Matt Kieley

Here are a few things I've shot with Rokinon lenses (10, 12, 16, 24, 35):
These are mostly BMPCC, and a couple of NX1 videos, but they can at least give you a rough idea of their quality. I never ended up using it in any of my posted videos (just a couple of tests), but I also used to own the 50mm 1.4. I'd say the 12mm 2.2 (MFT, not the fisheye one of APS-C), 16, and 50 were the sharpest and most modern-looking ones I owned. I shot my latest short film "Chicken" almost entirely on the 16mm with the a6300, but I can't post that yet.

Here are a few things I've shot with Rokinon lenses (10, 12, 16, 24, 35):
These are mostly BMPCC, and a couple of NX1 videos, but they can at least give you a rough idea of their quality. I never ended up using it in any of my posted videos (just a couple of tests), but I also used to own the 50mm 1.4. I'd say the 12mm 2.2 (MFT, not the fisheye one of APS-C), 16, and 50 were the sharpest and most modern-looking ones I owned. I shot my latest short film "Chicken" almost entirely on the 16mm with the a6300, but I can't post that yet.

By glass, you mean our lenses, right?

By glass, you mean our lenses, right?

Canon TV-16 25mm 1.4 (shot wide open with the bmpcc):

I've just played around with it for a couple of minutes and I love it already. It's sharp, with bokeh that's not as swirly and crazy as other c-mount lenses. I'll post footage later today.

Canon TV-16 25mm 1.4 (shot wide open with the bmpcc):

I've just played around with it for a couple of minutes and I love it already. It's sharp, with bokeh that's not as swirly and crazy as other c-mount lenses. I'll post footage later today.

Canon TV-16 25mm 1.4 (shot wide open with the bmpcc):

I've just played around with it for a couple of minutes and I love it already. It's sharp, with bokeh that's not as swirly and crazy as other c-mount lenses. I'll post footage later today.

Oh no, what have I done? Have I gone and bought the bmpcc again? I tried 4K, it was fine, now I'm back to the land of better color and DR, and ProresHQ/Raw files and that s16 sensor. Feels good. I'd say this is still my favorite camera. Anyway, I decided to compare some of my c-mount lenses. Don't mind the quick and dirty lighting and grading, this is more about the lenses and their sharpness wide open. You can tell the 12.5mm is the sharpest because of the aliasing in my beard. I still love the camera though. Here's some bmpcc/c-mount lens footage I shot a year ago (which is what made me want to get the pocket again) with the KP 26mm, KP Yvar 16mm 2.8, and Fujinon 18-108mm 2.5 zoom:
 

Last year I DP'd and edited two films for the 15 Second Horror challenge, and I meant to share them here, but forgot. The first is Crawlspace, written & directed by my friend Chess Maxwell:
Crawlspace made it onto Lloyd Kaufman's top ten, which was exciting for us since we're all fans of The Toxic Avenger and were inspired by Troma when we were teenagers. You can see it and the rest of "Uncle Lloyd"s Top Ten here:
The other film was "A Gripping Tale" written & directed by my friend Steve Sanders:
Both were shot on the Panasonic G7 in CineV with Canon FD lenses. This was one of the most fun shoots I've worked on recently. Both were shot at the same location, same day, back to back, with the same cast and crew, and I'm pretty proud of our work on these.

Last year I DP'd and edited two films for the 15 Second Horror challenge, and I meant to share them here, but forgot. The first is Crawlspace, written & directed by my friend Chess Maxwell:
Crawlspace made it onto Lloyd Kaufman's top ten, which was exciting for us since we're all fans of The Toxic Avenger and were inspired by Troma when we were teenagers. You can see it and the rest of "Uncle Lloyd"s Top Ten here:
The other film was "A Gripping Tale" written & directed by my friend Steve Sanders:
Both were shot on the Panasonic G7 in CineV with Canon FD lenses. This was one of the most fun shoots I've worked on recently. Both were shot at the same location, same day, back to back, with the same cast and crew, and I'm pretty proud of our work on these.

Oh no, what have I done? Have I gone and bought the bmpcc again? I tried 4K, it was fine, now I'm back to the land of better color and DR, and ProresHQ/Raw files and that s16 sensor. Feels good. I'd say this is still my favorite camera. Anyway, I decided to compare some of my c-mount lenses. Don't mind the quick and dirty lighting and grading, this is more about the lenses and their sharpness wide open. You can tell the 12.5mm is the sharpest because of the aliasing in my beard. I still love the camera though. Here's some bmpcc/c-mount lens footage I shot a year ago (which is what made me want to get the pocket again) with the KP 26mm, KP Yvar 16mm 2.8, and Fujinon 18-108mm 2.5 zoom:
 

Last year I DP'd and edited two films for the 15 Second Horror challenge, and I meant to share them here, but forgot. The first is Crawlspace, written & directed by my friend Chess Maxwell:
Crawlspace made it onto Lloyd Kaufman's top ten, which was exciting for us since we're all fans of The Toxic Avenger and were inspired by Troma when we were teenagers. You can see it and the rest of "Uncle Lloyd"s Top Ten here:
The other film was "A Gripping Tale" written & directed by my friend Steve Sanders:
Both were shot on the Panasonic G7 in CineV with Canon FD lenses. This was one of the most fun shoots I've worked on recently. Both were shot at the same location, same day, back to back, with the same cast and crew, and I'm pretty proud of our work on these.

Oh no, what have I done? Have I gone and bought the bmpcc again? I tried 4K, it was fine, now I'm back to the land of better color and DR, and ProresHQ/Raw files and that s16 sensor. Feels good. I'd say this is still my favorite camera. Anyway, I decided to compare some of my c-mount lenses. Don't mind the quick and dirty lighting and grading, this is more about the lenses and their sharpness wide open. You can tell the 12.5mm is the sharpest because of the aliasing in my beard. I still love the camera though. Here's some bmpcc/c-mount lens footage I shot a year ago (which is what made me want to get the pocket again) with the KP 26mm, KP Yvar 16mm 2.8, and Fujinon 18-108mm 2.5 zoom:
 

Last year I DP'd and edited two films for the 15 Second Horror challenge, and I meant to share them here, but forgot. The first is Crawlspace, written & directed by my friend Chess Maxwell:
Crawlspace made it onto Lloyd Kaufman's top ten, which was exciting for us since we're all fans of The Toxic Avenger and were inspired by Troma when we were teenagers. You can see it and the rest of "Uncle Lloyd"s Top Ten here:
The other film was "A Gripping Tale" written & directed by my friend Steve Sanders:
Both were shot on the Panasonic G7 in CineV with Canon FD lenses. This was one of the most fun shoots I've worked on recently. Both were shot at the same location, same day, back to back, with the same cast and crew, and I'm pretty proud of our work on these.

Oh no, what have I done? Have I gone and bought the bmpcc again? I tried 4K, it was fine, now I'm back to the land of better color and DR, and ProresHQ/Raw files and that s16 sensor. Feels good. I'd say this is still my favorite camera. Anyway, I decided to compare some of my c-mount lenses. Don't mind the quick and dirty lighting and grading, this is more about the lenses and their sharpness wide open. You can tell the 12.5mm is the sharpest because of the aliasing in my beard. I still love the camera though. Here's some bmpcc/c-mount lens footage I shot a year ago (which is what made me want to get the pocket again) with the KP 26mm, KP Yvar 16mm 2.8, and Fujinon 18-108mm 2.5 zoom:
 

Someone on my facebook feed earlier called filmmakers who prefer film to digital "hipsters" and basically idiots for wanting to shoot on film. I don't see anything wrong with Soderbergh wanting to try something different. I love my digital cameras, but I've also shot Super 8, and I have some 16mm waiting to be shot. I'll probably shoot something with my iPhone at some point, because it seems like it could be fun. I guess I'm a fucking hipster for wanting to keep filmmaking fun for me. No one ever questions an artist for switching from water color to oil, when clearly they could just paint everything the same way because there's no NEED to use anything else.

Someone on my facebook feed earlier called filmmakers who prefer film to digital "hipsters" and basically idiots for wanting to shoot on film. I don't see anything wrong with Soderbergh wanting to try something different. I love my digital cameras, but I've also shot Super 8, and I have some 16mm waiting to be shot. I'll probably shoot something with my iPhone at some point, because it seems like it could be fun. I guess I'm a fucking hipster for wanting to keep filmmaking fun for me. No one ever questions an artist for switching from water color to oil, when clearly they could just paint everything the same way because there's no NEED to use anything else.

Someone on my facebook feed earlier called filmmakers who prefer film to digital "hipsters" and basically idiots for wanting to shoot on film. I don't see anything wrong with Soderbergh wanting to try something different. I love my digital cameras, but I've also shot Super 8, and I have some 16mm waiting to be shot. I'll probably shoot something with my iPhone at some point, because it seems like it could be fun. I guess I'm a fucking hipster for wanting to keep filmmaking fun for me. No one ever questions an artist for switching from water color to oil, when clearly they could just paint everything the same way because there's no NEED to use anything else.

Someone on my facebook feed earlier called filmmakers who prefer film to digital "hipsters" and basically idiots for wanting to shoot on film. I don't see anything wrong with Soderbergh wanting to try something different. I love my digital cameras, but I've also shot Super 8, and I have some 16mm waiting to be shot. I'll probably shoot something with my iPhone at some point, because it seems like it could be fun. I guess I'm a fucking hipster for wanting to keep filmmaking fun for me. No one ever questions an artist for switching from water color to oil, when clearly they could just paint everything the same way because there's no NEED to use anything else.

Yeah, ML with 3x bitrate, and Ive Lotus "FILM" picture style (my favorite). No grading except a very small contrast curve.
http://www.filmpicturestyle.com/

I had to sell my G7, so to get the most out of my EOS M, I'm sticking to crop mode with c-mount lenses. I've added a Cosmicar 6mm 1.2 and Tokina 12.5-75mm 1.2 lenses to my c-mount lens collection. I tested all of them along with my Meteor 5-1 17-69mm 1 lens from my K3 16mm camera. All are tested wide open. I don't plan on shooting wide open all the time, but I wanted to test sharpness and DOF at wide open apertures.
Tokina 12.5-75mmmm at 12.5mm

Tokina at 50mm:

Meteor 5-1 at 17mm:

Meteor at 69mm:

Cosmicar 6mm:



Cosmicar 8.5mm:



Cosmicar 12.5mm:

Kern Paillard 26mm:


Love this set-up so far.

I had to sell my G7, so to get the most out of my EOS M, I'm sticking to crop mode with c-mount lenses. I've added a Cosmicar 6mm 1.2 and Tokina 12.5-75mm 1.2 lenses to my c-mount lens collection. I tested all of them along with my Meteor 5-1 17-69mm 1 lens from my K3 16mm camera. All are tested wide open. I don't plan on shooting wide open all the time, but I wanted to test sharpness and DOF at wide open apertures.
Tokina 12.5-75mmmm at 12.5mm

Tokina at 50mm:

Meteor 5-1 at 17mm:

Meteor at 69mm:

Cosmicar 6mm:



Cosmicar 8.5mm:



Cosmicar 12.5mm:

Kern Paillard 26mm:


Love this set-up so far.

A couple of weeks ago, I shot this punk show in a bar and made a highlight video for work. All of the slider B-Roll is shot by me on the Panasonic G7 with Cheap Focal Reducer and Canon FD 50mm 1.4 (CineV). Interviews were shot mostly on the Canon 7D with (I believe) the L Series 50mm 1.4. There was a lot of cool footage I wish I could have included. Maybe I'll make a reel of some of the stuff I've shot for work.
 

I got the settings from Dave Alitzer on another thread, which he apparently got somewhere from dvxuser:
"THE SONY PROFILE
Black Level: 0 (it's disabled in s-log2 anyway)
Gamma: S-log2
Black Gamma: Range- Narrow, Level -7
Knee: auto
Color Mode: sgamut3.cine
Saturation: +32
Color Phase: -2 (this is for a7sII and a6300, for original a7s use -5)
Color Depth: +6 (all of them)
Detail: -6
Expose 1.5 to 2 stops over."
I used the Sony Profile settings and graded with Lumetri in Premiere. I only used those settings and never found a need for anything else.