mercer

Pentacon lenses are decent but they have their quirks. The Soviets weren’t known for their quality control, so some of their lenses didn’t stand up to the test of time mostly in regards to the aperture. The Prakticar Mount is also a little more obscure so it may be more difficult finding adapters, but I’ve never owned a Prakticar lens, so I haven’t really searched for them. If interested in Pentacon lenses, I’d look for the M42 versions. The Mir 37mm is a classic lens, so if you can get it for the right price, you’d probably be happy with it. The Mir-24N which is ironically a 35mm lens, is supposed to be an excellent lens in the Nikon Mount as well. Zeiss Jena lenses, which aren’t “true” Zeiss lenses are fairly inexpensive with good optical quality... but with questionable build quality as well. But for the price of these lenses, you can easily find someone who can CLA them and make them better than new.

Yeah, this is honestly one of my problems with Micro 4/3... it’s neither here nor there if you need/want to use vintage or fast lenses. Sigma makes a 20mm 1.8 (the older one) that isn’t too expensive and that will get you around 30mm with the Fuji crop or the Micro 4/3 with speedbooster. If you look for the Nikon version you’ll also have an aperture ring. Tokina (also as Vivitar) made a 17mm f/3.5 that sells for between $100-$150. It is a great vintage lens with loads of character. That would get you the 24mm on the Fuji and around that speedboosted on Micro 4/3. Canon FD has a 17mm f/4 that is really good as well. Hope that helps @thephoenix

Yeah the 5D3 and ML Raw shoots continuous 1080p 14bit Raw. Since I shoot narratives, I’ve never recorded super long takes but I have shot upwards of 5 minutes without any hiccups.

I really like what Kinefinity is doing. I have no idea what their cameras cost... I assume they’re out of my price range but I do like their image. Pleasing color, good DR and decent highlight rolloff with good codecs... what more do you need? However, I think they are one company that could be well served with some sort of “pocket” version. I really like the idea of their 3K modes. I’ve always felt that really good 2K or 3K wasn’t optimized and really just skipped over for 4K... Arri’s 2.7K wasn’t arbitrary.

Out of curiosity, then why does the C200 have 12bit and 10bit Raw? Also, the 5D3 has 14bit, 12bit and 10bit?

AmateurRes Raw?

They’ll probably do some dumbass move where ProRes Raw will only work if you bought the Atomos V with their Filmmaker’s Kit. I think the next question is how will Canon respond in kind? We already know that a lot of their moves are direct responses to each other, so will Canon introduce RawLite into the EOS-R or an upcoming equivalent camera? But IBIS and ProRes Raw in the Nikon/Atomos sounds kinda delicious to me. Are there cages available for the Z6 that will lock the cables?

Thanks! It’s funny, you’re last sentence encaptures why I love my 5D3 so much. With ML Raw, I feel like it closely captures a 70s/80s film look... what I grew up on.

It seems like your exposure method paid off. In your original post, you mention that this was a simple grade compared to your current methods, do you remember how much you did here? Did you start with a utility LUT or color space transform and then adjust accordingly? I really love this look... it has that modern, gritty, sci-fi look. Is the new color science 4 transform available in the Lite version or only the Studio version?

Out of curiosity, why did you choose the Standard Profile in the Canon to go against the Flat Profile in the Nikon? This may be the only time that I’ve liked Nikon colors better than Canon? Don’t get me wrong, I love Nikon Flat but with the Prolost Neutral Profile, the Canon should look better than the Nikon. IMO.

That is definitely true. I still think the GH2 has a very valid place in today’s filmmaking. And the X-T3 is obviously a great little camera but I wonder if a C100 with the built in NDs and DPAF would better suit you. They’re really not that big. And the FS5 is even smaller. And either of those cameras are great for wedding videos. I think he means hybrids are half assed. And he has a point. If you want to shoot video, you may as well get a video camera.

Honestly, I think a filmmaker like yourself would be better off with a C100 or FS5, etc... you are a talented narrative filmmaker... go grab a cinema camera, with all of their bells and whistles and let the camera help you rather fussing about with these hybrids and their auto-everything.

Since I read this post, I watched a few GH3 videos online and the quality is pretty damn good for a 6 year old camera. Really, it is all most of the people on this forum need. 4K is nice. IBIS is awesome. But for a barebones quality 1080p image... the GH3 has it. And man is the price right. I’ve never used the Panny 20mm but I have used the Olympus 17mm 1.8 and man is that a nice little lens.

To be fair, the filmmaker didn’t ask for his work to be posted here and torn apart.

I guess I’ll be the first to ask... what lenses will you be using? Since you’re used to FF, that 2X crop may feel a little limiting. Sure there are speedboosters to help with the field of view but it’s still not FF. With that being said, I really like the image from the GH3 and the price seems great. I’ve even seen some videos online where filmmakers will use the GH3 as a B-Cam to their C100. The C100 would be a great choice too if you have a bigger budget... which isn’t that much if you consider what you’re getting. The original BMPCCs are selling for next to nothing... so also a consideration. I guess take a look at the a6000 for good 1080p... you can get them new for not much more than a used GH3. To add... or ask... what type of video work do you plan on doing? Very cool. Are there any online, I’d love to see how the GX85 holds up.

Man this not only looks incredible, it is a decent little story and really done so well. What ISO were you shooting at? And how bright was the footage before your correction/grade? Also was this ProRes or Raw and I assume it was 4K? Man I am such a fan of your work. If I can get a quarter of the quality you’ve been getting, I will be a happy filmmaker. I may pick up another Micro eventually after seeing what you do with BM cameras and how John Brawley edits the Micro footage with UMP footage on the show he DPs. They’re so cheap right now, they’re almost a no brainer.

Only sort of... gorgeous.

No truer statement has been posted but I think since Oliver was seriously considering the C200 for a few seconds, that it kinda bled over into this thread. With that being said, I think the EVA1 is an amazing camera and with @Zak Forsman ‘s EVA1 price drop news, the EVA1 becomes even more attractive to me and I’m sure to anyone contemplating a C200 or FS7. However, a lot of you guys could shoot in Pixelvision and get a great output. I’m not saying the middle codec isn’t important to a lot of productions... I’m sure it is. With that being said, I don’t think I am properly getting my point across, so I will concede to your knowledge of the needs for the professional market. As a hobbyist, narrative filmmaker, I’m obviously out of my depth here and have no inner knowledge of the Greek broadcast production standards. But I never said I couldn’t afford a C200, I merely said that it doesn’t fit my run and gun production needs at this time. When and if I am in the market for a cinema camera, the internal RawLite from the C200B will be a contender, as will the 5.7K Raw output from the EVA1 and the ProRes Raw output from the FS5/II. @Zak Forsman have you tested the Raw output from the EVA1 and if so, what are your thoughts, or better yet, do you have any clips to share?

I know Nikkors turn the “wrong way” but it seems more natural to me. I don’t know if it’s because I’ve owned so many lenses that turn that way, so I’m just used to it or if my brain wants infinity to turn toward the right. I have more trouble with my Canon lenses. Luckily I can adjust my muscle memory fairly quickly that it’s never an issue. I’ve also learned to yell “action” well after I hit record. I actually like 50mm lenses. I’m kinda obsessed with them and definitely have tested more 50mm lenses in my life than other focal lengths. But with my love affair with the Nikkor 35mm 1.4, I’m unsure if a 50mm would add much more that I couldn’t get with a quick camera replacement than a lens change. As I shoot more and more, I am really enjoying this one prime lens concept. As @kye suggested, I am really getting a feel for composing for specific projects based on subject/thematic material. Plus it lets me find and use a few gems from different manufacturers. Of course, lens tests can become just as much of a hobby as filmmaking can be. In fact, one of my goals for 2019 is to produce more films and one of the ways I want to go about doing that is to make micro short films. So when I do get a new lens that I like, I will instead make a short film with that single lens, instead of just going out and doing a test. By doing this, I’m hoping my eye will become more trained while I also get more accomplished. With all this Nikkor talk, I figured I’ll flip the script with another framegrab from the Canon 35mm f/2 shot from my film...

Ok, it’s a glorified C100 Mark III. And if those people are buying it to shoot 8bit, then more power to them. Maybe that shows the versatility of the camera. In fact, I do see a lot of people posting samples of their work on IG that they’ve shot in 8bit on the C200 for clients... they seem to have a lot of projects... so maybe the whole 10bit “middle codec” thing is blown out of proportion around here and the C200 is a way more capable camera than even I give it credit for.

Cool video and interesting. It seems the screen and the motherboard would affect the size the most? Is it possible to slice the motherboard into two pieces? As far as the heat sink, I wonder if one of those aluminum block cages for the Pocket, plus ventilation holes, could double as a heat sink and camera exterior? Also could one of your Raspberry Pi screens replace the screen? Obviously, just thinking out loud here but it does seems like a cool project.

The BMPC 4K or the Ursa Mini 4K would be a logical 4K option for me since I have a growing collection of EF lenses... unless Magic Lantern unlocks the 5D4. For the money those forgotten BM cameras really cannot be best. I just watched some BMPC4K footage and it really is special looking. Too bad the form factor seems kinda annoying... I wonder how hard it would be to put the sensor and internals into a different body that is hooked up to Sony NP batteries... maybe a Micro/BMPC4K Frankenhybrid? Lol.

Doesn’t the Ursa Mini 4K have the same sensor as the BM 4K Production? I’ve seen some used ones go for less than $2000.

You run on a Mac don’t you? iMovie has a beautiful grain... so much so that the default grain filter in FCPX is called iMovie Grain. I think it’s a leftover from iMovie HD days. But I guess rendering out a copy of your film through iMovie just for the grain would be as appealing as licking a hyena’s butt crack.

It’s funny, I prefer the Canon 28mm 1.8 over both the Nikkor and the Zeiss ZF. What it loses in sharpness, it gains in character. I originally went with the Nikkor 28 f/2 for my Nikon set because I didn’t think I’d find a 35mm 1.4 for the price I wanted to spend. And then I saw some Flickr samples of the 24mm and I regretted the 28mm purchase. I agree about the 28mm on a crop sensor... with a 40-45mm FOV, it’s a beautiful lens. I may skip the 50mm altogether. I was looking for the cheaper 55mm 1.2 but have already been burnt on two poorly described copies. The 50mm 1.2 is interesting but since I’ll use the 35mm most often, it may make more sense to save up for the 85mm 1.4 for close ups. Of course, I’ve recently learned how many films that were shot with a single prime lens and I must admit I am intrigued by that idea. I believe Polanski argued that the viewer can become more immersed into a scene when the perspective doesn’t change. So it is quite possible that I may just keep the 35mm 1.4 and then maybe the 24mm for those times where I need the width. But I really like the versatility of a fast 35mm. I also have an EF modified Minolta MC 35mm 1.8 that I adore. I’ve been looking for a 58mm 1.2 to go along with it but I’m too cheap to drop $500 for a good copy before I even pay for it to be modified.