mercer

Here's my GX85 with the Rokinon 12mm cine lens using the twist method. The pan is at 0:21... Obviously the wide angle helped and I may have used E-Stabilizer as well... I don't remember. The problem is that IBIS only does so much. There are tricks for lazy people like myself, but in the end a tripod will give better pans and a steadycam/gimbal will give better movement.

Nice find, I like that a lot and you may be the winner in finding the most non "are political" way of saying that woman is hot as hell Double Like.

Great points, thanks. I always think I should get a color chart, but then I don't ever actually get a color chart. I wish one of the companies made a color chart and slate in one. I don't have a slate either... man I suck. True, definitely worth a test. I've noticed I usually love one lens from different makers, so my new plan is to get one good prime between 35-50... depending on the brand. And then one zoom which will cover the whole gamut I usually shoot in. So basically a two lens set up. And I'd like to keep my total "sets" at 5 or less. Thanks for this. I dislike changing focal lengths in a scene, so I'll remember not to change lens brands.... Of course once I started using zooms more than primes, I have gotten a little lazy with it when framing.

When you shoot 2:35, you don't need overlays for framing, right?

Hahahahaha. You should just sign out now and end on a high note.

Jon, you don't seem like you would be a big NWA fan. Yeah, I think I am probably over thinking it, especially since I'll rarely change lenses anyway. One of those Angenieux Optimo lenses sounds like it would be perfect.

Some of the nicest, lowlight G85 footage I've seen. Nice job.

Since I started shooting Raw with the 5D3, I've been slowly selling off some lenses and replacing them with better ones, but now I have a hodgepodge of lenses and no real set of lenses anymore. So, I was wondering what is the consensus of mixing different brands of lenses in a film? I am kinda lazy, so I rarely change lenses anyway, and I have a couple zooms that work fine for most scenarios... but I do love my primes. Unfortunately, as you know, building a matching set of fast, quality prime lenses is a time consuming, expensive endeavor. My goal for the next year is to make a handful of 3-5 minute short films. For these projects, I will most likely either use zoom lenses, or a single prime for each project, but when my budget allows, I may start building a couple sets of lenses. However, if I can get away with having really good lenses, of different brands, for different focal lengths, I am okay with that as well. Thoughts? Also, if I do mix brands, are there certain lens characteristics to consider when doing so... e.g. number of blades, shape of blades, aperture consistency... etc?

Unsure, I've never used the SL1. Since he didn't mention it, then maybe it wasn't an issue?

Andrew did an entire write up of ML Raw on the SL1. I believe he goes over his workflow in it... or in the comments... http://www.eoshd.com/2017/06/enabling-10bit-raw-video-mini-canon-100d/

True but I've always felt shallow depth hides a lot of the inherent flaws in consumer video, plus it conceals the limitations of no budget, run and gun, guerilla filmmaking. The Voigts clean up pretty nicely by 1.4, so if the Veydra lenses are good wide open, that's still + a stop with the Voigtlanders. Either way, the Veydra is the better choice for Jon's needs.

The only problem I see with the Veydra lenses, on Micro 4/3s, are that they're still fairly big and heavy for Micro 4/3 lenses. And they're all a T2.2... which is about an f/2 in photographic terms... correct? With the Voigtlanders at f/0.95... about a T1.2?... you're gaining a +1.5 stop for lowlight use... which is a bonus in Micro 4/3 world. If I had to choose one or the other, I'd go with the Voigtlanders, but for @jonpais 's desire to have a good cine lens(set) for multiple cameras, the Veydra lenses make sense.

Grab a Veydra in your favorite focal length and write a 1-3 minute short, or adapt a public domain short story, with 1 or 2 actors. I would use your street shooting skills as part of the production. If you want to go lightweight and handheld, I saw a cheap, rail-free, follow focus that could help with the Veydra's focus throw to keep a simple set up.

Are you considering narrative work?

Yeah, we're pretty lazy across the pond. Without screw on filters, a lot of us probably wouldn't use any. Sadly, I am probably going to invest in that magnetic filter holder because screwing on a filter is quickly becoming a chore...

B&H carries screw on Tiffen Black Satin filters. https://www.bhphotovideo.com/bnh/controller/search?N=0&InitialSearch=yes&sts=ma&Top+Nav-Search&Ntt=Black Satin filter

I believe that frame that enny posted from the BMCC, the cinematographer used a Black Magic filter. I've never tried one, but I think with my next consumer camera purchase I will give the Pro Mist or some sort of diffusion filter a go.

True but you're pretty damn close to a complete set anyway, so if you take the plunge you can finish it off. If you sell your 28mm, that will get you 25% of the way to the Hollywood or the 35mm 1.4. Then you could probably sell off two other complete sets of lenses because why would you need them when you have a complete Zeiss set? Then the proceeds from those lens sales will pay for multiple Fuji lenses. Plus, Fuji deals will pop up more regularly than a Zeiss 85mm 1.4 deal will.

Man, that's a tough call. As you said, the Fuji may make more sense... but that Zeiss is some legendary glass. But at that point, if you get that 85mm... then you NEED either the Hollywood or the 35mm 1.4. Supposedly, I don't know if it's true or not, they used the same glass in those Contax Zeiss as they did in the Master Primes or Super Speeds... of course it's probably just Zeisslore. All I know is that I briefly owned the 50mm 1.7 a couple years ago and it was one of the absolute nicest lenses I've ever used but I didn't use 50mm lenses that much back then and I couldn't afford the other Zeiss lens I really wanted... the 28mm f2... so I sold the Planar for a profit. Since then I occasionally search for Contax Zeiss lenses and hit some deals yesterday. So now I'm rethinking everything. Lol. At least this keeps me from buying a camera.

By page 5 it starts getting really interesting. Hmm. When I woke up yesterday, I had no intention of buying any Zeiss lenses, but then I saw those deals. I'm looking to build 3-5 small sets of lenses. For me a small set could consist of a zoom and a Prime or two primes... a wide and portrait. So as I sell off a bunch of tester lenses, I want to rebuild with more quality. I have my Canon set up and I have my Tokina zooms. I also have a half ass Nikkor set which consists of my 28mm f/2, a 35mm f/1.4, a few Series E lenses, a couple old non-ai 50s and a Nikkor ai-s 35-70mm f/3.3-4.5... every review hates that lens but I find it has some interesting character and I bought it new for $50, so I may just keep it and the series e 50mm and sell off the better Nikkors. I don't know. my 28mm f/2 will be a difficult one to list. Another 2 lens setup that interests me is the Leica (Minolta) design 35-70mm f/3.5 and the 50mm Summicron. I have the Minolta 35-70mm, and I love it, but I no longer have a camera to use it on. Sorry, just thinking out loud here, in print...

Whew... as I scrolled down and didn't see the GH5 under best mirrorless category, I was awaiting the shitstorm that was gonna follow... but then I saw the best hybrid category. Of course the NX1 isn't on there, so it's still not safe.

You may also want to check some early EF 3rd party lenses... like the Kendy Sigma 30mm. Or one of the earlier Tokina zooms. The Tokina Angenieux lens may be perfect for what you're looking for. Tokina also made a 19-35mm that has a little bit of a cult following and is often referred to as The Plastic Fantastic. The build quality is kinda cheap and it's a variable aperture zoom but man it's a pretty sharp lens and a decent wide to normal zoom range when speed boosted.

Since I started shooting FF, my lenses aren't making as much sense as they do with super-35mm. For instance I rarely shot with a 50mm and used a 35mm or even stayed on the wider side with a 28mm. I found a cine modded Zeiss 50mm f/1.4 with the Leitax adapter for pretty cheap, so I was hoping to fill it in with a 35-70mm. Of course an hour later I got the 25mm for $200... so I may just roll with that for now and then maybe get an 85mm down the line. But to be honest, I usually shoot with one lens and rarely change them. Do you know how the 35-70mm f/3.4 is?

I just watched it. Yeah that looks great. Nice highlights. I love the early shot of the sun's reflection in the puddle. That guy is really talented. He shot one of my favorite a7s videos as well. But I still think that Martin Wallgren may have some of the best GH5 footage. But his footage always looks great... no matter the camera... And I really like ntblowz screengrab from his Last Airbender film.

Well, since the EVA1 isn't getting the 400mbps at release, I fear the GH5 may not get it for awhile. But we'll see. I am really looking forward to that update. The footage should look insanely good.