Ricardo Constantino

In my previous post, I mentioned that I was going through my lenses and thinning the herd. Well today I have a few samples from the Zeiss ZF Classic 50mm 1.4.
I bought this lens a couple years ago for VERY little money. The body had a little wear, but the price was so good, I decided it was worth it and if I didn't like it, I could EASILY recoup my costs. When the lens arrived, it had a couple issues... the Nikon F to EF adapter that was included (a "bonus!" according to the seller) was stuck on the lens... the lever that is used to release the adapter from the mount was broken off. At the time it wasn't a huge deal because I was using it on an EF camera.
Here's a frame from it on my 5D3 with ML Raw...
So it seemed to be a good sample but when I tried to attach a VND, I quickly realized that the threads were messed up... I could screw the filter in but it definitely wasn't right. By the feel and sound of it, it seems like the lens was dropped in the dirt. Luckily, nothing was affected mechanically, or optically, so it's no huge issue. Eventually, I'll buy a step up ring but for testing purposes, a filter will screw on with enough patience.
Anyway, I bought a Sigma FP last fall and since then I have been testing different lenses with it looking for a simple little set up. So far I like the camera. It has a pretty nice image, but I'm not wowed by the IQ like I was when I first bought my 5D3... but that's a story for another time.
As I mentioned in my previous post, I built a basic set of fast Nikkor ai-s lenses and I plan on selling off everything else. I'll keep a few random lenses that I really like.
Back to the Zeiss... to test it with the FP, I needed to remove that damn bent adapter. Well it was no match for a pair of dykes and some needle nose pliers. In mere minutes I turned the "bonus!" adapter into a pile of metal shards.
So, after enlisting my actor friend, I decided to take the lens out for a test run with the FP.
Here are the results...


As I mentioned earlier, I have a hot and cold feeling toward the FP, but on that day, maybe it was the light, or the beat up, pseudo-modern Zeiss optics, I think I have one of those random keeper lens...
Now I just need to refrain from building a set of Zeiss lenses...
Easier said than done.
Thanks for reading my long, unscientific, anecdotal review.

The well known Tokina 28-70 2.6-2.8 in Nikon Mount is nice n affordable with sufficient MF for video.

Mister read the freaking title! It's a color thing - not me trying to cut videos for free🤌 Good luck though and please send some framegrabs for me to color if you feel like it😘
Since nobody wants to share anything yet (I get it - this forum is mostly about fetichising equipment - which I totally dig - I was just trying to create, like a teambuilding exercise or bonding opportunity or whatever) I took the liberty to dig through the posts and go right at it.
 
Whatta ya' think?
 
And _please_ give me all the shit you feel like, as long as you post your best shot at it. Or not. It's the internet and I'm not easily offended.
 
I feel like this could be a fun little competition that doesn't have to involve the effort of leaving your (and my) mothers basement in order to participate😮‍💨😮‍💨😮‍💨
 
Much love

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Have fun!

Yeah, I followed the wide hint and guessed it was full frame 😛 love the image quality, so natural and lot's of dynamic range! The thumbnail shot looks gorgeous but I always had a soft spot for Panasonic so I'm biased!

A good guess. @webrunner5 It's a FS700 with a speedy booster, 8bit internal 420. SLog2 in sufficient light is working great for video. Mercer already revealed it. 😊
Darn, the 10bit powerhouse is a S1. So you both were right in mentioning it. @Ricardo Constantino @MrSMW
After our friend Mercer solved 75% of the riddle, you two did the rest. Anyone else giving great hints. Thanks for the fun to all of you!
The takeaway for me is, FS700 was doing really good. And ultra wide angle in FF is a great tool to have. Both cameras match well. Props to the FS700. Gradingwise, colour bleeding and artefacts are a non issues with the S1, whereas with the FS700 issues would appear at some point. The 8bit contender can still provide a tasteful colorful look under harsh sunlight and is doing well enough in Grading to achieve the desired look. HD delivery shows both cams perfectly in harmony. cheers

What is a S1/S5? I don´t know that camera!!!!! So you are wrong!!!! 🙂

10 bit = S1/S5

Ahh my mother told me about people like you. 😬

Update: I pried the fucking thing off with a screwdriver. Everything still works properly, but I added a few scuff and scratched to the aperture ring. But now I have to get to work, so I'll have to wait till tomorrow to shoot some actual test footage.

For anyone buying a Pocket or Micro for the first time - as well as those who already own them - there has been a challenge for a while now around buying new memory cards that actually work with them.
I've been using a specific Sony one that is reliable but very pricey and not always readily available but I had some Kingston ones recommended to me that apparently fit the bill so I ordered one to try it out.

EDIT >>
Happy to report that it worked in ProRes and RAW without any dropped frames on both cameras, including the 3:1 RAW at 60fps on the Micro.
Happy to report that it worked in ProRes and RAW without any dropped frames on both cameras in standard frame rates, but begins dropping frames at the 3:1 RAW at 60fps on the Micro but is OK at 50fps.
<< EDIT 
They are reasonably priced (sub €40 for the 256GB) and readily available from Amazon in different sizes up to 512GB.
https://www.amazon.es/Kingston-Canvas-Select-Plus-SD/dp/B07YGYCR3V
IMPORTANT > Please see @bjohn post following this one regarding long term reliability.

This tread finally convinced me to buy a BMMCC . I couldn't be happer . My old S16 lenses are back . So cool to have a proper cine zoom in this tiny configuration . Might get another one for my super speeds. 
 
 
 
 
 

That doesn't make the camera a hand-held camera, it makes those lenses handheld lenses.
Name a camera that isn't a handheld camera then.  It's like saying that my dining room table is a cocktail table because it is compatible with cocktail making equipment.  
By that logic my dining table is also a boat table, because:

 

A funny and very pointed piece by Fujifilm.
"We don't negotiate with hobbyists."
 
 

Filmmaking is not (nor should) be a show off from (any) gear specs to us salivate over anything in the path of the show. It's just another one, a new camera won't bring you more skills to your craft (E :- )
Filmmaking is time and how skilful you're able to manage it. Other than that, amateurism in any of both senses.

I love the texture of film and always try to get some aspect of into all of my projects. I think the camera matters less these days as almost all the dslrs out there can give you a filmic image if one bothers to learn resolve and a bit of color grading. I used the GH5 for years and one can get beautiful images from that camera. Adding an OLPF effect in post with some blur helps getting that digital sharpness down that many DSLR sensors have. There are also so many good resources out there now for getting a filmic look without much work. Juan Melara's Kodak 2393 FM Powergrade is great for getting filmic colors and if you want halation, grain and colors that are as close to film as possible I think Dehancer has that down, very impressive plugin. Also Tom Bolles is releasing Cineprint 16 powergrade for sale soon (video below was shot on GH5). and VFX artist Miguel Santana has Spectra coming out next year and they both look great. Learning some color grading and buying the powergrades/plugins of those that truly understand film emulation will give you better results than buying a blackmagic pocket 4K and slapping their standard lut on. Once you tailor your grade a bit to your camera just save it as a powergrade to use on future projects and then it is as easy as adding a lut to get a good starting point on any project.
)

Shot 70% shot the C70 and 30% A7SIII.  More coming soon! 
 

This is silly.  My country will spend 11 millions this year on a Web Summit ...online. And the brand (!) Photokina will simply vanish?! Why? Is photography dying and I haven't noticed yet? Or the DSLR/mirrorless industry for Christ's sake?
Does it make any sense? : (

On the other hand, smartphone manufacturers celebrate computational photography...

Whoops, looks like I missed the edit-window of my post, here's some S1/RED comparison stills, as promised, close-ups are the S1, wide shots are the RED

I did it guys. I went back to the Sony F3! Finally found a descent deal on it. 2.1k for all this. Since I don't need the 4k I was between this, a canon c300, c100, Sony fs5 and fs700. 
The F3 with 444 has 850hrs and the pix e5 came with 960gbs of storage. 

From a music video shoot today. 

Voigtlander 21mm 1.4


Panasonic 24-105 F4

35mm Schneider Cine-Xenon
Trees and windows. 
 

I think the light and amount of contrast of the scene makes a huge difference to the image thickness.  When you have a good amount of contrast in your scene with areas of shadow and bright highlights, and your object is well exposed then you can bring the blacks down were they belong and help with the perceived thickness (and also reduce the perceived grain/noise).  Were I notice the main difference with cameras that produce thicker images like the digital Bolex is with skin tones and also foliage/leaves/trees etc.  Whether it's the tonality/colour gamut/saturation/shadow saturation or all of these when combined with good light they just look more alive. Here is a screen shot from the D16 (not mine) which while compressed to heck look 'thick' and alive to me.
 
 
 
 

That's what I thought - that there wasn't much visible difference between them and so no-one commented.
What's interesting is that I crunched some of those images absolutely brutally.
The source images were (clockwise starting top left) 5K 10-bit 420 HLG, 4K 10-bit 422 Cine-D, and 2x RAW 1080p images, which were then graded, put onto a 1080p timeline and then degraded as below:
First image had film grain applied then JPG export Second had film grain then RGB values rounded to 5.5bit depth Third had film grain then RGB values rounded to 5.0bit depth Fourth had film grain then RGB values rounded to 4.5bit depth The giveaway is the shadow near the eye on the bottom-right image which at 4.5bits is visibly banding.
What this means is that we're judging image thickness via an image pipeline that isn't that visibly degraded by having the output at 5 bits-per-pixel.
The banding is much more obvious without the film grain I applied, and for the sake of the experiment I tried to push it as far as I could.
Think about that for a second - almost no visible difference making an image 5bits-per-pixel at a data rate of around 200Mbps (each frame is over 1Mb).

There's no video camera right now that checks off as many boxes as does the C70. That doesn't meant it's the right camera for everybody. 
However, it is amazing to see how many people require a built-in EVF, SDI-port, and RAW. And must let the world know the tragedy of their unmet needs. We all know you twits shoot on iPhones. The C70 has portrait mode too you cunts