Stanley

3 minutes ago, Neumann Films said:

I was joking.  

Cool, didn't think you'd ever consider 1080 24 anyway. 

On 1/15/2017 at 1:31 AM, Charlie said:

Hey all,

I read a very interesting long thread on here about vintage lenses.

I currently have a Pentax SMC M 50mm f1.7 and would like a 28mm f2.8 to go with it. Obvioulsy I could get a 28mm Pentax, these are fairly cheap on Ebay (cheap for a reason?).

However, many people say that the Zeiss Distagon 28mm f2.8 is a great lens.

What do you think??....anyone used both??....can you mix the 50mm Pentax with the Zeiss or will they look noticeable different??

Cheers!

 

 

 

Hi charlie, what's your opinion of Rokkor lenses on M43?

17 minutes ago, Neumann Films said:

Well technically the 180fps is 1080/24

No, I haven't messed around with it.  Want a quick file to inspect?

Thanks mate, but if it's been shot at 180fps it's probably not what I'm trying to make my judgement on. I've had a bit of bad luck on this site trying to establish what 1080p 24 fps is like with any of the recent line of Pana cameras. Thanks for your offer though.

9 minutes ago, jonpais said:

 

@Stanley You really love your 1080p.  

Mate I still love my GH2 720.....Don't mess with it either Mr Panasonic!

1 hour ago, Neumann Films said:

 

Hey Luke, just wondering if you have shot 1080 24p or 720 50p with this camera. cheers.

Mate I've worked in the industry for 30 years, so any cheap shots these days is like water of a ducks back. Personally I think you can over advise people some times, and so I would say to Matt, think like a news cameraperson in this instance, and if you can't beat the echo, use it as atmosphere unless it's intolerable. Create an establishing shot so the minds eye accepts the location, and the echo will make sense. And live to air is not in my opinion any easier than short films, no take 2,3, or 4, no post, etc, etc, feature films I haven't worked on, but they would employ the best of the best I imagine, and the wages would be big. But I'll leave it at that because this advice is getting bigger that Ben Hur.

41 minutes ago, Kisaha said:

@Stanley this is a completely false statement! I wouldn't start like this any sound education, It is completely wrong! Who are these "soundies"?This is like a script writer's line, not a "soundies"! Actually, for a slight reverberation issue that I couldn't avoid (they gave me no other option) I had recently a cable channel's producer call me and complain.

@mattpitts74 Actually, one of the best "investments" for anyone care about sound are special blankets that can used accordingly to cut reflections, and are quite cheap most of the times, 

or even better, hire a sound man with the appropriate equipment, if you get 500 pounds for the job, give the 100 to a young soundman, if you get 600, give him 150, or whatever, you will be faster, more efficient, have someone to help with other things as well, talk, learn, socialize, networking etc

 

 

Sorry I didn't realise he had a budget that would include a sound man, or have staging equipment such as T stands to hang blacks or blankets from.

We work in huge arenas that have echo, delay from PA's, sometimes foldback for the talent, delay RF for cameras and mics, and of course loud noise from the crowd, and the soundies I work with handle all of this with the greatest of ease. If anyone complains we remind them of how much it will cost to overcome it. And we do it live to screen.

I work in an enviroment where echo is huge, if the Gym has a crowd it shouldn't be as bad. So unless the echo is intolerable, just use it as atmosphere. As some soundies have said, "if the audience is listening to the echo, we've missed the point with our dialogue"

18 minutes ago, Justin Bacle said:

. Whilst that is true that all the settings are a bit strange, I usually shoot "old-school" so I don't have to change any settings. (Manual Focus lenses, Aperture priority Mode or full Manual, RAW files and that's it).But I learned with a Film SLR (Minolta SRT-101) so that might explain why

 

At this stage there is no way I could attempt manual focus I'm afraid!!... plus it all happens so quickly I'm lucky if I can frame the birds up in time. Her's a shot of my best effort so far, its beak is focused (sort of) but the legs aren't, and that's just one of the things that I need to improve, And yeah I used to own a Minolta SRT-101, and still have a couple of Rokkor lenses...they are awesome.

BIF photography... Thought I'd find out if many, or any people on this forum are into it ? About a week ago I decided that it couldn't be that hard to nail a few shots. Well I reckon I've taken about 500 photos and got 3 that look ok. The good thing about though is it has made me RTFM inside out regarding Burst modes, AFS, AFC, focus priority, file size, etc, etc.

I now have the utmost respect for photographers that do it well. If you think it sounds easy, give it a shot.

My thoughts = Great work, all departments on the same page to give it that look. Well done, and I liked the music. How long did it take to shoot it ?

13 minutes ago, AKED-M said:

I did not mean the difference between optical or digfital stabilizer. The GH5 has IBIS stabilizer, the 14-140 and 100-300 have lens stabilization. If there will be no handshake, so that they are not working together, then it would be interstig to know, whch will be the better choice. We will be going to a safari in August, and I plan to take a GH5 with me. And there will be long telephoto shots, and therfore I would be interested, which stabilization system would be preferrable. But I reckon I just have to wait and test it. 

Ands yes, a tripod would be best, I know.

But not in a car :-)

Why not buy the new Ver2 100-300 when it comes out way before August. It's weather sealed, as is the new 45-200 thats paired with it.

8 minutes ago, deezid said:

Yh, I don't see it from the chart either.

But it would be amazing indeed!!

24.00HZ, MOV/MP4,4096x2160,48P,400Mbps,422 10 Bit,All- Intra, Summer 2017.... Follow The Yellow grid.

Well spotted Simon.

25 minutes ago, Simon Shasha said:

Wait a second, 4K @ 48FPS in 10bit?

Did I read that correctly?

Looks like you did.

Mine arrived yesterday, body only, so any lens advice would be more than welcomed.... I know, Iknow, I should have asked more questions.

9 hours ago, Geoff CB said:

Yeah definitely limits my options.

Single wide but whole set would be nice , trying to build up a set to complement my voigtlanders. Currently I'm just running with them and a Tokina 28-70. I threw the Rokinon on for 5 minutes and am just not impressed, not enough to build up a set of them, as I would always turn to my voigts first.

Couple options for me next:
- Olympus OM /Minolta set
- Canon 28-70 2.8 & 80-200  Like the look, but so many people shoot with these.
- Nikon 20-35D and 80-200D  I've had both and they are built like tanks, the 20-35 actually has very nice "pop"
- Macro-Vario-Elmar-R 35-70mm F/4.0 - Because it seems reasonable priced, well sized, with an incredible look.

Had some Canon FD primes, nice look but overall it wasn't for me. Also had Nikon Primes, but to me they were to similar to my voigtlanders.

I'm not at your level, and I only have 3 lenses, 100-300 pana, and 2 Minoltas, 28mm, and 50mm. I use the Minoltas mainly for stills because I find focusing with them very challenging with video, as they have such a short focus throw. They were about $50 each and I just love the look of them. 

This may interest those who aren't opposed to having heavier head. If I was to go back to the USA, and time permitting, I'd certainly consider looking into an OConnor 515 with the NovaCam mod. 

 http://novacam2000.com/novacam-hdf.html

20 minutes ago, kidzrevil said:

Negative contrast destroys midtones while + contrast enhances it. Use the highlight & shadow curve to adjust shadows instead of the contrast slider

Where's that 1080p test mate ?

2 minutes ago, Kisaha said:

Have you check the prices of a Benro S6 and a top of the range Sachtler? The one can buy you a meal for two in a good (or ok) restaurant and the other buy you a small car.

Yeah it's so true, but remember a good head will last you for life time, a cheap head will last a few years. If you think you're pay load is going to be always light, and you're foacal length shortish, something like a S6 or 502 will serve you well. when it gets down to Matte Boxes, Follow Focus, Light, monitor, Batteries, etc ya gonna need something more.

14 minutes ago, Bioskop.Inc said:

The MK2 is meant to be better - take a look at this thread from BMCuser:

http://www.bmcuser.com/showthread.php?11193-SLRMagic-Vari-ND-thread

Thanks heaps for that link. I'm half way through, but in the 1st couple of pages I see that Kholi hopes they can engineer the back of the filter to cut polarisation. seems like SLR took notice on that one?? Also the IR cut is big with those guys....makes me wonder about our cameras? anyways I'll read the rest tomorrow, but I'm sold on the SLR. Thanks. One final thing though, do they only come in 4 different thread sizes?

13 minutes ago, Kisaha said:

Benro S6 is a relatively cheap head, so far it performs on par with similar or slightly more expensive Manfrottos.

I am very happy using in mainly on a monopod, and some tripod work.

Sachtler is a completely different thing, the legs are not top notch, the head is the best "cheap" one I have ever used, but it is twice the price of Benro (at least here), and the cheapest

Sachtler doesn't have a light on its leveling bubble! That drives me nuts, as I have to carry led lights with me all the time! The next Sachtler, with the light, is even more expensive.

Sachtler and a C100markII is a kit that can't fail you on the field though, a kit that can pay the bills.

In my real job my cameramen use top of the range Sachtler heads and sticks. Occasionally when they go for a pie and a piss (in that order) I get to play with it and chase a few crowd shots.. mate it's like driving a roller after a mini minor,no comparison

18 minutes ago, aldolega said:

I'll throw in my Benro experience. I've done the typical keep-buying-a-pricier-tripod-every-few-years-thing, first with an HV30, then DSLR/mirrorless. Started with an awful RC-4 mount (I think, tilt mechanism was one-sided like the Benro S2) Manfrotto, then a 701, then the S6, and now a Sachtler Ace L. I've also used various mid-level Manfrottos (501, 502, etc).

The S6 was pretty good, performance-wise. Same or slightly better than a 501 or 502. Seemed smooth at the time, and adjustable drag and counterbalance on tilt was a big step up from the 701. It worked- it wasn't awesome, but I could shoot with it. 

Just really cheap touches to the construction, though- plastic knobs, weird/poor fit on a couple things, cosmetic badges fell off from cheap glue, and the pan lock knob broke off. Zero response from Benro "customer service" on that, BTW- on my own and through the dealer I bought from. So be warned that it seems like they're going for a "disposable" sales model. And I'm in the US! In Vietnam or elsewhere I would expect it to be even worse.

The Sachtler is another class- and it's not even a "real" Sachtler, haha. So smooth, great finish and controls. Well thought out. Smooth! Solid! Supple! Can still mount to slider etc, as the bottom of the bowl is flat. I actually look forward to using my longer manual glass now, instead of being worried about getting jiggles or overshooting my landing... hell, I look forward to using it with any glass, period. It's actually a little smaller than the Benro in width/depth, but is taller, because of the bowl. Although the Benro + ball leveler is bigger and probably heavier overall.

 

What model is the Sachtler, I've wondered about these type of Sachtlers. I've got about 4 heads and the one I use is a 50 year old Miller that was constructed foe 8 mm film cameras. It is far superior to my Manfrotto 502, and Miller DS5 that came with the sticks I bought. You're spot on about looking forward to using a long lens with a good head, and that's what led me to seeking out a good head for smaller cameras. The Miller DS5 is a real fluid head, but doesn's have varible friction adjustments, they're fixed, and I can only use a short handle on a long lens. I also have a big Miller head that can fit 100 -150mm bowl, but it needs work and no one can service it, weighs an absolute ton, but I'd use it in a heartbeat if I could find someone to work on it!

On 12/28/2016 at 4:06 AM, webrunner5 said:

Pretty good link to here on the subject.

  Hope it helps.

 good link thanks. I'm only days away from buying the SLR Variable ND, but wondering about a couple of things concerning the MK1 and MK2 versions.

Firstly are the MK1 and 2 as good as each other, and secondly can you adjust the polarisation on the MK2 with the rear of the filter?

1 hour ago, jonpais said:

You're probably right. Not many true fluid video heads by reputable manufacturers for lightweight cameras, either. They say fluid head, but they're actually friction. 

Hey Jon, just a thought, but I think a pinned thread, or sub forum for sticks and heads wouldn't be a bad idea. Not sure what the boss thinks ?

2 hours ago, IronFilm said:

 

Mate just make sure she's not a scorned woman that you may break up with, 'cause the only thing you might end up with is a Kodak Instamatic on the mantlepiece, and have to wait a week to see what's on the prints!!