Justin Bacle

20 hours ago, Riadnasla said:

If I could ask for your opinion, I am actually at a bit of a crossroads. When not shooting speaker events, any camera work I do is as a solo shooter, often without *any* kind of help. While small for a "cinema camera", the F3 is still fairly large, especially when you include extra lenses, lights, etc. I would love to work on more creative projects, but also would enjoy dipping my feet in journalistic camera for local stations. Everyone seems to want to buy "budget" F3s recently, and I'm debating whether to keep mine, or sell it to fund a more portable camera such as the C100MkII. As a newbie operator with zero dollars to keep investing, I am not sure what the "business smart" thing to do might be.  

1) I love the image I get from the F3, and no doubt is it a cinematic image with forgiveness, but I'm marketing against people with Red Epics and Weapons, as well as people running DSLRs. The F3 is neither the 4/5K beast with 14 stops latitude that the Red is, but it is much heavier and more unwieldly than any C-series or DSLR as well. 

2) I have heard good things about the image of the C100MkII internal codec, as long as you don't need to perform a heavy grade. It is also only about double the size of my T4i, and the lenses are much more portable and available. (My F3 has an 18-50mm PL, as well as FD lenses I adapt to the body) I can see bringing around an entire C100 kit in my camera backpack vs. the larger kit I currently bring with the F3. However, I don't know if it can handle filming anywhere near the same image I am used to with the F3, especially when you consider the snow and driving shots in my reel. 

I don't have an F3, but I would exchange my AF100 for an F3 any day. The IQ you can get from an F3 is outstanding ! Yes it is a bit big, but you don't need much. A shoulder rig with the external recorder on it and a small zoom, and you're good to go. But if you like small systems, I can understand your problem. Personally, I don't mind having the AF100 (a bit smaller than the F3) on the shoulder rig plus a small bag of lenses. 

20 hours ago, Riadnasla said:

Could you link something that you think fits the bill? I picked up on my current overlay as a cinematographer mentor does this to prevent others from ripping his shots from his reel, though I'm very open to using other styles that might do the trick.

Here are a couple overlays I made for some videos ... pretty simple stuff done as After Effects templates for the editor. I'd be happy to make a template for you if you want (and have a bit of an idea of what you want :D ).

Hi and welcome here

Here are a couple of remarks (after viewing it twice) : 
- It is quite long, i think you don't need 2 min but less than 1, try to keep it concise.
- Begin by the stuff which has more chance keeping attention. I think the car sequence or nature sequences have a better overall look than the narrative stuff you put at the beginning. Just my two cents.
- Make a nice overlay and a bit smaller. The text you put is quite big but isn't that visible still. A nice but small animated overlay with a two-word description of the shot you are seeing (like Project Name & Date) would be a better solution IMO.

Here is the good stuff now : 
- The car sequences look good, so does the mountain sequence and snow sequences

Here is the stuff I don't know what to think about :
- The music 
(As I don't know what to say, no details here :o)

Nice to see an F3 user here ! Did you get it used recently ? I'd love to get my hands on one

22 hours ago, Stanley said:

And yeah I used to own a Minolta SRT-101, and still have a couple of Rokkor lenses...they are awesome.

I cannot agree more

I have a bunch of these lenses and most of them are great ! Just too bad they can't be adapted to Canon EOS mount. I'll can't stop using them on µ4/3 w/ and w/o a speedbooster

11 minutes ago, Stanley said:

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.

I was doing photography before getting onto cinematography. 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

I think the same applies to video, you can get a nice camcorder and go shooting straight on. Or you can get a cinema camera (or a Sony, labyrinths menus joke) and spend weeks trying to set the camera.

Dynamic range, and the overall sensor light response plays a big role IMO.
"organic/cinematic look" is defined with the film standard. That means : Wide Dynamic range with soft rolloffs, No rolling shutter, "organic" Noise, Difficult color science, and so on.
Some of it is technology (DR, Sensor response) but some of it is just years of fine tuning (color science).
Just my thoughts about you topic, not at all an expert. I just find this subject very interesting.

Looks like to a rectimascop 80/2x to meet, just my two cents ?

Anyway the starting price is too high for me to buy it just for the sake of knowing. BUT NOW I WANNA NOW, PLZ BUY THIS DAMN THING !

I would say keep you 7s as it is a very good camera, and get a cheap 5dmk2 for raw ? Is the 5dmk2 enough for your raw needs ?

9 hours ago, Stanley said:

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 ?

Thank you. We had two days of preparation for the set and two days of shoot. We didn't had to rush that much and the shoot was very pleasant  (plus, it is always fun to play with water and confettis :D)

Finally, the music clip I shot is out. Great decoration work and showing that the mighty 50D still has plenty of qualities. 

Shot with Canon 50D in raw, isco Ultrastar, Helios 44M, Jupiter-9 and Practika 135/2.8

Please share your thoughts

8 hours ago, Matt Kieley said:

I got the Rokinon 12mm cine lens for my bmpcc, and I love it so far. These were all shot wide open, and I was surprised by how sharp it is. Nice bokeh. And I love the perspective of this focal length on this sensor size. I usually prefer a wider lens, previously owned the Rokinon 10mm, but much prefer this lens now. Maybe my focal length tastes are changing. This might be my new favorite lens.

I have to agree ! I got a Samyang (same as rokinon)  12mm Cine lens too, and I have to say, I did not though I would use it that much, but it is very often monted on my camera. Great wide angle lens, sharp and fast for a very good price

55 minutes ago, josdr said:

Yes but does the python5000 have that cinematic feel that makes BM unique??

I don't know, I am trying to get my hands on an industrial vision camera using this type of sensor (Basler acA2500-60um for example) and mess with it, but I don't have the money right now.
I am looking for a similar vision camera though for experimentation. 

On 1/7/2017 at 3:02 AM, cantsin said:

Blackmagic's product development fundamentally differs from consumer brands and big camera manufacturers (like Panasonic, Sony and Canon) because BM has to design and build its cameras around off-the-shelf sensors made by independent manufacturers like Fairchild and CMOSIS. In this respect, BM's cameras are very much like other "outsider cameras" including the Aja CION, Axiom Apertus and Digital Bolex. (In fact, BM's first-generation 4K cameras use the same CMOSIS sensor as the CION and the Apertus.) Fortunately, BM still manages to survive in the market while Aja and Bolex have already withdrawn.

Neither Fairchild, nor CMOSIS offer a 4K sensor that would fit a renewed Pocket camera and maintain the image quality of the old model. (The sensor built into the 4K Micro Studio Camera has 3[!] stops less dynamic range than the Pocket and the Micro Cinema Camera.) The Fairchild 2.5K sensor built into the first-generation BM Cinema Cameras, on the other hand, needs too much cooling to fit a smaller camera body.

So it really doesn't make much sense to speculate on a BM Pocket successor, with a new sensor and improved image, if such a sensor isn't available on the market yet.

 

Actually, there is the PYTHON5000 image sensor : specs are quite good.

1" sensor (slightly bigger than S16)
5.3 Mpx
Global CMOS
100/85 frames per second @ 5 MP (Zero ROT/Non−Zero ROT)
230/180 frames per second @ 2 MP (Zero ROT/Non−Zero ROT)
255/200 frames per second @ Full HD (Zero ROT/Non−Zero ROT)
60db DR (~12 stops)

On 1/7/2017 at 3:02 AM, cantsin said:

Blackmagic's product development fundamentally differs from consumer brands and big camera manufacturers (like Panasonic, Sony and Canon) because BM has to design and build its cameras around off-the-shelf sensors made by independent manufacturers like Fairchild and CMOSIS. In this respect, BM's cameras are very much like other "outsider cameras" including the Aja CION, Axiom Apertus and Digital Bolex. (In fact, BM's first-generation 4K cameras use the same CMOSIS sensor as the CION and the Apertus.) Fortunately, BM still manages to survive in the market while Aja and Bolex have already withdrawn.

Neither Fairchild, nor CMOSIS offer a 4K sensor that would fit a renewed Pocket camera and maintain the image quality of the old model. (The sensor built into the 4K Micro Studio Camera has 3[!] stops less dynamic range than the Pocket and the Micro Cinema Camera.) The Fairchild 2.5K sensor built into the first-generation BM Cinema Cameras, on the other hand, needs too much cooling to fit a smaller camera body.

So it really doesn't make much sense to speculate on a BM Pocket successor, with a new sensor and improved image, if such a sensor isn't available on the market yet.

 

There actually are a few global shutter CMOS sensors that can compete but that are still too expensive :s

21 hours ago, Kisaha said:

All the cameras are still relevant, if they do what you want to do, or are able to do. How many works do you deliver in 4K per year? (I haven't not even one yet)

I don't deliver in 4k, but I enjoy having some room to stabilize or crop in post. I always deliver in FullHD or 2k.

Back to the main topic : 

With the GH5 annouced, is it a good time to grab a used GH4 ?

Let's be honest, I don't want to buy the new GH5 or any 2000+ camera ATM as I am good with the old gear I have. But with the GH5 coming, I think that many GH4 owners will switch to the GH5 (if they haven't switch to something else already).

The thing is, the GH4 ticks many boxes for me :
- 10 bit VLog in 4k via external recorder -> Great for narrative work
- m4/3 mount -> Great to use speedbooster and legacy lenses and the m4/3 lenses I already have in this mount
- 4:3 Anamorphic mode -> Great for anamorphic shooting

But the thing is : 
When the GH4 came out, many had good opinions about it and bought it.
Now, the GH4 is said to be noisy, have bad motion cadence and not so great colors.

So here is my question : 
Is the GH4 still a good option, especially for the used price it will get to soon (I'm gessing sub 800€ w/ V-Log ?)
Alternatives don't seem as relevant to me (GX80/85 has no V-Log is 8 bit only, no anamorphic mode, JVC-LS300 has no anamorphic mode, only 8bit and still expensive to me, BMMCC is no 4k)

I found this whilst searching for the anker.

https://www.amazon.fr/dp/B00YP823NA/ref=wl_it_dp_o_pC_nS_ttl?_encoding=UTF8&colid=H2ULAAY2KFY7&coliid=I1LCNTCNC48AUZ

12V/2.5A output

I still have to find a cheaper solution though.

On 12/29/2016 at 7:49 PM, zerocool22 said:

I am also selling mine for 500€, pm me if interested.

Is it the version marked in feets or meters ?

Looks awesome 

I still don't quite get how a LUT increases DR but, when watching the video, it made sense.

I'm gonna ask a very stupid question but : Does it applies to the "mighty" AF100 ? You say it is experimental on the GH1 and GH2, so should I have a go at it ? 

Just now, Dr. Verbel' said:

 

Too expensive as for me, Justin. Better buy another ana lens in good condition

Yep, exactly what I was thinking

6 hours ago, DamienMTL said:

The right method to remove fungus and cleanup lens:

http://petapixel.com/2016/09/29/remove-fungus-lens/

Thanks for the link, but as I described, there were no fungus but only bubly coating  Nice link, and I'll try it next time I have a lens with fungus.

On 12/18/2016 at 9:29 PM, Dr. Verbel' said:

Hi, Justin! If you remove coating, contrast falls (your sample compare confirms this) and light streaks not blue as usual, but white. You can find the optical plant that causes coating on optics, and if they do that in your case, also try to clear the full coating and give them for work. I have not yet done, but try as an option.

I found a small company that can polish the lenses and apply new coating. The price is around 300 € for spherical lenses. But they are not confident in doing not spherical (e.g. anamorphic) lenses :s

1 hour ago, Dr. Verbel' said:

Hi, Justin! If you remove coating, contrast falls (your sample compare confirms this) and light streaks not blue as usual, but white. You can find the optical plant that causes coating on optics, and if they do that in your case, also try to clear the full coating and give them for work. I have not yet done, but try as an option.

Thanks for the advice anamorphic doctor ! As the coating was already 75% gone, I had to remove it anyway. I'll try to find a company in france who can re-do the coating, very good idea

Hi everyone, just wanted to share my experience fixing a bad singer 16D i got on ebay for cheap.

1. I got this Singer 16-D for a very good price on ebay. As shown on the ad's pictures, there seemed to be fungus/dust inside.

2. I received the adapter and noticed that there was no fungus but the coating has gone bad and was partially gone or made tiny bubbles. I tried the adapter but it was just a hazy ghosty mess.

3. I got the adapter open (you can follow @Tito Ferradans guide with his Elmoscope/Kowa B&H as the construction is very similar), removed the the front elements and got to work. I did scratch the remaining coating with my nail (went away very easily) and finished the job with a bit of acetone. The result is not perfect but way better than I expected.

4. Here is a very quick and dirty shot with the Singer 16-D :

Compared to the same quick and dirty shot with my Isco Ultra-Star 

Both shots with the Helios 44M wide open (f/2)
Still hazy but very usable IMO, plus I want the Singer to be hazy and flary as I already has the Isco which is damn sharp and does not flare by itself.

Do you have similar experiences to share or have any remarks on my repair ?

Hi, can you share the method to change the dcp profile to another camera ? I'd love to make one for my X-T1

Can you post some pictures shot with it ? I don't have this lens, as it is quite rare, but I do love my MD 135/2.8, would love to see a comparison. Is it sharp @f/2 ? The rokkorfiles test shows it not being that sharp, but is it sharp enough for video wide open ? Should be great on a full frame (Sony E-mount ?)

Just now, mercer said:

With an adapter with corrective glass you can reach infinity focus with an MD lens on a Canon EF DSLR... the problem is the glass the cheap adapter manufacturers use is so piss poor that you take an iq loss. I assume if Metabones were to use high quality glass, like they do in their speedboosters, they could make a glass adapter that is of good quality. 

That would be Greeeeaaaaaat indeed !