JazzBox

the Zenit - Tair 135mm f2.8 is in my opinion the finest 135mm ever made - I have one it is an amazing lens
 
the Mir 38b 65mm f3.5 is a great Keiv 88 /Pentacon 6 mount medium format lens
the Carl Zeiss jena Flektogon 4/25 is a grea tlens
 
you have bagged some very nice lenses there
 
206

This is a rehersal of the norwegian entry in Europe's biggest song competition (ESC) where every country once a year submit a contestant to represent their country. Last years winner host the following year. The show is seen live on tv throughout europe by approx 600 million people and is one of the biggest tv-shows here. Audience watching the show live in the hall is about 20 000 people. After every country's had their go, each country vote and submit their countrys points and its all added up to decleare the winner. In 1974 Abba won with Waterloo so this contest have rocketed some carriers. My country Norway has won a couple of times and in putting the show on takes a lot of combined efforts. Your observations regarding tv vs audience is true btw. Its all done for tv, however, being there is quite fin and spectacular. Especially for us interested in the technique and such. Its a massive machinery. 

Meyer-Optik Görlitz Domiplan , Zeiss Jenas and Pentacons are all similar they where competing agaist each other in the 60s and 70s
then they all merged into one company
My favourite out of this lot is the A.Schacht Edixa - Travenar - A 2.8 50mm
this lens just has something about it that makes it stand out , its low contrast , a bit soft but has a certain mojo when used fully wide open an 2.8 -
its definately has the FILMIC CINEMATIC look we all like!! its just very good on digital cameras
I use it alot on pop videos for shooting mediums and close ups especially faces
 
94

THE CANON FD LENSES ARE GREAT
The Zeiss Jena are also good - there is not much in it really !
different looks for different jobs23

I think they are just timing it for NAB Simon. Not long to wait now, let's see in 7 days...

​For the GH4, I'd also love to see 4:3 mode capable of 23.976 and 24fps, as well as keeping the HDMI output active. Also, if they could somehow manage to record 10bit internally, but i'm sure that's a long shot.

I'd also like to see more accessible global shutter cams.

1. Innovative Lighting Tools
Lighting is the most important technical aspect of filmmaking, yet so, so many people don't bother! INSANE!!! I'd like to see a growth of innovation in affordable, LED based lights with high light output. Smartphone controlled lights. Clamped lights. LIGHTS!!!
2. Modified Lenses
Lenses are more interesting when modified, certainly when they can do some extra effects and have cine gears. Give us some character!
3. Ninja Star 4k 
I don't want a massive screen on my tiny camera thanks! The Shogun really needs a baby brother. 
4. Panasonic Video Camera
They have a GH4, and then...a Varicam. Surely they have a partner to the GH4 on the horizon? 4k 60p, better DR and 120fps HD are my only requests. 
and... that's it. 

I can also provide Pro Tools templates for generating all your deliverables if anyone mixes on that - could knock other variations up too for Logic / Cubase / Nuendo et al too.
I'll look at Premiere this weekend and see what's possible on that - I know stuff like TOWIE etc is mixed in AVID by the onliner, so can help there too, as is same engine and plugins as Pro Tools essentially. There are great plugins such as lmcorrect by Nugen (lovely chaps) that will take you mix and legalise it essentially to meet loudness requirements for all the formats - take a peek.
http://www.nugenaudio.com/lm-correct-loudness-correction-automatic-quick-fix-plugin-aax-au-vst_19
Also Izotope are releasing a similar solution, AFIAK it's not quite out yet.
Another handy tool, if time is of the essence, or you need a quick balance done is Waverider - essentially mixes for you to give you a starting point to reach your required loudness requirements.
http://quietart.co.nz/
Handy for providing a nice leveled dialogue premix or smoothing music cues etc. and far less intrusive than compression and limiting.
Loudness cheat sheet is in progress with all the links to metering etc. but for now I need a beer!
 
 
 
 
 

Here's a start,
http://vashivisuals.com/5-eq-audio-for-video-tips-for-filmmakers/http://vashivisuals.com/5-eq-audio-for-video-tips-for-filmmakers/
http://www.dvxuser.com/V6/showthread.php?191499-audio-levels-in-a-filmhttp://www.dvxuser.com/V6/showthread.php?191499-audio-levels-in-a-film
Cheers

Andy, I have to find the 28 Zeiss

I'll put the 29 in the "artistic" kit with the super-odd Helios 58 and the Tokina FD 28-85 

My FD kit is: 20 f/2.8, 28 f/2.8, 35 f/2, 50 f/1.4, 85 f/1.8. Do you think they all are better then M42 Zeiss Jena Flektogon 20 f/2.8 and Pancolar 50 f/1.8?
I ask you because I have some ideas about them, but I trust your opinion more then mine

(btw, my idea is: FD are way more "modern" and contrasty, Zeiss M42 are more "organic", maybe  "filmic"). 

Do you think it is good to mix those FD and Zeiss in the same work or it is better to use all FD or all Zeiss?
 

http://suggestionofmotion.com/about/
Definitely an A for effort though

​Ahh crap, I should have clicked the "About" button!

Definitely an "A" for effort, though! And I thought I had time on my hands...this bloke takes it to a whole new level!

the things that are odd about it also add character to it if you want to use it as an FX lens - its soft and has distortion
it has bendy corners on full frame and CA and flares!!     .......so perfect for an arty fx lens haha!!
it is the Meyer Görlitz Orestegon 2.8/29 that became part of the Pentacon family after the merger
compared to the 28mm Pentacon .....and Zeiss Jena 28mm (which are the same design) which is a nicer/ cleaner normal lens
the are no rules and no schools with lenses - if you like it  ...use it!! simple as that !!

I'm glad I paid less than 20 bucks for it. But like you said a lens is a tool. If I can get the aperture unstuck, it can make a nice little fx lens. 

the 29mm Pentacon is an odd ball lens and not as good as their 28mm one (not as sharp and more distortion) - I would steer clear of it .
get the Zeiss 28mm f2.8 in m42 if you really need an m42 mount its a better lens thena the Pentacon 29mm
 
The best 28mm for the money is the Canon FD 2.8 28mm is superb lens and very very cheap on ebay - I use mine alot on a speed booster on micro 4/3 - it gives you the David Fincher wide look ......
572575577

Hi - sorry just trying to hit Jazz with some direct info, was stuck in a mix - can put together a full guide if you want outlining TV, film and online delivery methods and requirements if that's of any help to anyone.

I really hope in this GH4 update: I'd love to have cropmarks for safe area (2.35:1 etc...), RAW and ProRes 422 (HQ) files direct to SD cards in BPCC style...
And, since I never liked the GoPro "look", it would be great if Canon could offer an alternative!
 

been busy shooting commercials for a month , Im back here to answer any questions ...message me up ......Andy
642

Sent you a mail mate outlining the madness
Sadly still no fully unified delivery method for territories and TV/Film/Online etc.
I will send you the specs and talk you through the process when you find out where the piece is going to be delivered.
Even in this age of file delivery I'm just about to pop a mix onto SR for the BBC this afternoon, so I still have to check every project in case they've moved the goalposts yet again, so it can be confusing!
 
 
 

so much wrong with this.. viable if it's $200

Can't speak for the zoom. The DR60D can be odd with AA rechargeable batteries - I think if you have one that's starting to get weak, the 60D detects it and starts throwing warnings. Seems picky about rechargeables. But with a USB battery (the kind to make your phone run longer, by Anker, etc, $20-$30 - it'll run about 24 hours. So that's all I use now).
The 60D has phantom power and will "handle" any professional mic signal. I feel the meters are too conservative - you would want to do some tests, record some test audio and look at the waveforms in an editor - it doesn't have tons of gain to spare but is fine for anyone that knows gain staging and mic placement. I find the limiter and low-cut to be very well done and I just leave 'em on now. I shot an Emmylou Harris solo show and used it for the board feed, I turned off the limiter and low-cut for that. Final mix really came out nice.

Thanks Amigos.  I'm going to try some of these tricks around town this week and see what I come up with.  I'd love to put the Canon out of mind.

There is one coming.
that's all I can say!!!!

I think Panasonic are safe to boost the GH4 firmware without affecting sales of a rumoured AF200.
My hunch is that they will release a firmware update with v-log etc. alongside the announcement of the AF200 so that the GH4 becomes the perfect B Cam for the AF200 with matching colour profiles.
Maybe a hunch, maybe a hope ;-)