mercer

And I appreciate your level of commitment to decipher why one lens may be “better” than another. Now if you are wondering if you can replicate the field curvature of the Zeiss Hollywood lens in post... I would say probably not because the curvature creates an optical separation that helps create the signature “Zeiss 3D Pop” but I know how you enjoy post work, so you may be better off getting the sharpest lenses you can find. If I were you, I’d probably dump the Voigtländer... part of that lens’ charm is shooting wide open with it, so if you’re questioning its IQ, then dump it... with the money you make from the sale you can buy 2 of the 3 Sigma 1.4 M4/3 lenses which are probably better at 1.4 than the Voigtländer is. Plus you’ll have One Shot AF, instant IBIS without changing the setting manually.

In my opinion, you’re looking at this too analytically. Test charts and head turning videos on boring sets can only tell you so much. One of the most important factors in any image is rendering and an MTF chart will not show you that... only your eyes will. For instance, the Veydra vs Zeiss CP.2 numbers you referenced... Take the Zeiss 28mm f/2 lens for example... the Contax version was known as “The Hollywood” due to the way it renders the OOF edges of the frame due to the extreme field curvature. The ZF Classic version is a very similar design as the C/Y version and uses the same glass as the CP.2. Check our this, real world, review of that lens... https://www.google.com/amp/s/blog.mingthein.com/2012/07/19/zf28distagon/amp/ Also look at Cookes or Baltars... they aren’t perfect lenses by any means, but they have character and some of the best films of all time have been shot with them. Anamorphic lenses are revered due to their flaws. Color separation, tonality, 3D Pop, OOF highlights and even flaws... these characteristic can add charm and dimension to your images. They can help you tell the visual story you’re trying to tell.

Sorry to intrude, but to clarify about my non-ai question from the other day... do you think if I found a non-ai lens that was converted to ai, then the Leitax or Simmod Mount changes would work? I wonder how hard it is to find the original ai conversion kits from Nikon. My 28mm f/2 H.C. is in mint condition but most adapters on non-ai lenses are sloppy.

There is a mention in the specs of a 1.5x crop but it seems to be part of the stills menu and I can’t find any asterisks, elsewhere, to correspond with it. If it is FF, it’s probably pixel binned like Magic Lantern Raw.

It records out, via USB-C, to Samsung T5 SSD drives... it doesn’t get much smaller than that.

Hahaha... Leica Summicron... as sharp as a knife - subscribe to John Wayne Gacy Tasty Images with Jeffrey Dahmer How to gut a lens that will not be blamed for nothing ... From Hell with Jack

Hahahahahahaha... that may just be one of the funniest stories I've heard in a while. I even told it to my GF and now she wants to know the guy’s name because she watches all of those murder doc shows on TV.

I noticed it more in lowlight shots, dimly lit interiors and ext. night so I guess noise reduction could be kicking in more aggressively at higher ISOs?

The lack of weight to the image. I’ve noticed it in some of the footage as well.

Nope, they raised enough money to pay the codec consortium, aka the Illuminati, the 24 cents for 24p. I don’t think he was being pro-Canon here... it’s like the folks that say, Canon isn’t withholding features, that wouldn’t make any sense... they just don’t have the tech to do it.

I’m trying to figure out how, or if, non-ai Nikkor lenses can have their mount converted to EF?

I don’t know, I’d still suggest the Cine version in EF if he wants a declicked aperture. I’ve had a couple of the M4/3 Cine lenses in the past and didn’t mind the geared focus ring when focusing by hand. The other option would be the Fotodiox Viselex adapter that has a built in variable ND filter... I assume Auto SS would work the same??? That’s a nifty little set up... I used to use focus levers when I was a responsible tripod user and I can see how those reverse gears would be useful.

I didn’t realize you shot auto, I just assumed you shot manual. I think Nikon G adapters have an “aperture ring” and will make all Nikon lenses have a smooth aperture... but I’m not a hundred percent sure on that.

Questions for your follow up question... why do you need a declicked aperture? Do you use a variable ND filter? Also, which mount are you thinking of getting?

I assumed as much and I feel the same way about my 5D3 and ML Raw. It gives me everything I need in a traditional, filmic, organic image except some modern conveniences like IBIS and that crisp modern “Netflix” image which I have grown very fond of lately. What’s the trick for exposing vLog? Is middle grey at a drastically different spot on the curve than other Log formats? Are you using the official Varicam LUTS from Panasonic, or someone else’s? I shoot manual as well, but I’ve found, with past Panasonic cameras, that face tracking worked good enough that you could usually get a clean cut as long as you shot enough coverage. Is it the same? I shoot run and gun guerrilla style so this is what I look for in every camera purchase but it’s been difficult to find something that has great IQ, DR and IBIS... with the ability to shoot raw in a future update... that’s just icing on the cake. Thanks for the thorough reply and please share some footage when you get the chance.

Do you prefer it over the Micro?

Not bad for a FF f/4 kit zoom. I’m looking forward to some more of the small Sigma lenses like the 45mm 2.8. Interesting camera. When the footage looks good... it looks exceptionally good. If it’s less than $3000 this time next year, I may just bite.

That looks pretty good. I wonder what lens they used.

Same. This is one of the few reasons I decided on a single prime or a zoom for any given film. You can’t really second guess yourself if you don’t have the options, it becomes about composition, lens placement, or thinking about the shot from an entirely different way than how I envisioned it when I wrote it.

Do you have to realign your follow focus when you swap lenses?

Yes, please let me know when you get a chance. I ended up buying a Micro a couple months ago but haven’t done much with it. I have a couple c-mounts (Cine-Nikkor 10mm & Zeiss Tevidon 10mm) so I’m going to test them out first, once I get the rig situated and an IR Cut Filter. If I don’t like the c-mounts, I may get a speedbooster for my Rollei Zeiss 25mm. Which brand of speedbooster do you use? And how do you like it? I decided to take a minimalist approach to filmmaking going forward, but the Micro’s crop factor makes it difficult to get anything wide with what I currently own.

That’s a cool strategy for the BMPCC. Did you buy a Schneider 16mm for it, or are you just following the same focal length strategy? If you did get the Schneider, how do you like it? Some of those old lenses look so great on the Pocket/Micro. This BMMCC short was shot on a S16 Zeiss Superspeed... Yeah, I agree with this. I think the audience may not realize what’s off, but some will feel that something is different, so unless the story, or intent of the shot, can utilize the jarring effect, it is a problem, in my opinion. With that said, this is one of the reasons, other than being lazy, that I moved to shooting with single prime lenses. I think it was Polanski that believes you shouldn’t change your focal length during a scene because the change in angle affects perspective, which could take the audience out of the dramatic effect of the scene. This is definitely an option, the 28mm f/2 isn’t too expensive if you can find a good copy. I haven’t priced the 100mm but I assume it’s a bit more. And with that said, there’s a good likelihood that most people won’t even notice or care, so it really depends on how much it bothers you. On a different note, that FD 50mm is probably the best bargain vintage lens out there. I found a copy that was converted to the Nikon F mount, so I can adapt it to EF on my 5D3. If I was a smarter person, I could probably sell every lens I own and just use that lens. As you know, that’s how good it is.

It really does have a special look to it and for what I paid for mine, it would have been stupid not to buy it. However, due to other projects and needs, I haven’t really had the chance to rig it up perfectly yet. My goal is to have a one or two lens solution consisting of either c-mount lenses or native lenses. I want to keep it as simple and compact as possible.

But if you were planning on shooting with the Olympus 12-100mm anyway, then what’s the difference? You were happy to have a 1.89x crop. With the P6K, you can still shoot 4K, you have more native lens options, with no adapters, and a smaller crop. Just an alternate point of view.

I think it’s important to first note that I’m a narrative hobbyist with a long term goal of producing a few short films and a feature film as time and money permits. I’m more interested in composition than resolution, but consider myself a writer/director more than a cinematographer. With that being said, I love lenses and through the years I have tested nearly every major brand of vintage lenses on most modern mounts. When I finally settled on a camera, I learned that going native, whenever possible, was the best option, and most of the time, a zoom lens allowed me the freedom to concentrate on the creative. But there aren’t many zoom lenses that offered the MUST HAVES for handheld, guerrilla shooting my style and circumstance requires... • size and weight • good image stabilization • fast aperture It was easy to get one or two of the three, but that elusive third usually ended up being the dealbreaker. And when you added the cost of a good zoom lens, it was difficult to compromise on even one of those. So, I moved onto the single prime concept of shooting, which I really enjoy from a creative stance. I’m pretty steady handheld, up to about 35mm, which happens to be the sweet spot for my point of view. And if I use native Canon glass with IS, I usually don’t need any secondary support other than a neck strap. But even the single, prime concept doesn’t feel perfect for my circumstances so I’ll most likely end up compromising my MUST HAVES and replace a few of my prime lenses with a slow zoom and end up with a couple fast modern primes, a couple fast vintage primes and a zoom. As I get older, I realize this never ending pursuit for the best lens or best camera or highest resolution is the antithesis of creativity and stagnates the art and craft of filmmaking.