 and 50 and did this quick and dirty test. Wide shots are unusable at f/1.4 but good by f/2.8, even better at f/4. Close-ups look pretty good at f/2 since the slight softness is more flattering to skin and the edge softness isn't as noticeable to due to the face being closer to center and the most in-focus in the frame.
  14. Thanks! I like not having bad aliasing in people's hair/eyebrows when shooting close-ups on the GH4, and I like the creative options like VFR mode (I really love that I can set it to custom frame rates instead of just having set frame rates to choose from). I like the slight extra bit of width I get out of my c-mount lenses. I also love being able to tweak the image in camera and not needing much grading (all I did was adjust contrast and added a Fuji film look in Lumetri). I love the bmpcc until the aliasing/moire starts to get to me. I also kinda hate grading log footage. After doing both for some time, I prefer getting the desired look as close as possible in-camera. I shot in CineV with the contrast/sharpness/NR at -5, Saturation at -1, Hue and Master Ped at 0, iDynamic and iResolution off. I did a controlled lighting test of all the different profiles and that is what I preferred most. Adding a Polarizer makes it look especially nice.
  15. Speaking of Fuji C-Mount lenses, here's some footage of the 25mm and 50mm (and Cosmicar 12.5mm/Canon V10X15) I shot on the GH4: All lenses are shot wide open in this video:
  16. Shot with the GH4, which I just got this past week. I sold the Micro last year to a friend (I still have access to it) and sold the Pocket to buy the GH4. I didn't know about that 110 adapter, but it's a little pricey for me. I mainly got the lens so I could get wide shots in 1080p as my Cosmicar 12.5mm vignettes except in 4K.
  17. Just got a Pentax Auto 110 18mm f/2.8. This is one of the smallest lenses I've ever used, and incredibly sharp and pretty, especially considering it's stuck at f/2.8. I wish it had an aperture for more control over the depth of field, but it's still good. I might have to get the 24mm and 50mm 110 lenses.
  18. Finally got my hands on a Canon V10X15 15-150 c-mount zoom lens for just $20. I shot this very quick test on the bmpcc (shot wide open) and I love it so far. The lens is pretty big so I'm using rails and the SmallRig lens support. I like the zoom range--10x is the same range as my beloved DVX100 (though the FOV is different). It has nice round bokeh at 2.8 that doesn't have those odd "dips" as the smaller range c-mount zooms I've had (V6X17 and similar Fuji lenses I've had).
  19. I would say so haha. I worked as 2nd AC on a short film this past summer. Here's a photo I took of the DP with the Rep Dragon and Angeniuex Optimo 12x zoom lens. We had to carry that shit up and down hill every day and it fucking sucked.
  20. I've been away for a while, just working on scripts and trying not to wast too much time on the internet. I just came back to share my newest lens find. I wanted an 8(ish)mm lens (24mm equivalent) for the bmpcc, to split the difference between my Fuji 12.5mm and Computar 6.5mm. I'd been thinking of the SLR Magic 8mm, but even though it's super cheap for what it is, I couldn't really afford it at the moment, plus reviews I'd read here noted the difficulty of the focus ring and set screw. Then I remembered a video on youtube showing off different lenses, including the Cosmicar 8.5mm f/1.5. I had bought what turned out to be the 2/3 format version a couple years ago when I first saw the video, which doesn't cover the sensor. The version that covers a 1" sensor has a larger front, like the Cosmicar 6.5mm lens I used to own, and it never shows up on ebay, and others had previously gone for $500 a couple years ago. But I managed to find one bundled with an "As-Is" CCTV camera. I was aware that this lens would need some modification, and luckily it took a very small amount of hand-filing the edges, as I've done with Cosmicar lenses in the past. This one only took about 30 minutes to complete, unlike other lenses. My copy also needs a little cleaning. I love this lens. It's pretty sharp from edge to edge, even wide open. It's distorted, but it's acceptable to me (I like a bit of distortion). Some grabs from the video: f/11. f/1.5 F/2 Since my Fuji 12.5mm is only good from edge to edge at around f/4 or lower, and my Computar 6.5mm is garbage above f/8, this may become by go-to wide angle lens. It should work well for glidecam shots too.
  21. I DP'd a short recently. This was my first real test of my Fujinon-TV lenses on the BMMCC/BMPCC. The director/writer/editor added a sepia filter instead of the look we had talked about (I think maybe he just didn't know how to grade the log footage) so I put together this reel with my own grading.
  22. Modification of the Fujinon 25mm and 50mm lenses was successful. Here's my unscientific test of all three Fujinon primes (12.5, 25, 50) and a comparison to the Cosmicar and Canon TV-16 lenses. I also did an infinity-close focus test, AND I tested the Tiffen +1 diopter with my Fuji 18-108 (@18mm) which I received today. The minimum focus of the 18-108 is 3.5', but I can get as close as 1' with the diopter, so now I have this focal length available for close-up shots if I want it. I think the Fujis are awesome and I was wrong in my initial assessment when they could only focus close-up. Now having the full range, and a better test, the Fujis are the obvious winners (for my taste anyway). The 50 and 12.5 are a little dreamy at f/1.4 but still nice, better at f/2.
  23. And here's some quick footage from this afternoon, shot with the Fuji 12.5mm and bmpcc. Seeing how the lens looks with a grainy doc style.
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