Matt Kieley

I still have the BMPCC, did some b-roll shooting with it and the FD 24mm today. I might post grabs tonight or tomorrow. I also have a Sony a6000 coming tomorrow, which is mainly why I got the FDs--to have some nice sharp vintage lenses for APS-C.

Re-bought the Canon nFD 24mm 2.8 and 35-105mm 3.5 Zoom. I forgot how much I loved these lenses.

Re-bought the Canon nFD 24mm 2.8 and 35-105mm 3.5 Zoom. I forgot how much I loved these lenses.

Re-bought the Canon nFD 24mm 2.8 and 35-105mm 3.5 Zoom. I forgot how much I loved these lenses.

Re-bought the Canon nFD 24mm 2.8 and 35-105mm 3.5 Zoom. I forgot how much I loved these lenses.

This is exactly what I've been feeling. Thank you, Andy. And welcome back? I feel like I haven't seen you post in a while.

So, two years ago I bought a Samsung NX1. Then I sold it, so I could have some money in the bank when I moved in with my girlfriend. I still owned the GH1 I bought four years earlier. I convinced myself that I could get equally cinematic imagery out of either camera with good lighting and cinematography. Then I bought a GX7 months later, since it as cheap, we were doing okay financially, and it had microscopically better image quality. Then I sold both cameras and got a BMPCC. Last year we needed some extra cash to get us through a financial rough spot. I convinced myself that I could get just good imagery out of the T2i I bought. Then I get a Nikon D5200 because it had better low light performance and didn't seem to have the moire problems. Then I got the BMPCC camera again because the DSLRs just weren't good enough. I needed the dynamic range, Prores, 4:2:2 color space, etc.
Then I watched a video by a filmmaker explaining why he hasn't, and still won't "upgrade" from his T3i. And his argument had little to do with his particular camera at all. It was the same old mantra of "story over equipment". Instead of spending $3K on an A7S, he could use that money into paying good actors, paying for a production designer, etc. And this is the first time, I think, that I've finally started to believe what I told myself repeatedly about gear not mattering. The idea that the color space and dynamic range of the BMPCC will give me a more cinematic image is the same foolish idea that "shallow depth of field = cinematic" when shallow DOF is just one effect you can use in a shot. But what about the framing, composition, lighting, movement (or lack of), color, focal lenght, production design, costume design? These are still the most superficial aspects of what makes something cinematic. The story, and more specific moments, the acting, direction, music, plus the cinematography, and actual EVOCATIVE IMAGERY itself, the kind that really sticks with you. Like this:





I started thinking "If I sell my BMPCC kit, and my Nebula 4000, and bought a used GH1 or GH2, I would have at least a little money leftover for a short film I've been trying to get done for a while now. It requires a special costume that needs to be fabricated. And that costume is practically the whole movie. I haven't had the extra money to pay someone for their time and materials. And I'd probably still have money leftover after that for the rest of the film. The idea that I can only shoot great images with the BMPCC or a Red is as ridiculous as thinking shooting on film will allow you to create great images. The format/capture medium is at the bottom of the list of what makes a great image. It's hardly even relevant. I've seen terrible indie movies shot on Super 16, and what made them even worse was knowing the director and/or DP who made that choice probably thought they were a fucking artist for shooting on film, even though they couldn't create a single memorable image in their film.
I have recently been hired to direct and DP an episode (and possibly more) or a web series. This is not the first time I have been asked to be a director and direct someone else's script, it's not the first time I've DP'd for someone else, but this is the first time I'm about to be paid actual money to do what I love. Previous episodes were directed and shot by another filmmaker with the BMCC and BMPC4K, so I was considering keeping my BMPCC to at least somewhat match. But...it doesn't really matter. The producer/writer doesn't give a shit what I shoot with, as long as it records moving images. He wouldn't even know the difference between the cameras--he's not technical, which is why he hires other people to direct and shoot. Now I'm kind of getting excited by the challenge of matching a GH2 to BM cameras. I want to put the specs and camera aside and focus on the direction, lighting, and imagery. I've always believed what I'm saying, but now I'm finally taking the truly important filmmaking shit to heart. And I'm not trying to convince everyone here to sell their stuff in favor of older, cheaper stuff. I'm just trying to explore what makes an image unforgettable, or "cinematic". 
Here's the video that actually explained this philosophy in both artistic and practical ways and inspired this wall of text:
 
I've really come to love this youtube channel. His older videos are more about tips and gear, but his more recent stuff is all much more about creativity. It's inspiring me. Maye I just needed to hear all this in a British accent for me to take it seriously.
TLDR: I'm selling my bmpcc and getting a GH2.

So, two years ago I bought a Samsung NX1. Then I sold it, so I could have some money in the bank when I moved in with my girlfriend. I still owned the GH1 I bought four years earlier. I convinced myself that I could get equally cinematic imagery out of either camera with good lighting and cinematography. Then I bought a GX7 months later, since it as cheap, we were doing okay financially, and it had microscopically better image quality. Then I sold both cameras and got a BMPCC. Last year we needed some extra cash to get us through a financial rough spot. I convinced myself that I could get just good imagery out of the T2i I bought. Then I get a Nikon D5200 because it had better low light performance and didn't seem to have the moire problems. Then I got the BMPCC camera again because the DSLRs just weren't good enough. I needed the dynamic range, Prores, 4:2:2 color space, etc.
Then I watched a video by a filmmaker explaining why he hasn't, and still won't "upgrade" from his T3i. And his argument had little to do with his particular camera at all. It was the same old mantra of "story over equipment". Instead of spending $3K on an A7S, he could use that money into paying good actors, paying for a production designer, etc. And this is the first time, I think, that I've finally started to believe what I told myself repeatedly about gear not mattering. The idea that the color space and dynamic range of the BMPCC will give me a more cinematic image is the same foolish idea that "shallow depth of field = cinematic" when shallow DOF is just one effect you can use in a shot. But what about the framing, composition, lighting, movement (or lack of), color, focal lenght, production design, costume design? These are still the most superficial aspects of what makes something cinematic. The story, and more specific moments, the acting, direction, music, plus the cinematography, and actual EVOCATIVE IMAGERY itself, the kind that really sticks with you. Like this:





I started thinking "If I sell my BMPCC kit, and my Nebula 4000, and bought a used GH1 or GH2, I would have at least a little money leftover for a short film I've been trying to get done for a while now. It requires a special costume that needs to be fabricated. And that costume is practically the whole movie. I haven't had the extra money to pay someone for their time and materials. And I'd probably still have money leftover after that for the rest of the film. The idea that I can only shoot great images with the BMPCC or a Red is as ridiculous as thinking shooting on film will allow you to create great images. The format/capture medium is at the bottom of the list of what makes a great image. It's hardly even relevant. I've seen terrible indie movies shot on Super 16, and what made them even worse was knowing the director and/or DP who made that choice probably thought they were a fucking artist for shooting on film, even though they couldn't create a single memorable image in their film.
I have recently been hired to direct and DP an episode (and possibly more) or a web series. This is not the first time I have been asked to be a director and direct someone else's script, it's not the first time I've DP'd for someone else, but this is the first time I'm about to be paid actual money to do what I love. Previous episodes were directed and shot by another filmmaker with the BMCC and BMPC4K, so I was considering keeping my BMPCC to at least somewhat match. But...it doesn't really matter. The producer/writer doesn't give a shit what I shoot with, as long as it records moving images. He wouldn't even know the difference between the cameras--he's not technical, which is why he hires other people to direct and shoot. Now I'm kind of getting excited by the challenge of matching a GH2 to BM cameras. I want to put the specs and camera aside and focus on the direction, lighting, and imagery. I've always believed what I'm saying, but now I'm finally taking the truly important filmmaking shit to heart. And I'm not trying to convince everyone here to sell their stuff in favor of older, cheaper stuff. I'm just trying to explore what makes an image unforgettable, or "cinematic". 
Here's the video that actually explained this philosophy in both artistic and practical ways and inspired this wall of text:
 
I've really come to love this youtube channel. His older videos are more about tips and gear, but his more recent stuff is all much more about creativity. It's inspiring me. Maye I just needed to hear all this in a British accent for me to take it seriously.
TLDR: I'm selling my bmpcc and getting a GH2.

Did some more testing of the Cosmicar 12.5mm f/1.9 on the bmpcc. Daytime is f/2.8, Nighttime is f/1.9. I'm really impressed with this lens. You can see the video in the shooting section.







I love this lens. I don't even really see a point in keeping my Rokinon 12mm, though it's still a fantastic lens, probably slightly sharper, but this has more character. Not bad for an old lens bought for $55. I got excited about c-mount lenses again so I ordered a couple of Kern-Paillard Bolex lenses. I can't wait to do more testing and see how the Cosmicar performs from f/4-8.

Thanks!
So I bought a Cosmicar 12.5mm f/1.9 c-mount lens. I previously owned the f/1.8 version of the lens. It was a pain in the ass to modify, filing down the the back edges to sit closer to the sensor. It looked nice at around f/4, it was tiny and kind of impractical. I had no idea this f/1.9 version worked without modification. and is actually pretty sharp (obviously not as sharp as more expensive modern lenses) wide open. It's also made of metal, it's larger, it doesn't look as goofy with a follow focus on it, and it feel more practical just using it today. I really love the look of it. I'm actually thinking of selling of all of my lenses except this one, my Rokinon 12mm, and my Fujinon zoom. All of these grabs are at f/1.9. I'll probably do a better lit/staged test this weekend. I also don't have the IR cut to fit my c-mount lenses yet, so excuse any muddiness.





 

I got a Hoyarex split diopter and tested on the bmpcc and Rokinon 12mm cine. I love this old school effect.

I got a Hoyarex split diopter and tested on the bmpcc and Rokinon 12mm cine. I love this old school effect.

I got a Hoyarex split diopter and tested on the bmpcc and Rokinon 12mm cine. I love this old school effect.

I got a Hoyarex split diopter and tested on the bmpcc and Rokinon 12mm cine. I love this old school effect.

Thanks guys. I haven't tried scope, but it basically covers the sensor of the pocket. The corners are maybe dark, I'd have to check the footage again, but that's supposed to be part of the charm of the lens.
This week I received a Fujinon TV Z C6X18 18-108mm f/2.5 c-mount zoom lens, and I love it. It covers the bmpcc sensor, looks good at /4 (it's soft, with purple fringing wide open), it's super smooth, parfocal, and a lot of fun. I've always loved the zoom-in/out as a stylistic/emotional effect (think The Graduate and The Shining) so I'm excited to put it to use. Last year I had a Canon V6X17, but I prefer the Fujinon aesthetically (particularly the bokeh). It feels well-built too. It's made of metal yet still light (lighter than the Canon). It's about the length of my Rokinon 24mm, but smaller around than my Panasonic 14-42mm 3.5-5.6. I got a pristine copy from ebay for $50. I'll post footage soon.

One more lens test for this week - BMPCC with Holga lens (Super 8 emulation):
 

One more lens test for this week - BMPCC with Holga lens (Super 8 emulation):
 

I got the Rokinon 12mm cine lens for my bmpcc, and I love it so far. These were all shot wide open, and I was surprised by how sharp it is. Nice bokeh. And I love the perspective of this focal length on this sensor size. I usually prefer a wider lens, previously owned the Rokinon 10mm, but much prefer this lens now. Maybe my focal length tastes are changing. This might be my new favorite lens.

I got the Rokinon 12mm cine lens for my bmpcc, and I love it so far. These were all shot wide open, and I was surprised by how sharp it is. Nice bokeh. And I love the perspective of this focal length on this sensor size. I usually prefer a wider lens, previously owned the Rokinon 10mm, but much prefer this lens now. Maybe my focal length tastes are changing. This might be my new favorite lens.

I got the Rokinon 12mm cine lens for my bmpcc, and I love it so far. These were all shot wide open, and I was surprised by how sharp it is. Nice bokeh. And I love the perspective of this focal length on this sensor size. I usually prefer a wider lens, previously owned the Rokinon 10mm, but much prefer this lens now. Maybe my focal length tastes are changing. This might be my new favorite lens.

I got the Rokinon 12mm cine lens for my bmpcc, and I love it so far. These were all shot wide open, and I was surprised by how sharp it is. Nice bokeh. And I love the perspective of this focal length on this sensor size. I usually prefer a wider lens, previously owned the Rokinon 10mm, but much prefer this lens now. Maybe my focal length tastes are changing. This might be my new favorite lens.

I got the Rokinon 12mm cine lens for my bmpcc, and I love it so far. These were all shot wide open, and I was surprised by how sharp it is. Nice bokeh. And I love the perspective of this focal length on this sensor size. I usually prefer a wider lens, previously owned the Rokinon 10mm, but much prefer this lens now. Maybe my focal length tastes are changing. This might be my new favorite lens.

I got the Rokinon 12mm cine lens for my bmpcc, and I love it so far. These were all shot wide open, and I was surprised by how sharp it is. Nice bokeh. And I love the perspective of this focal length on this sensor size. I usually prefer a wider lens, previously owned the Rokinon 10mm, but much prefer this lens now. Maybe my focal length tastes are changing. This might be my new favorite lens.

I bought the Pocket again last month because nothing else would cut it. It just has such a pleasing, rich image to it, with great color.

I bought the Pocket again last month because nothing else would cut it. It just has such a pleasing, rich image to it, with great color.