mercer

I remember reading somewhere that a lot of Panavision lenses are rebranded and tweaked but I don't remember where I read it or what they rebrand.

I agree. When I hear the phrase, field curvature, I instantly think of the Zeiss 28mm f/2 "Hollywood" lens. By measurement standards, the lens is actually poorly rated but it has that "magical" quality that can be attributed to field curvature and probably some micro contrast to deliver that 3D Pop. This is why I'm such a big fan of Zeiss lenses. The Rollei Zeiss, Contax Zeiss and the ZF Classics offer an affordable entryway into, almost, cinema quality glass with the character that's synonymous with a perfectly, imperfect image. I don't know that lens, but it sounds pretty damn cool. I'm a huge fan of Minolta lenses. One of the biggest drawbacks of going EF mount was losing the ability to use my Minolta lenses. I sold a lot of them but even bought one that was EF modified and plan on making Minolta to EF mods a side hobby now that I have settled on my humble lens collection. I have a 55mm 1.7 in mint condition that cost me 15 bucks. It doesn't seem too difficult to mod. And I need to figure out why the 35mm 1.8 (one of my favorite lenses of all time) I bought won't focus past 3-4 feet. It feels like there may be something inside the lens blocking the helicoid. I just need to find the right screwdriver to open it up with. So far, no micro screwdriver I tried is the right size.

Just get a Cooke Panchro... much better lens.

Sure I'd like the widest coverage possible but that wasn't necessarily the point of my question. I just liked the look of the frame, so I was curious if better trained anamorphic eyes and more knowledgeable members could deduce what lens he was using. Okay, thanks. So much information in such a short time is getting muddled in my spherical, full frame brain. Although the Kowa 16-... variants are a lot cheaper, I keep going back to the Kowa B&H/16H/8z/Elmoscope II scopes. Based on eBay prices, the 16 lenses aren't really that cheap, so I may just save my money and search for a B&H/16H/8z/Elmoscope. In your opinion what is a good price for a very good to mint condition copy of: Kowa 16a, 16d, 16s Kowa B&H Kowa 16H/8z Elmoscope II Thanks again, I appreciate your guys' help! Thanks, I haven't heard of the Sankor before... I assume that's the same one Timotheus mentioned? What are those frames from? Idk, maybe the frame I posted is from an aps-c sensor, I just based my assumption by his surprise of coverage. I assumed he wouldn't have been as surprised if it was shot on a 1.5x crop camera.

I've been doing some research on the Kowa Prominar 2x lenses and I was wondering if all of the models worked about the same (other than the 8z, 16H, B&H) I found an old post on DVXUser where a guy posted this... "I have a kowa prominar 16 (not sure what exact model). The rear element is really really small (<40mm), however I was surprised when I tried attaching it to a nikon lens (55 macro) and discovered that it is not only beautiful and shows minnimal vigneting, but that it was way sharper than the sankor D and allows to focus down to 1.5meters." He didn't mention what camera he was using, but based on his surprise of coverage with a 55mm, I assume he was using a full frame camera. Anyway, I think this looks fantastic, 55mm taking lens or not, so does anyone have any idea which model he could have used based on his description? That was just a screengrab from my phone, here's the link to the actual post... http://www.dvxuser.com/V6/showthread.php?182386-Sankor-Kowa-Anamorphic-Lens-Discussion-and-Footage/page30

That's true, it is an odd way of explaining it but Cooke's are odd lenses... they're defects add to their beauty. I know @HockeyFan12 knows a lot about Cooke lenses, maybe he can shed some light on this?

I think he's using layman terms to describe field curvature and 3D Pop.

Cool! Out of curiosity, how did you guys get those jobs when you first started? Nice small set up. It looks tiny on that tripod. And the SmallHD monitor looks tiny on the camera. What lens(es) were you using?

First I will say, nice shots. It took me a minute to realize what the second one was... and I still am unsure if it's tree bark or a tribute to Allister Crowley. Second I must admit that of all the lenses I have owned over the years, I think the EF 50mm 1.4 USM lens is an underrated gem for the price. Do you remember what aperture these were shot at? And finally, you could get some work color grading feature films. There is such a rich, modern style to your work, especially in the midtones.

In another thread, @thebrothersthre3 was discussing a feature he is filming on the P4K. I'm curious to hear more about the project, or more importantly, how the P4K is working on a long form project. I know you direct as well as shoot, so I guess first and foremost I'd like to know if it's your film, or are you the DP? Also, do you have a picture of the rig? What kind of lighting are you using? And finally, are there any impediments, or have you had any issues, using the P4K for a feature film narrative?

I believe you're correct but the horizontal FOV would be equivalent to a 67mm lens and the vertical would be a 100mm. But I think the crop factor on the P4K is 1.89x, so then it would make the horizontal FOV equivalent to a 64mm lens. I think?

Yeah, I use a mixture of tripods and monopods. I'd rather sit on the pointy end of my monopod than use a gimbal.

I'm sorry but using any lens ever made with just the camera body and a strap with little need for extra stabilization is too appealing to me as I get older. I haven't decided which is more important to me though... IBIS or raw video. Luckily, I have plenty of time to decide while I sit back and enjoy my 14 bit raw... 12 bit is for amateurs...???

This is the one comment from today that I can agree with and that's why I have no reason to upgrade just yet, but if I was going to... I'd still choose the S1H... especially after looking at those videos I posted again.

Are you shooting B-Raw or ProRes. Since I'm an FCPX user, ProRes sounds more intriguing to me but it's hard to go back to in camera WB when you get used to raw video. Sorry to the thread for the OT. I'll move the discussion to the P4K forum. I've seen some amazing stuff shot with the S1H. Sorry if these have been posted here already...

Good to know! At the price point, I wouldn't be surprised if I buy one sometime next year. I also like that they added a S16 mode to the camera. I'm very lucky to have a circle of very talented friends, so I have access to a few actors I can use for free but it's hard to schedule everybody at the same time, so I could see myself starting another film while I'm finishing my current project and your experience made me a little more interested in the P4K as a possible option. Have you used the Small HD focus with the P4K? If so, how much battery life do you get?

I'm glad you love your camera. The tools we use sometimes become a very big reason for productivity... so anything that works for you. With that being said, the P4K vs. the S1H is hardly a fair comparison. The P4K beats the S1H for price and the S1H beats the P4K for FF and run & gun. The P6K is where the comparison should be and when you crunch the numbers, including accessories, they're essentially the same price.

In practice, does overcoming the battery problem require an external battery solution? If so, then it's a pain in the ass for run & gun shooting, IMO. It's these things that make the S1H a better option IMO and worth the extra money. When you add IBIS and a true anamorphic mode, plus that dreaded Netflix approval... lol... the chips stack up in the S1H's favor. Even it's ability to track focus (although poorly) adds some value. I wouldn't hesitate to get a lot of coverage so I could edit some tracking shots together.

The BMPCC 4K was announced in April 2018 at the NAB show. The first units started shipping in September of 2018 with a lot of the preorders not being filled until way into 2019. In fact, I think some people hadn't received their preorder of the P4K until after the P6K started shipping. I liked the body of the OG Pocket... it fit perfectly in your hand but the screen was unusable in daylight... I thought the P4K suffered from the same problem?

Their menus were always good and sensible. Their focus peaking is probably the most accurate on the market. The problem with their cameras is battery life and their screens and there are no indications that they are any better than the OG Pocket, except the batteries are more expensive. I know you disagree with this but for me, it's a non-starter.

How long should it take with a 1 man crew? Lol. Seriously, though. I am about 2 years into mine with probably another year to go... but I have had some set backs over that time and 3/4 of the year, I shoot 1 day a month. Ok, but which year? Lol. Oh yeah, I love my camera. I'll get another year or two out of it before I really feel the need for an upgrade. Btw, the 5D3 with ML Raw shoots full frame 14 bit raw both uncompressed and lossless.

To add... I haven't used the S1H or the new BMPCC 4K/6K cameras. My opinion is entirely based on footage, features and experience with older model Panasonic and Blackmagic cameras... so in summation... what the fuck do I know?!?!?!

Exactly. Even though my dream is to make a feature narrative film, at the end of the day... today anyway... I am still just a hobbyist. Between my day job, and life in general, finding the time and money to work on my film is a difficult task, so any piece of equipment... be it camera, lens, support, lighting or audio... needs to make the process easier. And speaking for myself only, BlackMagic cameras are a pain in the ass to use. There is always some corner that needs to be cut, always something that needs to be rigged just to get a viewable image or a decent bit of battery life. This has nothing to do with the image or the file sizes, or anything else... for pure image quality, they cannot be beat at their price point... especially when you consider how cheap the OG Pocket and Micro can be bought for. But for TRUE run & gun, there are better options and the S1H, other than internal raw, ticks every box I would want in a new camera... if I was in the market for one. With that said, that's why the S1H gets my vote for camera of the year and Sigma gets an honorable mention for what they were able to achieve with the FP and more specifically... internal 8bit 4K raw. It's really quite an astonishing feat for such a small full frame camera.

Deleted comment because I didn't want anybody to take my joke too literally.

Since Emanuel... and friends... want to discuss BM Cameras so badly, I figured I'd add that the one place where BM has Panasonic beat, in regards to the S1H, is in price. Although I am sure the S1H may be worth the $4000, but I can't help to imagine how many more people would have bought it at $3000. But I think Panasonic's pricing has been a little hefty since the GH5 and I think Fuji, BlackMagic and now Sigma confirms this. IMO, the GH5 should have been a $1500 camera, the GH5s should have had IBIS and been $2000, the S1 should have also been $2000, the S1R at $2500 and the S1H at $3000. There is just too much competition in this niche market for Panasonic to charge such a premium. With that said, if I was a wealthier man and had an extra 4 grand lying around, I'd buy an S1H in a heartbeat. EDIT - to add so there isn't any confusion with Emanuel, I understand 12bit trumps 10bit and I am sure there are other features, other than price, where one could argue the P6K is better than the S1H.