Matt Kieley

Cosmicar 12.5mm 1.9 on the G7. I loved this lens on the bmpcc and it's good on the G7 too, though it does vignette a bit, but cropping to scope takes care of it. Of course, since it's 4K I can always punch in more if I want to shoot for 16:9.

Cosmicar 12.5mm (wide open)

RMC Tokina 17mm w/ focal reducer (wide open)

Cosmicar

Tokina

When I was 17 I was making a short film, but left the camera rolling after a take, and forgot I didn't actually hit the record button again to stop recording. So naturally I hit that record button at the beginning of the next shot. I ended up with a bunch of behind the scenes footage instead of actual movie footage. Luckily this was just a slapped together teenage movie and not something serious.

I rebought the 28mm 2.8 and I love how sharp it is on the G7 with focal reducer:

2.8

5.6
I'm loving this lens too. It's a little soft wide open (almost looks like you have a light pro mist or something) but not bad. This is a video I just shot on the G7 with the RMC Tokina 17mm 3.5 + focal reducer:
It's shot at mostly 5.6 until the slow motion shots. The rest is wide open.

Some RMC Tokina 17mm magic hour.

Sometimes lenses of the same brand/generation don't even match. My Canon FD 35-105mm 3.5 lens has really low contrast compared to other Canon FD lenses of the same generation that I own/have owned. I think it's best to just test/compare all of your lenses side-by-side and figure out how they make you feel and use them to convey that feeling when necessary.

Sometimes lenses of the same brand/generation don't even match. My Canon FD 35-105mm 3.5 lens has really low contrast compared to other Canon FD lenses of the same generation that I own/have owned. I think it's best to just test/compare all of your lenses side-by-side and figure out how they make you feel and use them to convey that feeling when necessary.

I just did a test for the blue spot. It seemed to only happen with the aperture stopped down to f/16. When I used an ND and shot wide open it didn't seem to be there. The spot only seemed to appear the more I stopped down.
F/16, no ND:

f/2.8 w/ Hoya ProND 4-stop:

I'm sure the better speed boosters won't require you to shoot wide open, but for the price, this is a good enough solution for me.

Stop making me want these lenses.

Damn, making me miss my favorite DV camera: the DVX100. I may have to come up with a project to shoot on DV. I made a feature film on the DVX back when I was much more of an amateur than I am now. I'm curious what quality/look I could get now that I'm better at lighting and shooting.

I've recently started applying to freelance Director of Photography jobs, but one thought has been nagging me: do people take you less seriously if all you have is a cheap DSLR or Mirrorless camera? I feel like my reel, which is all BMPCC, Sony a6300 and even some T2i, should speak for itself, but a lot of jobs I see posted on Mandy and elsewhere demand Red, or Alexa (I never even see a mention of Blackmagic). I think these are producers or directors who are hiring a DP because they don't own equipment, and possibly don't know anything about cameras other than Red and Arri because they're "the industry standard". I understand some people just want "the best" and so they look to what Hollywood and Indywood are using. I understand why they would want to use the big fancy expensive cinema cameras. I know I can get great results with any camera I use--I've proven that to myself with all of this buying, trying and selling cameras I've done for the past year+, but I wonder if I could just be disregarded entirely when I say I have what are basically cheap mid-range cameras. To any DPs here working on narrative films, have you ever been passed up for not owning a Red or some sort of expensive fucking camera? Or do you get work based on the strength of your reel and convince the producers or whomever to shoot on whatever you want because you're the DP and you're in charge of that department? Do you have to have the strong reel AND the expensive equipment? Do you feel like the fancy camera opens more doors? Or is it just as competitive no matter what you own and how good your reel is?

I've recently started applying to freelance Director of Photography jobs, but one thought has been nagging me: do people take you less seriously if all you have is a cheap DSLR or Mirrorless camera? I feel like my reel, which is all BMPCC, Sony a6300 and even some T2i, should speak for itself, but a lot of jobs I see posted on Mandy and elsewhere demand Red, or Alexa (I never even see a mention of Blackmagic). I think these are producers or directors who are hiring a DP because they don't own equipment, and possibly don't know anything about cameras other than Red and Arri because they're "the industry standard". I understand some people just want "the best" and so they look to what Hollywood and Indywood are using. I understand why they would want to use the big fancy expensive cinema cameras. I know I can get great results with any camera I use--I've proven that to myself with all of this buying, trying and selling cameras I've done for the past year+, but I wonder if I could just be disregarded entirely when I say I have what are basically cheap mid-range cameras. To any DPs here working on narrative films, have you ever been passed up for not owning a Red or some sort of expensive fucking camera? Or do you get work based on the strength of your reel and convince the producers or whomever to shoot on whatever you want because you're the DP and you're in charge of that department? Do you have to have the strong reel AND the expensive equipment? Do you feel like the fancy camera opens more doors? Or is it just as competitive no matter what you own and how good your reel is?

I've recently started applying to freelance Director of Photography jobs, but one thought has been nagging me: do people take you less seriously if all you have is a cheap DSLR or Mirrorless camera? I feel like my reel, which is all BMPCC, Sony a6300 and even some T2i, should speak for itself, but a lot of jobs I see posted on Mandy and elsewhere demand Red, or Alexa (I never even see a mention of Blackmagic). I think these are producers or directors who are hiring a DP because they don't own equipment, and possibly don't know anything about cameras other than Red and Arri because they're "the industry standard". I understand some people just want "the best" and so they look to what Hollywood and Indywood are using. I understand why they would want to use the big fancy expensive cinema cameras. I know I can get great results with any camera I use--I've proven that to myself with all of this buying, trying and selling cameras I've done for the past year+, but I wonder if I could just be disregarded entirely when I say I have what are basically cheap mid-range cameras. To any DPs here working on narrative films, have you ever been passed up for not owning a Red or some sort of expensive fucking camera? Or do you get work based on the strength of your reel and convince the producers or whomever to shoot on whatever you want because you're the DP and you're in charge of that department? Do you have to have the strong reel AND the expensive equipment? Do you feel like the fancy camera opens more doors? Or is it just as competitive no matter what you own and how good your reel is?

With c mount lenses 25mm is usually pushing it in terms of vignetting in full m43, but with the extra crop in 4k on the G7, GH4 etc it covers. I actually have an 18-108 Fuji c mount zoom that barely vignettes at 18mm. Here's a video example:
 

Thanks. The settings I've been using with CInelikeD are Contrast 0, -5 Sharpness, -5 NR, -2 Saturation. Graded with Lumetri (with Fuji 250D preset) in Premiere Pro CC. I love the 12-35, but it might be a little too expensive to keep, so the lens you suggested seems intriguing. I'm also looking at the Tamron 17-50mm, and the Canon TV-16 25-100mm c-mount zoom, although it's apparently really large and heavy and needs extra support.

Thanks, that's very encouraging! All you do to make it seems like a curved dolly is set up the slider like you would for any lateral slide, but begin with the camera at a 45 degree angle, and end it on a 45 degree angle, panning the camera as you track.

Thanks, that's very encouraging! All you do to make it seems like a curved dolly is set up the slider like you would for any lateral slide, but begin with the camera at a 45 degree angle, and end it on a 45 degree angle, panning the camera as you track.

I figured I should start sharing some of the work I do as part of my day job. This is a little documentary of the local Art Walk that I shot and edited. G7, CinelikeD, 12-35mm 2.8:
 

I figured I should start sharing some of the work I do as part of my day job. This is a little documentary of the local Art Walk that I shot and edited. G7, CinelikeD, 12-35mm 2.8:
 

Thanks! I've actually been working with Hectic Films since 2005 but this year the founder/director started a commercial production business and has been paying me to edit and shoot stuff full time. 
I shot all of my stuff on a cheap regular generic 32" slider from ebay. 

Here's another short documentary in a series I did for work--this time on airbrush artist Craig Fraser. Shot mostly by me on the G7 with 12-35mm, with a couple of shots on the Canon 7D with the 16-35mm (Straight on static interview shot and the time lapse shot)
 

I'd rather watch a David Lynch film shot on DV over anything made by anyone on this board. But that's just my opinion.

The DVX100 is a classic. It's only a 1/3" sensor, but I could easily get shallow depth of field with it (NDs + Wide open aperture) just don't expect 5D SDOF since most (all) handycams/camcorders had tiny sensors. Here's a teaser to my feature film shot with the DVX (just showing this one because it has some shallow DOF shots):
 

The DVX100 is a classic. It's only a 1/3" sensor, but I could easily get shallow depth of field with it (NDs + Wide open aperture) just don't expect 5D SDOF since most (all) handycams/camcorders had tiny sensors. Here's a teaser to my feature film shot with the DVX (just showing this one because it has some shallow DOF shots):
 

The DVX100 is a classic. It's only a 1/3" sensor, but I could easily get shallow depth of field with it (NDs + Wide open aperture) just don't expect 5D SDOF since most (all) handycams/camcorders had tiny sensors. Here's a teaser to my feature film shot with the DVX (just showing this one because it has some shallow DOF shots):
 

I'd rather watch a David Lynch film shot on DV over anything made by anyone on this board. But that's just my opinion.