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About UnFstudio

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    Los Angeles
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    Soviet Filmmaking, Cinematography, Feature Film Production

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  1. Hello my friends, Thank you so much for the participation in the discussion that I started a couple of weeks ago. Andy Lee - thank you for making me think a bit different "Out of the box" in terms of the focal length of the lenses for my feature. I have just wrapped a film in a ghost town Randsburg, CA. It was fun to be in a middle of nowhere for a week and I had time to think about cameras and decided on skipping the GH4 and moving straight to ordering a Black Magic Production Camera 4k in PL mount. Both nikon lenses that you recommended me - the 28-70 and 80-200 Nikon with Tokina 11-16 are available modified in to PL mount - and that is an option to go. My new research gave me an idea of buying Pentacon Six Medium Format lenses and adapting them via PL mount to the camera. The only problem that I'm worried about is that the pentagon six lenses will not focus to infinity (But adaptor seller guaranties that it will) and because BMPC sensor diameter is 24.23 and medium format lens is 79 - I will end up with x3.2 crop factor. (We discussed the screw on adapter that will gives me a wider view by x0.7, but still it will be 2.5 crop) My second option is buying a LOMO Oct-19 zoom lens and converting it to PL, because the lens was made for a 35mm camera the crop factor is only 1.13 What do you guys think about this new Idea for my first feature film? Thank you so much by helping make the right choice!
  2. Hello again, Andy Lee, thank you for sharing your knowledge with me, the breakdown of the lenses used by feature film DP's and Directors is a great help to me and our decision! Tomorrow we have a studio production meeting and we are going to discuss the camera package for the feature film, The body still remains MFT Lumix GH4 The lenses we are going to buy are as you suggested, but with an add-on, so it look like this: Nikon 28-70mm f/2.8 AF-S ZOOM-NIKKOR (2007) Tokina 11-16mm f/2.8 AT-X Nikon G to Micro Four Thirds Speed Booster (To use it with the aperture ring on the Tokina lens) A set of Follow Focus gears for both lenses A 77mm wide angle filter that gives extra x0.45 to make the crop factor as small as 1.25 LOMO 35 nap2 3m 56/2 f:80-110 Anamorphic lens front adapter (It's back diameter is 76m and Nikon has 77mm front, with the 1.25 crop we will have a clear picture. Still thinking about the Nikon 80-200mm f/2.8 AF-D NIKKOR ED (2007) 1.) And have a question about the Anamorphic adapter - what do you guys think about this type of the set up if the LOMO gives x2.0 times anamorphic and we will shoot it in 4k, afterwords downscale it to have the x1.5 standard that will end up being around 2.5k footage. 2.) Now with this set up we are covered with 11-16 cropped to 12-18 and 35-88, do we need to get a lens to cover the 28mm and what will be the suggestions for that? Or go wider after 88 instead? 3.) Will the described set up of the LOMO anamorphic adapter work?
  3. Hello everyone, Thank you so much for your participation, Special thanks to Andy Lee and his overview of the Nikon lenses used on Bourne Ultimatum. I did a research on both lenses: Nikon 28-70mm f/2.8 AF-S ZOOM-NIKKOR (2007) Nikon 80-200mm f/2.8 AF-D NIKKOR ED (2007) (Both are great glass) and with your idea of using it with 77mm wide angle filter x0.45 was the one I found it makes it a very interesting crop factor Originally GH4 in 4K mode gives x2.3 crop With a focal reducer it will become x1.7 crop And with the wide angle filter of x0.45 it is going to give a x1.25 crop (Now the crop factor is not the case) The DOF on GH4 for a f/2.8 lens will be the equivalent to f/5.6 on a full frame sensor, the focal reducer gives us an extra 1 F stop, making the lens f/2.0 and the DOF equivalent on the full frame sensor of f/4.0 what is not so crazy cinematic but is something to play around with. With the wide angel x0.45 filter and the focal reducer we will end up haven our two Nikon lenses covering: not 28-200mm, but 35-250, making it a great option. On ebay for both lenses I found Follow Focus gear rings that fit the lenses perfectly giving the option of using the FF strait on the lens. The only other problem is to get a wide angle lens, that will have the 77mm filter thread and the nikon mount, hopefully something as well build as the lenses mentioned above. The set of Six (6) Rokinon lenses that we budgeted for costs $2.9k And the Two (2) Nikon Zoom Lenses (Used) are going to be around $2.2k with the wide angle filters and FF gear upgrades Still giving an option to look for something affordable and we still can always add an extra, in our Rokinon set the only two lenses that we have not covered with the nikons are the 10mm and the 16mm, with the focal reducer it will be 17m and the 27mm. For the choice of the GH4 as the camera body with the internal 4K and the new firmware update I think it stands out good for the first low budget feature film. And for the total Camera + Accessories + Cage being in the range of under $4k it is a great option to follow. Any thoughts on the wide lens for this set up and the idea of the package for the first feature film?
  4. Hello everyone, My name is Gleb, I'm starting a production company to shoot feature films, and commercials / music videos on the way before that. For my camera package for the first 2-3 feature films I'm going to buy GH4 as the camera body (Now have 2xGH3), and after I will have a transition to BMPC 4K and then to RED Scarlet / Epic Now I own a speed booster alternative RJ speed booster (Nikon mount) And was thinking about the idea of buying a full Rokinon cinema lenses set (Nikon mount) Than use it on the RED scarlet before buying better primes, but than I will not be able to have my middle switch from GH4 to BMPC 4k. 1.) So is it better to buy all lenses EF mount and buy the EF speed booster and than EF mount for RED cameras, or buy Nikon to EF adapters for the BMPC 4k? 2.) Another idea was to avoid speed booster and by ROKINON lenses in MFT mount direct, to partially avoid the crop factor, and after 2-3 films sell the full kit and buy PL Primes for BMPC 4k and then move to PL RED? 3.) For our second feature film we are planning to shoot anamorphic x1.5 adapters style, any ideas on working (Anamorphic / Rokinon / Speed Booster / GH4) or avoiding Speed Booster will be better? 4.) Buy one vintage PL zoom lens and a PL adapter for GH4? Any lens suggestions in that case please. Now I have only 2 nikon zoom lenses to use with my speed booster and I can sacrifice that if needed. Thank you for your answers!
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