Matt Kieley

The SmallRig HDMI cable is pretty small and flexible. It's not angled but also doesn't stick out far.

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.

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.

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.

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.

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.

Woops, thought this was the P4K thread.

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.

If anyone wants to try this camera out, I'm selling mine. I made a post in the "Gear For Sale" section.

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).

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?

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.

Film cameras at least have viewfinders. You still have to check your framing and composition.

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).

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.

I have one if you're still interested.

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).

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:

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.

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

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.

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.

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.

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.

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: