mercer

But I don't think you can go wrong with any real Zeiss lens. Even the old Rollei Zeiss lenses were pretty special. Especially the ones made in Germany.

I think I was wrong, it's been a while since I've looked at the lens either. I think they only made AEJ and MMJ versions. So all of the 50mm 1.7 were manufactured in the Yashica plant in Japan. The later versions were the MMJ. Hopefully you see a green f/16 marked on the aperture ring. I think I had a serial number in the 7xxxxx range and it was really good. But that was waaay back when I had a G7 on a dummy adapter... Good Luck! I just bought a Zeiss ZF Classic 50mm 1.4. It's now the 3rd one I have owned. I got it for an UNBELIEVABLY good price, but it isn't perfect with a few particles in the glass. When I attached it to the camera, I didn't notice anything weird. So all in all, not bad at all. I'm probably the only one, but I prefer the Zeiss Classic line over the Contax.

Is it an MMJ or an AEG? You can tell by looking at the last number on the aperture ring. If it's green, then it's an MMJ. Also the later serial numbers are supposed to be sharper versions, but I believe they're the ones in the 8xx... range. The AEG versions will have the sawtooth bokeh. I've owned 2 or 3 over the years. The first one I owned was unbelievably good. I don't remember which version I had. I never paid more than $125 for one, but I haven't owned one in a few years. If you pair it with a 25mm 2.8 or 28mm 2.8, I think it's a great little Zeiss set. And then eventually, if needed, you can get the 35-70mm 3.4 to fill in the gaps... if you don't mind a push/pull zoom.

This isn't really accurate. Perhaps you are confusing the use of a full frame mirrorless camera in the film, The Possession of Hannah Grace, which was shot on a Sony a7sii. Here's a brief rundown of the history of full frame in Hollywood films up to and including the DSLR revolution and the increasingly popular Alexa LF... https://www.google.com/amp/s/www.creativeplanetnetwork.com/resource-center/full-frame-sensors-everything-you-ever-wanted-to-know-but-were-afraid-to-ask%3famp

Thanks Parker, I appreciate that. I'm still a reader, I just need to film more stuff. Cool Panavision t-shirt, btw. If your channel takes off, you can make some Parkervision shirts to commemorate your maiden voyage.

That was an honest way to start off a channel. Good job and good luck!

Did the original GH5 have 24/96 audio? If not, then that's a pretty good little upgrade... especially if you use the XLR adapter.

Throw in an L Mount adapter with an internal ND.

The GH5 Mark II really only needed to be a GH5s with IBIS and ProRes Raw output.

Although I wish the BMMCC had a small monitor on the top like the Komodo, I still prefer it over the BMPCC. I usually shoot ProRes, but I like that it has the 3:1 compressed raw and the 60p. The miniature cinema camera form factor also looks kinda cool. My rig is almost complete... I may eventually buy a BGH1 for a similar reason, especially with the new Tilta rig for it... I'd lose the baseplate/rods and the top handle and throw a Ninja V on their for some ProRes Raw. This looks pretty good... But I digress, I kinda like the infuriating form factor of the BMMCC.

Yeah, the price of these lenses have skyrocketed. Have a look at the asking price for the nFD 24mm f/2... it's over $1000... that lens could be bought for around $200 a little over a year ago. They've gotten so high, I am seriously considering selling my EF modified 50mm 1.2 L.

No problem. I'm unsure about the S5's hertz settings. I know there were some issues with other Panasonic cameras when you set to true 24p but since you're set to Pal/25p I don't think that should be the problem then. Are you noticing the flickering with all lettering, or just on letters/numbers on electronics? vLog is a nice profile and since the S5 uses the full log profile, it should be pretty good. But Panasonic has a couple nice profiles that can be a bit more forgiving and still offer a bump in dynamic range. I always liked Noam Kroll's settings for CineLikeD and Like709 seems to be pretty nice as well. But don't give up on VLog yet. The S5 has Dual Native ISO, so if you set to the higher ISO in lowlight, then that should help with the noise. Then you can either stop down, or use an ND to lower your exposure.

Log profiles will be noisier than standard Rec709 profiles. Those profiles have sharpening and noise reduction built into the picture profile. With that said, shooting in lowlight with a log profile can be a waste of time. The point of a log profile is to maximize dynamic range. If you're shooting in lowlight the range of available light is drastically minimized. So if you want to shoot log in lowlight, you either need to introduce more light or raise your ISO. Since log profiles are built around a curve, it's good to know how the curve works, so you can expose for the curve, or you can ETTR (expose to the right) and then pull down your exposure in post. That should take care of the noise. As far as the flickering, what hertz setting do you have your camera set to?

Great film. It looks like an urban Overlook... Come play with us, Marty. Forever. And Ever. And Ever.

They're ProReslicious.

I picked up a very inexpensive BMMCC last year and I am finally getting around to rigging it up. I bought a SmallHD Focus, but I need a new HDMI cable for it. So in the meantime, I used my TV as a monitor to test the Metabones Speedbooster with it and the weirdest thing occurred... everything worked fine but when I hit record, the screen went black... when I hit record again, the image returned. The shots were recorded but obviously I was flying blind. Any ideas why this is happening? With that said, I forgot how much I like the image from the Micro. With just a LUT and a couple exposure adjustments, I came up with this...

Have you considered a C200? With that said, if you can comfortably afford the C70, it may be the best bet for you. And with that said, I hate that Canon switched to the RF mount. Big, heavy lenses that cost a fortune does not appeal to me whatsoever, especially for mirrorless bodies. But I still like the DSLR form factor and still shoot ML Raw on my 5D Mark III, so I'm probably just a dinosaur. I guess a 1DX Mark III could be an option as well if you'd prefer using a mix-pre3 for audio.

And finally... if you want to do it live and capture the action while in the middle of it... a face shield for woodworking is probably both strong and light enough if you can figure out a way to rig it up. It will also slightly curve around your camera to protect a little from the side.

@kye made a great point regarding action cams for different POV shots or even as cameras strewn about the battlefield. You could even mess around with the shutter speeds to give a Saving Private Ryan feel to the battles. It sounds like a fun gig... have fun with it... but don't bust up your camera for it... paintballs can sting. Create the perception of reality.

To add... I've never used a gimbal... but plexiglass isn't that heavy so you may be able to use a small set of rails and the plexiglass and it will still balance on the gimbal. Of course you'd still probably want to stage those shots, so they're shooting at your from in front.

Idk... I would just stage most of it and then create money shots using a tripod/slider combo with a thick piece of plexiglass attached via rails so you can slide forward as someone shoots the plexiglass. Remember to get coverage... if you're shooting profile shots, the action and the paintballs can be real. If you're in the middle of the action, just pretend that they're shooting. Get cans of fog to disorient the action. Get a bunch of different shots using the slider/plexiglass combo so you can intercut them with the wider action. With the magic of editing... dissolves, normal/slow motion, etc... it should cut together fine and you'll have the perception of reality. You could also attach the barrel of a paintball gun under the camera, for some shots, for a video game type of POV shot. Hope that helps and good luck with your shoot.

I assume you could as long as you use a program that has ProRes Raw support. There's no point in shooting raw if you can't adjust the raw data at the camera level.

It's ProRes Raw, so it works best in FCPX. I think Premiere supports it. Davinci Resolve does not work with ProRes Raw.

It's a manufacturing supply thing. The majority of their cameras already use the EF mount. Their molds are designed for this. They sell their cameras for a lot less than their competitors, for similar, or better features, they aren't going to change now and lose the little money they make on each camera. Not to mention, they've decided to market their cameras to a larger demographic than just cinema and the majority of those other people use EF lenses, or lenses that easily adapt to the EF mount.

Yeah, his name isn't Tony. I bought clamps from him last summer and he went above and beyond to make me happy while giving me some of the most practical and historical information about my Kowa 16D... apparently they were used on crash cams in 80s action films.