Zak Forsman

@Kisaha US prices are $5999 for the C200B and $7500 for the full kit... so I guess 5300 and 6600 euro respectively... give or take.
I would love a C200b. A small 4K monitor and my Nikkor lenses... yeah I could dig that. I may rent one next summer... I'm sure they will be reserved until then. 
I guess I'll just deal with ML Raw until then. 

this looks great. wanted to share something I learned to do in resolve. see at the far left and right of your image the blue/red chromatic aberration along hard lines of dark and light? I get that with my Kowa B&H anamorphic too. but in resolve, if you split your image into red, blue and green channels, you can apply slightly different horizontal scaling to the red and blue channels to eliminate the aberration completely. it also sharpens things up a tad. and you'll get to experience the same, very satisfying, feeling I get everyone time I apply this fix.  

Believe it or not, that amazing Varicam 35 reel that blew us all away a few years ago was shot on the same 10-bit AVC-Ultra codec.
 

That's good to hear. Definitely keeping an open mind. I've got a big four month job coming up that will finish in the fall, leaving me flush with cash for a new camera this fall.
PS -- my very first camera, when I was a teenager, was a Panasonic SVHS camcorder.

That's good to hear. Definitely keeping an open mind. I've got a big four month job coming up that will finish in the fall, leaving me flush with cash for a new camera this fall.
PS -- my very first camera, when I was a teenager, was a Panasonic SVHS camcorder.

I was pretty excited that the C200 was offering compressed RAW, 15 stops of DR, and solid color science. buuuut there are a lot of compelling specs in the EVA -- 240fps in 2K, even in short bursts, would be fun to have. If they can truly attain Varicam color and 14+ stops of DR, i might be tempted. But I worry that 400mbps won't be enough. That's half what 10 bit ProRes 422 HQ would be at DCI 4K. 
Anyone know the crop factor for the Varicam line? I know, I know, screw crop factor. I only ask because I want to calculate the widest taking lens I can use with my anamorphic set. Canon Super35 is 1.6x. Not sure about Panny. 1.5x maybe?

Boy do people like to complain. A camera is announced two days ago with a feature and you expect every other camera to have it? We're also talking different recording media than the C200 and Blackmagic. Different ecosystems can support different things. It seems like they're trying to push as much into this ecosystem as possible, while keeping the "real" costs of a full kit as manageable as possible. And everyone's losing it over the internal raw of C200, yet the reality is that 98% of the time that raw is used will be in a controlled environment where external monitors are the norm and an external recorder isn't a big deal. And if you start factoring in the difference in SSD costs vs cfast... well, cost-wise the playing field starts to even. The weirder thing would be building a small camera that's perfect for doc and indy uses, shoving raw internal into it, an old ass 8 bit codec, and nothing in between... and no way to get non-raw 10bit... even from the output...

Idk, I think the C200 is the winner here. If you don't use Canon glass, you could buy the C200B for $5999 and then just buy that Ikan 3.5" 4K monitor and shoot 4K Raw up to 60p with 15 stops of DR and Canon color... and you probably already own a 4K monitor? With your Contax Zeiss lenses... that would be a killer set up. Btw, I tested that Footage app you mentioned with some 5D3 clips... not a bad program at all. Processed them as C Log and a basic C Log to Rec709 LUT worked great. Even an Impulz LUT looked pretty good. 

Let´s get a poll started for your camera to buy! Will be a heck of beautiful VLOG colors without nasties

Think Varicam LT has the same 400mbit codec, doesnt it? And its supposed to be pretty nice for lower framerates.

in an hour. 4:15pm pacific.

I modded a set of Conax Zeiss lenses myself. Wasn't without its challenges as this was my first time tackling something like this, but 100% worth it. The set includes 28/2, 35/1.4, 50/1.4, 85/1.4, 135/2. Mods include:
1. seamless focus gears from Helicopter Sean
2. bolt on Canon mounts from Leitax
3. knurled step-up rings to 82mm from Breakthrough
4. 82mm push-on lens caps from Kaiser, Canon brand rear caps
5. and most importantly, I custom-made 2x fixed aperture cut from a .4mm thin sheet of stainless steel

After sourcing all the lenses from ebay (all are mint or near-mint condition AEG or AEJ), I opened up each one and took measurements for the aperture discs. designed them in adobe illustrator (making alternates that were smaller, and smaller still). When I received the aperture discs I auditioned the different sizes, selected the one i was happiest with, and finally mounted them inside with a semi-permanent adhesive so i can remove them later if i want to re-sell the lenses.
Haven't been able to shoot with them too much yet (busy at work). But I did take the 50mm pictured above for a spin. See below.

Surprisingly, I've taken some flack when i mentioned this project in various facebook groups because these lenses are highly regarded (and pricey). I don't know, maybe they see me as either incredibly stupid, or reckless... maybe I'm both. But I can definitely say I'm also completely happy with the results. 

Im loving resolve 14.
The lens distortion tool seems to be super useful at emulating the bend of anamorphic lenses  

this looks great. wanted to share something I learned to do in resolve. see at the far left and right of your image the blue/red chromatic aberration along hard lines of dark and light? I get that with my Kowa B&H anamorphic too. but in resolve, if you split your image into red, blue and green channels, you can apply slightly different horizontal scaling to the red and blue channels to eliminate the aberration completely. it also sharpens things up a tad. and you'll get to experience the same, very satisfying, feeling I get everyone time I apply this fix.  

Just finished my 2nd round of shooting for my short. I had a little more trouble correcting these images as I shot a lot in lower light than the first round. But here are a few shots that turned out okay...



I will say that I think ML Raw has ruined me for other cameras. 

Trailer looks fantastic...and not just in look...but the cut is dynamic...really pulls you in...micro budget or not...it does not feel like it!

My production company produced this microbudget feature, shot on the GH4. Only have the :30 teaser available right now. But the feature will be released next year.
 

yeah, i was a bit paranoid about that. I used a thin slice of double sided tape on the far left and right edge of the disc. People have also suggested Canadian Balsam to me for use in lenses.

I modded a set of Conax Zeiss lenses myself. Wasn't without its challenges as this was my first time tackling something like this, but 100% worth it. The set includes 28/2, 35/1.4, 50/1.4, 85/1.4, 135/2. Mods include:
1. seamless focus gears from Helicopter Sean
2. bolt on Canon mounts from Leitax
3. knurled step-up rings to 82mm from Breakthrough
4. 82mm push-on lens caps from Kaiser, Canon brand rear caps
5. and most importantly, I custom-made 2x fixed aperture cut from a .4mm thin sheet of stainless steel

After sourcing all the lenses from ebay (all are mint or near-mint condition AEG or AEJ), I opened up each one and took measurements for the aperture discs. designed them in adobe illustrator (making alternates that were smaller, and smaller still). When I received the aperture discs I auditioned the different sizes, selected the one i was happiest with, and finally mounted them inside with a semi-permanent adhesive so i can remove them later if i want to re-sell the lenses.
Haven't been able to shoot with them too much yet (busy at work). But I did take the 50mm pictured above for a spin. See below.

Surprisingly, I've taken some flack when i mentioned this project in various facebook groups because these lenses are highly regarded (and pricey). I don't know, maybe they see me as either incredibly stupid, or reckless... maybe I'm both. But I can definitely say I'm also completely happy with the results. 

I modded a set of Conax Zeiss lenses myself. Wasn't without its challenges as this was my first time tackling something like this, but 100% worth it. The set includes 28/2, 35/1.4, 50/1.4, 85/1.4, 135/2. Mods include:
1. seamless focus gears from Helicopter Sean
2. bolt on Canon mounts from Leitax
3. knurled step-up rings to 82mm from Breakthrough
4. 82mm push-on lens caps from Kaiser, Canon brand rear caps
5. and most importantly, I custom-made 2x fixed aperture cut from a .4mm thin sheet of stainless steel

After sourcing all the lenses from ebay (all are mint or near-mint condition AEG or AEJ), I opened up each one and took measurements for the aperture discs. designed them in adobe illustrator (making alternates that were smaller, and smaller still). When I received the aperture discs I auditioned the different sizes, selected the one i was happiest with, and finally mounted them inside with a semi-permanent adhesive so i can remove them later if i want to re-sell the lenses.
Haven't been able to shoot with them too much yet (busy at work). But I did take the 50mm pictured above for a spin. See below.

Surprisingly, I've taken some flack when i mentioned this project in various facebook groups because these lenses are highly regarded (and pricey). I don't know, maybe they see me as either incredibly stupid, or reckless... maybe I'm both. But I can definitely say I'm also completely happy with the results. 

I modded a set of Conax Zeiss lenses myself. Wasn't without its challenges as this was my first time tackling something like this, but 100% worth it. The set includes 28/2, 35/1.4, 50/1.4, 85/1.4, 135/2. Mods include:
1. seamless focus gears from Helicopter Sean
2. bolt on Canon mounts from Leitax
3. knurled step-up rings to 82mm from Breakthrough
4. 82mm push-on lens caps from Kaiser, Canon brand rear caps
5. and most importantly, I custom-made 2x fixed aperture cut from a .4mm thin sheet of stainless steel

After sourcing all the lenses from ebay (all are mint or near-mint condition AEG or AEJ), I opened up each one and took measurements for the aperture discs. designed them in adobe illustrator (making alternates that were smaller, and smaller still). When I received the aperture discs I auditioned the different sizes, selected the one i was happiest with, and finally mounted them inside with a semi-permanent adhesive so i can remove them later if i want to re-sell the lenses.
Haven't been able to shoot with them too much yet (busy at work). But I did take the 50mm pictured above for a spin. See below.

Surprisingly, I've taken some flack when i mentioned this project in various facebook groups because these lenses are highly regarded (and pricey). I don't know, maybe they see me as either incredibly stupid, or reckless... maybe I'm both. But I can definitely say I'm also completely happy with the results. 

I modded a set of Conax Zeiss lenses myself. Wasn't without its challenges as this was my first time tackling something like this, but 100% worth it. The set includes 28/2, 35/1.4, 50/1.4, 85/1.4, 135/2. Mods include:
1. seamless focus gears from Helicopter Sean
2. bolt on Canon mounts from Leitax
3. knurled step-up rings to 82mm from Breakthrough
4. 82mm push-on lens caps from Kaiser, Canon brand rear caps
5. and most importantly, I custom-made 2x fixed aperture cut from a .4mm thin sheet of stainless steel

After sourcing all the lenses from ebay (all are mint or near-mint condition AEG or AEJ), I opened up each one and took measurements for the aperture discs. designed them in adobe illustrator (making alternates that were smaller, and smaller still). When I received the aperture discs I auditioned the different sizes, selected the one i was happiest with, and finally mounted them inside with a semi-permanent adhesive so i can remove them later if i want to re-sell the lenses.
Haven't been able to shoot with them too much yet (busy at work). But I did take the 50mm pictured above for a spin. See below.

Surprisingly, I've taken some flack when i mentioned this project in various facebook groups because these lenses are highly regarded (and pricey). I don't know, maybe they see me as either incredibly stupid, or reckless... maybe I'm both. But I can definitely say I'm also completely happy with the results. 

I modded a set of Conax Zeiss lenses myself. Wasn't without its challenges as this was my first time tackling something like this, but 100% worth it. The set includes 28/2, 35/1.4, 50/1.4, 85/1.4, 135/2. Mods include:
1. seamless focus gears from Helicopter Sean
2. bolt on Canon mounts from Leitax
3. knurled step-up rings to 82mm from Breakthrough
4. 82mm push-on lens caps from Kaiser, Canon brand rear caps
5. and most importantly, I custom-made 2x fixed aperture cut from a .4mm thin sheet of stainless steel

After sourcing all the lenses from ebay (all are mint or near-mint condition AEG or AEJ), I opened up each one and took measurements for the aperture discs. designed them in adobe illustrator (making alternates that were smaller, and smaller still). When I received the aperture discs I auditioned the different sizes, selected the one i was happiest with, and finally mounted them inside with a semi-permanent adhesive so i can remove them later if i want to re-sell the lenses.
Haven't been able to shoot with them too much yet (busy at work). But I did take the 50mm pictured above for a spin. See below.

Surprisingly, I've taken some flack when i mentioned this project in various facebook groups because these lenses are highly regarded (and pricey). I don't know, maybe they see me as either incredibly stupid, or reckless... maybe I'm both. But I can definitely say I'm also completely happy with the results. 

liam i think you already answered your own question if i may read between the lines here
well lets see, do you WANT to be a poser, who people think is full of shit?? is it somehow WORTH IT for what youre doing rn???
the answers are no and no, and thats that.
heres my advice: build a social media following to whatever degree, organically, and small as it may be itll be there for you in the future, when you produce great work and you actually want lots of followers – active followers lead to more active followers. but just let it happen
i think its normal and very contemporary to have Follower Anxiety™ but its just media noise that makes us feel that way!!! its a general malaise... and the creative mind does not function well when we're under stress!!!
also: give yourself a break~! youre putting WAY too much pressure on yourself for no good reason!!! let yourself develop, and as that happens, and you make more and more stuff and find your voice as an artist, your vision of how you want to portray yourself online and in the world will become crystal clear. it happened for me~!
now i want you to stop stressing out and chill so u can have great ideas...!!! ? if this doesnt make any sense pm me lol

The only work I've gotten via social media is making DCPs for indie filmmakers. But that doesn't exactly pay the bills. That's more for what my dad used to call "walkin' around money." My bread and butter is cutting featurettes and other marketing content for the major studios. And those jobs come from real life relationships. That being said, I've somehow put together 15,000+ film-industry related followers across FB, twitter and IG. Not a ton, but it has raised my profile enough that when I bring a film to a distributor, they already know who I am. And I think that helps curtail any lowball offers or shady practices, i assume because they know I have an audience -- not that I would wield my social media presence as a weapon, but you know. To me, this question boils down to "do you want a fighting chance to have people to see your work?" and I do. An active social media presence is not the only a powerful component to achieve that.