mercer

Re: this vs. the a6500... well they’re just different cameras. The big elephant is that the a6500 has IBIS and sLog/cine profiles. The latter may be a matter of contention because it is difficult, for some, to get good color out of them, who cares if you have more dynamic range if the color is wonky? With Andrew’s profile, or one of the dozens of others, you can get plenty of good enough DR with the Canon. In the end it’s about your needs since better is a relative term.

So the 1080p on it isn’t that good? It seems from what I’ve been reading, it’s the star of the camera? Clean and detailed with a lot of focus points for the DPAF?

Folk Fest? Are you from Pennsylvania? Hopefully we’ll see some official footage from it sometime soon.

I’ve been making the C-Mount lemonade since its release and this article sums it up perfectly. There are some 1” TV lenses that should cover at wider focal lengths, making this camera even more fun. For me, this seems like the perfect little, glovebox camera. If you want to shoot casual, friends and family stuff, throw on the 22mm and shoot in 1080p with DPAF. If you wanna go out and experiment with a different look for a short film or just for fun, there are dozens of cool options in c-mount. It would be really cool if there was an Arri STD mount to EF-M adapter for sale to use those old Schneider S16mm lenses like you tested with the GH5.

With the G7 and the GX85 I was able to get full coverage with the Fujinon 12.5mm. And I think they’re both 2.2x crop.

The 1080p looks great. I was afraid of those lenses... I think they may be 2/3rds lenses and you will need 1 inch c-mount lenses and even then... anything wider than 10mm probably will vignette.

If you want sharp and vintage, go with Kerns or Zeiss Tevidon. The Kerns should fit in most c-mount adapters, the Tevidons may need to be modified using one of those kits they sell on eBay. But Tweak is right, the Fujinon C-Mounts are awesome. There’s a guy in England that will modify all of them and declick them. Also, I wonder if the old Arri S16mm or Schneider Lenses can adapt to EF-M Mount. I also think the Schneider c-mounts are supposed to be that good.

@DaveAltizer so is your buddy right... is the 1080p with the M50 really good?

Yeah that Sigma looks excellent. With Raw video on my 5D, I’m used to needing light, so no biggie, I’m fact I think it has helped me improve. And btw, I meant +1.7 not 2.7.

I really enjoyed the a6500 so you may end up as a fan. If you shoot in sLog2 and you’re looking to do the +2.7 exposure, you can use exposure compensation in manual mode with manual lenses and Auto ISO. It’s a cool trick I accidentally figured out. Let me know how the porting works, because I’ve been looking for a good 1080p S35mm Camera and I have been pretty impressed with some videos I’ve seen from the a6000. It was never on my radar before but it seems like it’s a poor man’s a7s.

Those are unbelievable prices. That 85mm is legendary and for that price it’s robbery. I don’t know much about the 35-70? I’m still interested in that 55mm but not ready to buy yet. That’s another camera I am really interested in and hoping sometime next year to get more into stills and it will be at the top of my list. I had the 17-50mm and I quite liked it... clean and sharp enough with a little character. On my old D5500, the OS was fairly solid.

I’ve been attempting to start a small collection of Contax Zeiss Lenses, but I just don’t think it’s in the cards. I’ve bought 3 50mm 1.7 lenses in the past 3 months and each one was not as described. I figured I’d get the mounts changed with Leitax adapters. I’m thinking I may try the ZF.2s instead. How good of a deal did you get on the 85mm? Two other cameras and three lenses? Do tell?

It’s not necessary, but if you’re working on a project where you need to replicate old film, that feature could come in handy. And I guess if you put it on a 15p timeline (if there is such a thing) you could lower your shutter speed to 1/30th for lowlight. Not very useful but it could be used for small experimental pieces with little movement or for music videos, I guess. But yes, overall it’s not very useful.

I’ve been interested in those lenses for a while. Right after I sold my last Micro 4/3 camera, I stumbled upon a lightly used 25mm for less than $400... I thought about buying another camera to use it with.

In theatre, actors are trained to project their voice and emote to the back of the theatre. As you know Film is more subtle. The camera is in your face, it will pick up the smallest of gestures and hear the lightest of whispers... if possible for the scene or just as an exercise, have them whisper their lines... it’s almost impossible to overact with a whisper. Also direct the speed of their delivery... say faster, or slower to break up their preconceived delivery. Or in between a take, read the line back to them the way you want it delivered. Actors usually want notes... good and bad... they want to be directed. Also as Kye suggested, explain to your actors what you’re doing and why. Ask what their interpretation of the scene, or line, is. Show them how your shots are going to help to express that visually. As you know, movies are jigsaw puzzles put together one piece or shot at a time, so the blocking they’re used to in theatre isn’t the same as blocking... or hitting their marks in film. So just make sure they know their marks and obviously have a bunch of gaffers or painters tape to mark it. But probably most important is to show passion for your project. If you have passion, they’ll have passion and they will follow your lead.

Please share what you end up buying. I love a good lens quest story.

I 2nd that!

Holy 73 Cows that looks good!!! Great job @Ollywood88 !!!!!

It’s definitely great that there are alternatives for those invested in Micro 4/3rds or even those that use adapters and appreciate the many benefits that Panasonic or Olympus affords. But there really is something special about full frame that isn’t quite the same as a super speed lens alternative on M4/3.

Interesting article and great job matching the focal lengths and depths of field, but the cost associated with getting the full frame look with the GH5 will put you at $2500-$3000. With an a7iii and a Nikkor 35mm f/2, you can be well on your way for less than $2200, plus you’ll have the option to go with f/1.4 and 1.2 lenses and higher ISOs. The Voigts are a great cheat though and the 25mm is one of the best lenses I’ve ever used.

I quite like the conservative exposure. With a simple s-curve and saturation boost, the image looks quite nice. With a simple tint filter, different “looks” can be easily achieved. That Nikkor looks great. Have you ever used the 55mm f/2.8? I am finding it difficult to build a good set of fast Nikkors, so I was contemplating putting together an f/2.8 set that can be shot wide open. I love the 35mm focal length on full frame, but for my shooting style, a 50mm is just a little too close to 35 and the 55mm 1.2 is more than I want to spend right now. I figure a 20, 35, 55 and 85 could be a nice little set. Any info you have on the ai-s f/2.8 versions of those lenses would be appreciated.

Note to self: I think I went a little heavy handed with the vignette.

A couple more shots from the Canon 28mm 1.8. I got this lens for an insanely low price and it's quickly becoming one of my favorite lenses. Even without IS, I am able to go handheld on FF, which will make this lens indispensable going forward.

It really looks nice. Your color skills probably help but it lacks that video look prevalent in a lot of cameras. I guess it would have also been interesting to see a side by side between the JVC and the D500 in 1080p. I’d like to see how the Flat Profile looks next to the JLog... is JLog very flat or is it more like Canon Log?

Yeah I think the Nikkor wins. Was this 4K or 1080p?