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Justin Bacle

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Everything posted by Justin Bacle

  1. The Lens Turbo does not remove sharpness from my experience, but add a slight blue flare. I think that the lack of contrast has more to do with my grading than to the helios as it was closed down to f/2.8. But you're right, the helios is not as contrasty as modern lenses. Keep in mind that the Singer/Sankor 16D I have is partially uncoated (front element), so your results ught differ Yep, the Hi-Fi 2 flares are epic ! I find the Dyaliscope to be quite good too
  2. Here is a quick comparison between the anamorphic lenses I have. The goal is to compares the flares and sharpness. Hypergonar Hi-Fi 2 Dyaliscope Champion Singer/Sankor 16D (uncoated) Elmoscope 1 Isco Ultra-Star Schneider Cinelux. All shots with : BMMCC Mitakon Lens Turbo II Helios 44-2 Focused to infinity, using a +1 close up diopter (Hama) except for the cinelux which used the Rectilux Hardcore DNA (Sorry for the misaligned Cinelux shot, didn't see it until edit.) Shot in Raw 3:1, edited and graded in Resolve. Applied the same color correction to all the shots. I chose this lens, so that every anamorphic adapter would not show vignetting. Equivalent focal length is 58 (Helios 44-2) * 0.72 (Lens Turbo) * 2.88 (BMMCC) = 120mm (FF) The flares from the Hypergonar and Dyaliscope are just epic. I really like the subtle flares of the Elmo I The flares of the ultrastar and cinelux are very muted, as expected. The Singer (Sankor) 16D shot is just to show what happens if you want to uncoat your lens What do you think ?
  3. I went to see the movie on a small local theatre, which I know doesn't put the sound levels too high. And I didn't find it that loud and enjoyed it. That said, I do not want to endure these kinds of sound levels you only get in big theaters/Cineplexes. I really don't get why they have to put the sound output that loud :s
  4. I have an AF100 and like it a lot. It's my go to camera for events where I just need the most reliable camera with low recording media and battery needs. You basically plug a Mic, an SD card and two batteries and you're good for an entire day of shooting. That said, the image can be great, but you have to be very careful with you exposure and white balance. The DR of this camera is around 10-11 stops, and the codec is weak. You can plug an Atomos samurai and get better recording codec though. But you won't get the possibility to do so much in post (you just get 4:2:2 All-I instead of 4:2:0 AVCHD). The image you get is a bit soft, but you can still add a good amount of sharpness in post without destroying the image. I got mine 2 years ago for 1300€ including a 7-14mm and 14-140mm. I think it is still a great all in one solution for the price, even to this day. Here is one of the videos I shot, in poor lighting conditions, for a night event with the AF100. I was using Minolta MD glass.
  5. I saw it too. It was a pain to find a showtime in 2D and in it's native english form as always in France. I like it a lot, but I thought exactly the same about the image, it just lacks the 80's aesthetic. Shooting spherical and not going for the glowing neon style was a bit unexpected. That said, I really enjoyed it and I think it is a very good sequel to the original
  6. Thank you but I already have a vid atlantic clamp, and I would really like this redstan front clamp. I'd say I'm good with $50 if the shipping is not too high Keep me updated .
  7. Thank you very much andrew for this great article I want to know more about that : Is there a way to have more detail about the conversion process. I own a nice set of minolta lenses but always had not to use them on canon mount cameras. So I'm super excited about knowing the conversion process :D
  8. I'd like to buy the redstan front clamp only (I already have the other parts). Is that possible ? And what would be the cost ? Cheers
  9. If I had to choose one, it would be the Minolta Rokkor MD 50mm f/1.4. Very compact, fast and sharp 50mm
  10. Would you sell the MIR-20M separately ? If so at which price ? I already have the two others. Thanks
  11. Here you go : http://allphotolenses.com/lenses/c_413828.html I have the super Varexon 28mm f/3.5, I'd say it is "sharp enough". I think the tokinas/vivitar are better cheap options. You may wanna look at the fujinon too is you can find it.
  12. I'm quite curious to see how different B&W out of camera results are between different sensors and manufacturers. There are just so many ways to transform a color picture to B&W !
  13. I would have chosen B too actually (didn't see you already posted the results when I read the thread), but it doesn't really mean a damn thing as I am colorblind :D I would suggest having all the pictures fit onto one screen. It's a bit difficult to choose when you have to scroll. What is funny is that, all the cameras you put in the test are doing quite good. It's just a matter of personal tastes I guess. Thank you for this nice comparison
  14. There is a guy that sells Canon LP-E6 to Sony NPF adapters for use on the BMMCC. It'll solve the problem, but I find it quite bulky :s http://www.starvingartist101.com/
  15. I could not agree more. I think the shaky footage would actually be better than the shaky vignetting :D Why don't you just crop so that you don't see the vignette ? Looks like you have the extra resolution. Just crop so that the vignette is not visible and export in 2K/FHD Also it seems that the stretch factor is a bit off. But maybe it's just me, not sure about this one. The images are quite good, just hide that shaky vignette and you're good to go again
  16. I did try it for fun several times, you can see example pictures here : Quite a weird out of focus blur but still interesting
  17. You might wanna look at this thread : We spoke about many solutions to unscrew the ultrastar anamorphic part from the spherical part
  18. I recently searched for such a service. I couldn't find a single company that wanted to polish and recoat my anamorphic glass. Please share your results if you find a company willing to do it
  19. For usual purpose, you'll want to stay as close as possible to a shutter of 180° (1/50 for 25fps) as it is the standard in film movies. Shutter higher (like 270°) can be used if you want increased movement blur and/or 1/2 stop more light. Shuters lower (like 90°) can be used to reduce movement blur and can help simplify the VFX workflow. You can use 1/60 and 1/80 if you want/need it. You just need to know what to expect with these shutter speeds. Go on and shoot test shots
  20. The mechanics of the ND filter holders might be a problem too :s
  21. That's because we still cannot encode the image in a log space. 8bit linear encoding is very poor as it limits your maximum theoretical dynamic range and will be affected a lot by shadow noise. When a proper way to encode from linear to "log-ish" before writing to the card with not much impact on the cpu, then we might wanna start talking 8bit-10bit :D I did try 10bit raw mode too, I found it a bit noisy, and preferred 12 and 14 bits files. 10bit log should be better though
  22. The internal ND filters may be quite close to the mount thus interfering with the optics of the focal reducer
  23. I didn't find Resolve 14 Beta to be that stable, as I had many crashes. Now that I've updated to Resolve 14, I'll see if that improves I'm still using both resolve and premiere depending on the project. Dynamic Link is a huge benefit of the adobe suite to me.
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