Cosimo murgolo

Thanks Hans, one of these would be perfect, (link below), but I don't understand if this will work on a 5d markiii.

Artiswar is using it on the sony A7s, what do you think?

http://www.holymanta.com/

Forgive my  stupid question, will this work to place a 72mm ND filter on the FM?

http://i.ebayimg.com/00/s/MTUwMFgxNTAw/z/EF4AAOSwuMFUghm8/$_57.JPG

Thanks Hans, this is just a quick video I did with the Sankor 16D inside the FM, nothing special. It's just to show that the hack was worth it.

​Nahua, I haven't drilled holes to the FM itself, but to the metal tube that came with the FM (see the attachment photo), I am sure if  I showed you a video tutorial you wouldn't be so scared

 At the end of the day only I did was taking the focus ring apart with a little screw driver like Hans said, the little screws came off easily, then you need to unscrew the 2 rings, once the rings were out  I decide to put a little plastic bag around the sankor, cos was quite greasy, I went with some tape around it to secure the plastic wouldn't move. Set the Sankor to infinity by pulling the top part that moves all the way up, stopped it with more tape and infinity was fixed.

After that half of the job is done, you have to find your way around it to clamp the sankor.  I was lucky to have the right stuff with me.

I used 2 redstan clamps , one actually is a filter clamp, ( see the 2nd photo)  I  put the sankor inside the FM, and from that I find my way to clamp it.

The end part of the sankor was sticking out, good, so I had room to work on it,  so I set the metal tube inside the sankor, then I took the black filter clamp and that went right around the metal tube, drew with a pen through the filter clamp's holes to be drilled into the metal tube,I took everything out , drilled the holes into the metal tube, I put back inside the FM, the black plastic screws now went right through the metal tube , they reached and stopped the sankor in the right position that was inside the metal tube. After that  the only part I had was just the end part of the sankor sticking out, so I took the other redstan clamp the red one and I attached it to the taking lens.

I hope this will help everyone with a Sankor, please forgive my english.

​I am not an expert when it comes to taking lenses apart, it was a nightmare for me too, I took the risk.

 It took me 3 and half hours do the job,  with kids going around and my wife complaining, I was lucky to have the right pieces, 2 redstan clamps and some ingenuity, I had to drill some holes to the  metal tube that came with the FM, but now I can say it was worth it. I can also say that I thought it was going to be more difficult. I actually had difficulties to understand how to clamp it. I tried severals ways, finally a good idea came into my mind.

Another problem that I wasn't aware of was to keep the anamorphic to infinity, once I unscrewed the metal focus ring I thought it could stay  at infinity, it didn't, when I placed the sankor into the FM, the whole focus shifted, so, I had to find a way to keep the anamorphic at infinity. I managed to put tape between that space and it didn't shift anymore.

If you don't like to go through all this, just go the isco/Schneider route, both ways are worth it, believe me.

Thank you Nahua

I've managed to fit the Sankor 16D inside the FM.

​I am very very sorry to hear that, I know how it feels, puta mierda!!!!

just one word, ​marvelous!!!!!  it looks very cinematic, I love it.

Thanks for sharing

The Hawk in the photo it's huge and expensive, FM it's only heavy ,​ you are welcome Nahua.

That's my set up at the moment, I am very happy with it, I didn't get  how to calibrate the FM focus soon, but thanks to Hans and the anamorphic guys I managed to get the FM focus right.

Next I am going to try to fit the proskar and the sankor, if I can.

At the moment I didn't have time to make a video, very busy flying around, I am looking forward to play with my toy soon.

I am so excited !!!!

The combo in the photo includes schneider cinelux with lips and olympus 100mm f2.8.

http://

http://

​and

​yes Tito, no rush man, take your time!!! Everything is very interesting and informative, the whole community owes you.

thanks a lot!!!

I was wondering who gave you that idea just kidding Andrew, I like it this way, thanks a lot!!!!

updated with cine lenses and double focus! one third of the work is done. :)

good work!!!, carry on man!!!

Do not forget the new toy though.

some simple, but good tips for all of us.

Any other better video tutorial, please share.

Thanks!

Well how much should they be worth spending? I do agree $1,000 is a bit steep.

no more than 350 euros, Tito is right!!!

The iscomorphot 8/1.5x are single focus lens. It's mean't to work with apsc sized sensors along with s16, m4/3, etc. they will work with this lens no problem according to what I've read here in the forums. I don't shoot with a full frame anymore, so it's not a concern for me.

that's correct! I used to own one, nice lens.

thanks for the interest Cosimo. Tell me what kind of work you would like to see first as getting work will probably require a few phone calls as most of my work is for local not on the interweb (the kind of work I would proudly share that is! :D). Tell me whether you want Drama/feature kind of work with large crews, documemtary, simple beauty shots, even wedding work?

 

Anything you want Ebrahim, the easiest thing for you to get.

Thanks!

Sure and while you're at it, drop some videos from a GH2 here as well.

Remember this post earlier this year? http://www.eoshd.com/2014/05/kendy-ty-t2i-one-guy-amazing-things-5-year-old-dslr/

Nobody says last generation cameras immediately suck as soon as something newer comes out. They've been used to great extent for a reason.

But does it really make sense to put your money down and get that kind of camera, when there's so much else out there that's affordable and has 2014-tech? Not so sure...

yes I like  Kendy's stuff, I absolutely agree with you, I am sure there are some beautiful gh2 stuff, of course!.

The guy was mentioning the 7D and others cameras, while on vimeo watching videos  I found it nice for him to share this video, so he could have an idea about what he can achieve with this camera, but it could have been any camera..

I had to MURDER my poor sankor :<

 

oddly enough the flaring doesnt seem worth it under the Focus Module. Seems VERY lackluster compared to without the Focus Module.

 

So I unscrewed it. The center focus ring is 3 parts, 2 connected with screws. Once the are removed there is grease and oil. the sankor is essentially an extending tube under that. I used painters tape (leaves no residue) to jam it open at infinity. It was no small enough to fit in the FM. I wrapped some more blue tape on the end and jammed the metal circular piece over the rear of the sankor. It fit and stuck. Mounted it up, and looked through. IMO the Schneider seems to be the lucky winner overall for the FM. Good thing I got one just before my FM for 80 bucks! Good glass too!

 

Thankfully I can rebuild my sankor. Just takes some time.

 

I felt bad about it too. I used my Sankor to do my last video project for my junior college film class!

 

 

Ok, thanks for sharing this, any chance to make a video test (FM+sankor)

cheers!

 

Why are you even considering the Canon 7D?? :-/ 

Have a look at this video!!!!

and this is the comment of the guy who did this.

I am really happy with 7D though, I think the image holds up very well. Until majority of cinema projectors and household TV's switch over to 4K, (which is a few years off IMO) I think 7D is more than sufficient for independent films. 1728x724 scales very nicely to 2k, no one can tell the difference, honestly... and most  film festivals and theaters will continue to project in 2k for a few more years, so I think 7D is a good investment. I plan to pick up a few more so I have backups. I really feel like camera is no longer limitation for great production. I will invest my money into lighting and  grip and stay with this platform for a few more productions.

7D was used for the majority, and 5D for a few scenes inside cars and stuff where I needed a REALLY wide FOV. I think the image quality of 7D is far superior to 5D2 because of the vertical lines on 5D2 (even with vertical stripe correction...) plus i like the Super35 sensor of 7D the best, it's much easier to pull focus, and the FOV is what I'm used to. 

@Hashlehoff

How did you manage with your Sankor 16D?

Did you find a solution yet to fit in the FM, or are you working on it?

I am curious to know, still wanted to know how your Sankor looks like.

Cheers!

 When I was younger (like you?) I spent a lot of time reading/learning techniques (I still do) and felt getting to a certain level of expertise would be the key to success.  Unfortunately, what I discovered is that EVERY project is different in some small but significant way.  Every project depends on my finding a solution to a problem I didn't have before.  Styles and tastes change.  So no matter how well I might perfect a "camera angle" say, it would eventually go out of favor so I'd have to figure out something that fit the new projects.   In short, 90% of my clients use me because they trust me.  The skill they need from me I find trivial!!!!  Of course, I use the $9,000 lenses when I can, because it's important to me, and I do believe they see it, BUT ONLY AFTER I've done the 90% of the blocking and tackling.

 

Another way I might say what Ebrahim is saying is that getting the 20 minutes "in the can" with consistent quality, that meets the client's needs (which they will never be able to fully articulate) always requires a million compromises which CANNOT be saved by all the most expensive cameras and lenses on Earth!  It's not that the client won't appreciate a good lens over a bad lens, it's that the "story/message" is 90% of what they're looking at.  A $10,000 lens in the wrong lighting will NOT beat a $200 lens with the right lighting.  Like everyone else, I admire anyone who uses $10,000 lenses in the right lighting, but there is no real technique to that because lighting, as Ebrahim says IS A FUNCTION of what mood the client wants.   

 

TRUST, TRUST between you and the client is everything!  So it's more important you WORK WITH PEOPLE, than learn techniques by yourself.  Get any job you can.  Work with young people on school projects.  

 

Finally, if you want to know tips and tricks, then you need to look at that person's work and ask them how they solved a certain problem.  Or you need to ask what kind of look you want and what the person does.  There are no tricks that apply to everything...except the learn to work with people for a COMMON goal that, as jax_rox says, may not be your own.

Thanks maxotics for sharing this good tips, I guess I have to start getting some job from clients

I have to start from somewhere anyway :)

I would love to see some of guys work, especially Ebrahim's work, I don't know if he ever published some video links, pure curiosity mine ,believe me.

I think it's nice for everyone to read and share all this, I opened this topic with the intensions to help everyone in need.

So if you or anybody else have more to say just do it.

The more the better!!!!

Now, let's leave for a moment the clients out of this and go back to my first post, let's concentrate more on the portray scenes, camera angels, composition and the like.

Do you ever feel you are doing everything in the right way? do you follow and put into practice always what you learned? 

Do you get influenced by any specific director, or are you free from influences and experiment your on style.

Is there any particular scenes  from one of your past work that you are very proud of?