mercer
-
Posts
7,685 -
Joined
-
Last visited
Content Type
Profiles
Forums
Articles
Posts posted by mercer
-
-
Speedboosters are the secret weapon for Micro 4/3 uses as they IMPROVE your image so much ! sharper wider and faster and give you an APSC / SUPER 35MM equivilent crop instead of the 2x crop of micro 4/3
So I use them all the time on all 3 micro 4/3 camera I use .
Ive used this set up for over a year commercially on loads of jobs and I will not work with out them now .
If you stop right down and shoot at a very bright light source you can under certain circumstances induce a blue/purple flare spot , but just be aware of that and alter your position or stop so it goes
I shoot all my narative stuff at around f2 or f2.8 and you dont get any spots when fully wide open .
this was all shot with Mitakon Zhyongji Lens Turbo speedbooster with Nikon Bourne 28-70mm f2.8 IF ED fully wide open
Thanks Andy, that looks amazing. The grade looks great.
-
Which can be quite beneficial actually. Like the Sigma 30mm f1.4 becomes an f1.0
Another question about speedboosters... I have read a little about the blue spot when you shoot at a light source. Do you know if that is more prevalent with specific brands, or just a byproduct of using focal reducers?
-
panasonic g7
In: Cameras
-
Which can be quite beneficial actually. Like the Sigma 30mm f1.4 becomes an f1.0
I've never used a speedbooster, are there any drawbacks with them? Infinity focus? Softer image? Which I don't necessarily mind... for narrative work.
-
panasonic g7
In: Cameras
Outputs 1080p though. Uncompressed 4:2:2 via Mini HDMI interface. Hope it's a great 4K downsampled signal, like the GH4 when set to 4K mode + 1080p HDMI output or the 1DC when set to 4K mode with 1080p output. I adore this feature, because with a star/ninja2/BMvideoAssist you could just skip the post-downsample process and have it done in camera, going home with super sharp perfect 1080p 4:2:2 ProRes files. Best workflow ever.
Yeah, that would be great, has there been any info on this? I guess the bmAssist would be a better option than the ninja star due to the added lcd?
-
panasonic g7
In: Cameras
Three interesting features on the G7:
1. Mic in, placed where it doesn't hinder with the articulated screen's movement.
2. 8-Bit 4-2-2- out, via HDMI.
3. Base ISO being jacked up suggests that the low light capability has been improved. I am guessing 3200 ISO is pretty usable, and 6400 also with a little cleaning.
niiiiiiiiiiiiiice
Yeah the G7 and the Ninja Star sounds like a nice little set up.
-
various Panasonics depending on the job ....so all micro 4/3 with speedboosters
I am very interested in the G7 but I have only ever owned APS-C cameras, the crop factor frightens me a little. It seems like the only way to go is with speedboosters.
-
Actually there are a large amount of cinematographers that shoot on only one lens. Chinatown was shot entirely on a 40mm anamoprhic.
Oh yeah, I was referring to one lens for multiple projects. As you know, there are so many different lenses, each with their own quirks and character. To use only one lens, I must assume that jase enjoys tweaking his image a lot in post. I have found that lens selection can get you almost halfway there.
-
I am a fan of "one lens and one lens only". During my MFT days, this was the Voigtländer 25mm which is an absolutely fantastic lens. On my A7s this is the Canon 35mm IS lens. Using the APS-C mode i get effectively a 35mm and a 50mm which suits my needs perfectly. I never used a zoom and there are only a few occasions where I was thinking that a zoom might be handy.
Might look out for something more wider, probably below 20mm. Heard some good stories about the Sigma 20mm 1.8 - or maybe something even wider like a Canon 14mm 2.8, will see.
Only one lens, you must be a fan of post?
-
panasonic g7
In: Cameras
Will the proud owners of the G6 upgrade to the G7? Other than the obvious, are there any other upgrades that are enticing?
-
Currently shoot 90% with either a Voughtlander 40mm prime (god I love this lens) or a tokina 28-70. More and more I'm choosing 1 lens at the start of the shoot and sticking with it.
Do you have the angenieux 28-70 or the RMC?
-
never in a million years will a distributor let something like "it's not 4K" stop them from distributing a movie they think they can make money on.
I understand that, I'm just afraid that I will put all of this work into a project and they will only accept 4K material, but logic dictates that if the project is any good and they can make money... Why would they turn it down.
-
I must have about 30 lenses. I only ever use Canon FDs on set though, unless I have to go super wide, when I break out a Tokina 11-16....I don't like it though.
I think I may have you beat, but I use different sets of lenses for different projects. Of course I have been searching for excuses to use my Minolta MCs
-
I believe if you attempt to release a feature film in 2016 - on
And you have shot only HD, you can forget about major distribution.
Sure, self-distribution, a 'B' or 'C' distribution company (that will fuck you anyways), than ok.
For a serious deal, it's 4K or bust.
Cannot stop the future wether you like it or not.
I tend to agree with your theory. My plan was to shoot in 4K and then downres to 1080p for the edit. I know there is an ongoing debate that you gain nothing by doing that but I think the footage looks weightier, more cinematic ... To my eye anyway.
Would it be smarter to edit in 4K prores and then downres, so I have a master in 4K and then do my grading on the 1080p? Or do the whole process in 4K before I downres?
-
Very good. I just didn't want to muddy the waters. If the topic lends itself to be broadened, I'm a huge proponent of a second body/lenses, if only for backup, but preferably rolling. That said, your original topic of lenses got me thinking more about what it would look like to stream down not only my lenses, but my whole production process, cams and all. Being a person who owns several bodies, and traditionally shoots two cams, what about, "Too many lenses/cams?" Heck, I've a Canon XL1s I'm pretty sure I'll never shoot again. Genuinely have no idea what I still have it. On that same note, I find it interesting that, it seems, most here only shoot single camera productions. (But I think I may wandering again with that last statement.)
I'm a relative beginner with my only objective being narrative filmmaking. I have only ever used one camera but I have worked in sets where multiple cameras are used. I see the benefit in both.
-
-
I'm guessing because what you shoot today might only be used a few years from now, and the expectations will be for the standards then, not the standards now.
This is what I have been thinking about lately. Sure 1080p is fine now, but if I start a project today, and it's good enough to go to market, you're still looking at a couple to a few years before release. I wonder if distributors will want 4K in 2 or 3 years.
-
*Deleted comment. After re-reading, I realized this last comment was prob a bit too off topic. My bad, @Mercer.
I don't think it was off topic at all but thanks for the sentiment. Part of the discussion, for me is, when are too many, too many? Of course, that opens the discussion to any type of equipment. Other filmmaker's decisions and workflow can be very enlightening. For instance, I have been toying with the notion of picking up a B cam. I only shoot narrative material, and a lot of impromptu lens tests, so I have only ever had the need, and budget, for single cam. But since the G7 was announced, I am contemplating picking one up plus an FZ1000.
-
I have noticed that a lot of filmmakers mix and match lenses from different manufacturers. I have always liked to use lenses from the same company in any given project. Do you guys find it difficult matching color and iq in post?
-
Agreed fuzzy. But what about the wide end?
I've never been able to use a wide prime, when shooting wide landscapes, there's always that river behind you, that traffic, you can't move so you need a zoom, especially shooting 1080p video, unlike stills or 4K where you just go widest and tweak. Something like an 11-16mm on s35 or a 17-35mm on FF is mandatory.
I'd like to know if people find that as well, do you shoot on a wide prime?
I have a Takumar 20mm that I like, it makes some nice images, but the 4.5 speed is putting it on the chopping block. I also have a Vivitar 17mm. Both are great for establishing shots or tight spaces, but I prefer the 24mm focal length over the 20mm. Of course, now with me potentially getting the G7, there will be a whole new slew of lenses to consider. The 11-16mm may be a great starting point.
-
I rarely use anything longer than a 50mm with a prime, sometimes I'll throw a 105mm or a 135mm on if I need it, but I find I can get most of my long shots with just the 50mm and the crop factor. Recently I read another member, I think it was Andy Lee discuss how he will swap out adapters, dumb and speedbooster, to change his focal lengths. I don't have a speedbooster, but that seems like a great idea... You really can get by with 2 lenses in most scenarios. Otherwise my choice FLs are a 24mm, a 35mm and a 50. And I'll usually throw one zoom in my kit, just in case.
-
I have a set of Nikon Primes & Tokina Zooms. Started building a Voightlander set of pancake primes.
You can never have enough
Unless you can't afford it.I have a set of Nikkor non-ai and a couple Tokina zoom as well. I love the AT-X 24-40, but it's so big and heavy. Was thinking about getting the RMC 25-50 instead.
-
Is there such a thing as owning too many lenses, or sets of lenses?
I have been cleaning out my equipment closet... trying to thin out the herd.
And I realize, I have a whole lot of effing lenses. I want to sell some to finance some other equipment.
The first camera I bought was the t2i and I hated the kit lens but didn't have enough money for any good modern Canon glass, so I started looking at vintage lenses.
With little knowledge and a Bill Me Later account, I started looking for inexpensive glass. If it was under 50 bucks, preferably under 30, I bought it and tested it.
At the time, my mother was dying, so that experience, left me lacking anything creative, so I bought lenses.
Then I upgraded to the EOS-M and I started getting lenses that I could use with the mirrorless.
Eventually, I realized it was better to spend my money on better lenses than boring, cheap glass and I started acquiring better brands and faster lenses.
Now I have a good collection of 5 or 6 keeper sets. But is that still too much?
How many lenses, or lens sets do you guys have?
-
panasonic g7
In: Cameras
Posted
Yeah I read that same article about 4K output. Hopefully BH is correct. I just want the smallest run and gun setup I can find. When you output to live HDMI, does the camera's LCD show what is going out? If it does, then the Ninja Star is more than enough for me.