Gregormannschaft

yeah, they all do. tiffen black satin has an unusual shape. distractingly so. shaped like little cowboy hats if i recall correctly. so i returned it. in wanting to introduce halation and lowered contrast, I've switched to vintage glass instead of filtration. this is why i'm so happy with the Dog Shidt Optiks set I purchased. Here is a video from Bob Gundu that shows the halation you get using these. I think it's perfect.
 

flat black paint?
 
also, unrelated. any footage of Canon FD 20mm 2.8? Couldn't find much online...

I just listened to an hour long podcast with the DP of Fargo season 3. I've been really digging the look of the season. He gave some insight to his color profile, so I decided to make a LUT for V Log L based off of Fargo Season 3. By no means is it perfect but have fun: https://www.dropbox.com/s/gtpwt6gxczfnyrf/FargoSeason3VLogL.cube?dl=0

Shot with the Blackmagic MIcro Cinema Camera with the Angeniuex 12-120mm 16mm lens, a cameflex mount modified to micro 4/3rds.  For color, I brought into Da Vinci resolve and used Filmconvert with a Fuji Eterna film stock and softened it even more to Super16mm softness.  Added a tiny bit of grain and that gave me a great starting point to harken back to a more organic look.
 
I zoomed in digitally mostly around 20% - and it still was too sharp of an image.
Why not shoot it anamorphic instead?   Well, I am in love with documentaries of the 60s and 70s like Grey Gardens, etc. And they used this lens I think, and it has a certain feel to it that’s pretty beautiful. 
Let me know what you guys think of this.
 

I quickly went to search their FB feed, here's the post from March.
I bought mine via Amazon when they had a sale on it back in November, so it was way before that whole "authorized dealer" mambo jambo. From the stores that have it in Germany, I had good experience with Marcotec in the past, I also think they're an authorized dealer (they had the official Smooth Q pre-order in Germany).

A while ago Zhiyun Tech informed on their Facebook page that they will not honor any service/warranty issues when not bought via the official importers. I'm not actually sure if that stance is even legal in the countries with strong consumer protection laws but it might be unnecessary hassle in any case. So maybe check that beforehand.

Has anywhere seen the price for a C200B in Europe?
I'm close to the point where I'm over the DSLR/Mirrorless form factor and want something that can churn out smoother, less colour-blocked footage. The price is still a little too high for my liking, and I've even been checking out sued C300 Mk2s and saw one go on eBay for 5k. I'm sure that was a scam though.

Nice Ed and Ed! Liked both of those stories. I use a 12-120 and also the 15-150 by angenieux. I am pretty sure they are the exact same lens, the 15-150 just sits a bit farther away from the mount increasing it's coverage (it's also a 2.8 instead of a 2.2 like the 120 which makes sense) I love shooting with them! Never have to change a lens.. just focus on getting shots. My favorite doc lens. I shot this for RIT with the 15-150. Do you guys use the diopters as well? I had to use them for a couple close ups as the minimum focus was something I had to get used to. I really took modern focusing distances for granted.
 

Thanks! Feel like I got a good deal at $199. 

The sony 24-70 GM knocked my socks off when I used it. Great lens. 

On S35 28mm is a beautiful focal length in my opinion! Since owning a GX85 I discovered that even more, because careful framing with it is a joy due to its ibis.
So are talking about 35mm length on 36x24 sensor like the A7S you used to shoot some of the best A7S colors with? That would be like a 20mm on S35- beautiful as well!
That modern Zeiss 28mm ZE is supposed to be a heck of a lens, for around 1000 USD though! The Sony with fly by wire focussing is supposed to be about equally as good
when it comes to optical quality.
 
 
Sounds great. I think I will do that. Heard good things about the Minolta too.
Not sure if the Vivitar, Komine, Kiron and so versions are that different from eachother or if it´s just lens folklore and part of lensporn.
By the way, different sort of bargain:
www.ebay.com/itm/ZEISS-Zeiss-Distagon-T-28mm-f-2-ZE-Lens-Canon-Fit-MINT-Condition-/263007244223?hash=item3d3c740fbf:g:PmAAAOSwH09ZKiBI
 
 
 
Shoot, out of likes! Lol Time big time!

What's this C200B? Interesting.  It's listed at $5,9999

The Canon EOS C200B Digital Cinema Camera offers cinematographers the same camera without these accessories and the EVF to optimize shooting using a gimbal, drone or a variety of other configurations.

The Canon EOS C200 and Canon EOS C200B Digital Cinema Cameras sport the same 8.85MP CMOS sensor, that combines with a newly developed dual DIGIC DV6 image processing system to help process high-resolution image data and record video from Full HD (1920×1080) and 2K (2048×1080) to 4K UHD (3840×2160) and 4K DCI (4096×2160). A core staple of the third generation Cinema EOS System, this new processing platform offers wide-ranging expressive capabilities and improved operation when capturing high-quality HDR video.

The Canon EOS C200 and EOS C200B Digital Cinema Cameras are scheduled to be available in August 2017 for estimated retail prices of $7,499** and $5,999** respectively. The EOS C200 comes equipped with additional accessories including the LM-V1 LCD Monitor, LA-V1 LCD Attachment, GR-V1 Camera Grip and HDU-2 Handle Unit. These accessories will also be sold separately and available in September 2017.


http://www.canonrumors.com/canon-u-s-a-announces-new-canon-eos-c200-and-eos-c200b-digital-cinema-cameras-in-continued-expansion-of-cinema-eos-system/

 

Worked for a german short film one day, directed by the then-unexperienced daughter of a famous TV producer. A friend of mine was the production designer/set dresser/prop maker (the first being her profession), and I helped her. Everbody got paid after profits, which means nobody. Regular medium sized crew, credits ran long, including a long list of sponsors (???). The regular TV cameraman had a RED, he also worked three 12-14 hour days without payment. Well-known TV and stage actors (in part "borrowed" from the father's TV shows). Everything looked promising, but at the premiere (free buffet with champagne for the crew) I found the result rather mediocre. Couldn't tell a moral from this.
My friend also worked for Cronenbergs A Dangerous Method, and out of curiosity I volunteered to help demount the studio sets. I liked this film very much, but the actual sets were really amazing, I expected the visuals to turn out much more spectacular than they eventually were. To be more precise, I expected a much higher production value. Again, I don't know what to think of that. Both experiences were inspiring.

The best part about these great edits is when some moron posts in the comments asking which software they used.

Hey Lens Geeks, 
I went onto Mr. Gale's website and saw that his DSO Trump lenses have been removed and replaced with these really cool looking APOGEE lenses. They come as set and cost a significant amount of cash.
I congratulate Rich on making these lenses so awesome and sought after, but I don't have the funds for that set, even though they look perfectly featured. 
I'm looking for any other type of well constructed, modified vintage type lenses that portray unique flare, artefact and bokeh in the images. I understand there's loads of olds stuff on eBay, but I'm really looking at something more polished and solid to work with. Maybe also some people who change the bokeh look in Helios lenses (but not shit). 
Also, I'm wondering if anybody knows of any accessories that also add an effect, such as any lens filters. 
 
This is what I know of so far: 
Lomography - they have some cool looking lens sets, like he Petzval, and have a Kickstarter on this portable Neptune set. 
MotionSix - they have tinted and anamorphic flare filament lenses on offer. I've used a 29mm from them with a fixed 3.5 oval aperture. Flares are very nice, but lens was difficult to focus and extremely soft. 
LensBaby - never used their products, so can't vouch on the quality and features. 
VidAtlantic - they do lens filters and anamorphic oval mods. Don't know what they're like. 
MeyerOptikGorlitz - they are making modern versions of their legendary soap bubble bokeh lenses, like the Trioplan. 
 
Anything to share / know of / blah blah / etc etc ??

Yup that Sony is INSANE. Razor sharp from wide open at every focal length with great background separation. I shot a corporate video and a wedding with it, $2K may be expensive, but that lens is worth it. Just don't have the money for it quite yet

Hey I think your best bet is getting quality lights (Aputure or better with high CRI/TLCI), setting white balance correctly, and exposing properly using Canon Log 3 + Rec709 or Wide DR + Rec709 if you don't want to mess around with grading. For our green screen shoots we use a bunch of Aputure lights (LS1, LS1/2), Canon Log 2, Production Matrix (for ARRI LUTs), and Cinema Gamut. Then just applying an ARRI LUT in PP CC and it's 99% done (then just minor tweaks to saturation etc. in Lumetri). FCPX applies a LUT automatically (I could also make it work with just the Color Board and no LUTs). I never have to do any other color tweaks. I recently started looking at the other settings (not using Canon Log 2) to get a 100% WYSIWYG to allow for no post needed at all (e.g. for live streaming). I can deep dive into the esoteric settings, however IMO it's a waste of time unless you have a very unusual situation, such as needing perfect camera matching for a live feed, etc.
If you still want to deep dive those settings, perhaps post questions here: http://www.dvxuser.com/V6/forumdisplay.php?246-Cinema-EOS-Cameras

Thanks again Mercer, no such options on eBay here but I might ask this local repair shop if they can repair and de-click at the same time. Although a little DIY never hurt...

Fixed color temp will get you more light output at the same rated wattage. In bi-colors, half the leds are daylight and half are tungsten. So if you're at either daylight or tungsten, you're only getting half the potential light output. Even if all the led lights were going, fresnels would most likely offer superior light output, since there is a big reflector behind the lamp.
Also fresnels offer much more controllable light. You can go from zoom to spot, whereas with panels, you're at a fixed, often wide, beam angle. 

Yeah Accuracy, and the ability to have a lot narrower light beam. Also the Fresnel lens helps magnify the light just like a Lighthouse Fresnel does. So you can use a lower wattage lamp, bulb, LCD in them. And the good ones are built like a tank. Arri ones are for sure.
You have to have in reality all kinds of light to cover making a top notch film. Even bare light bulbs. Lighting is not an easy thing to pull off. It does take a lot skill. And I hate, a Bunch of light stands.
And the Bi Color ones are for high and low kelvin values. And you can get a bit of softer light on the darker yellowish LCDs compared to the clear or white ones.They are getting better and cheaper by the day. Heck some of the new ones you can just fold them up, who would have ever thought!

Well, I'm in the states, so I have seen a few over here. I know they're a little pricy but since you paid so little for the lens, it's worth it. All of those lubricants that have dried and breaking down will eventually effect the optics. 

Yep, same exact thing happened to mine, too. Better stuck wide-open than closed down, I guess. Apparently it is a pretty easy fix to open them up and repair though, though I have yet to do so, a quick google reveals lots of instructions. 

That happens to all of those lenses. The good new is you can have them declick it while it's being cleaned. I think there's a few places that list on eBay that will do a full CLA on old Zeiss Jena lenses for a fairly inexpensive price. 

I just had an "on the record" conversation with the a canon rep today on the show floor and brought up the whole "lack of 4k across the board" issue. They told me that the Japanese corporate people just don't get it but now are seeing some serious impact from Panasonic and Sony. He said their philosophy is that people who buy 77d and t7i don't need 4k but I said the 80d is a great video camera and they should add 4k to that model. He said a 90d with 4k would make sense but not to get our hopes up. 
I also spoke to a Panasonic rep today who told me that he was on the airplane sitting next to a Canon rep and the Canon rep told him "you and Sony are eating our lunch in the lower end and the a9 is a serious hit to our high end." The Panasonic rep said this is the first year that Canon reps have the humility and lack of ego/ pride that they normally do. 
Also, I spoke to the Canon rep about the c100 mk3. He said it does exist. It's just not here and he couldn't tell me when we will see it. He couldn't confirm any specs. I'll try to dig more on them tomorrow