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Everything posted by funkyou86

  1. The Bolex is sold by now, I only have an one 2x ana for sale. The bolex was really nice, but there is no perfect lens, every lens has its down and upsides. The bolex had awesome IQ, sharp at f2, but was really bad at infinity focusing (had to stop down). I wasn't afraid to use it on a run & gun gig. But like Caleb wrote with the UHD you can crop the image to your needs. If you're looking for a lens that is easy to work with (no rack focus) and it's sharp, you'll have to get some funds. If you just want to try it out, or do some artistic filming, where you have the time to set up everything, get a Prominar for 300 euros, or an ISCO which is pretty sharp, or a Sankor.
  2. The Kowa BH is overpriced and in terms of sharpness, the prominars are better. Sankor is a great alternative as well. I personally like the look of the 1.5x anamorphics. I own a 2x ana lens, but I'll pick a 1.33x & a 1.5x as well, get the right lens for the right job.
  3. Bumping with a short clip + PRICE DROP! Anyway, the clip is a parody, don't let the thumbnail award fool you :D New price: 649 GBP + I'm adding a custom 3D printed follow focus ring to the front element!
  4. So, a day after: I have added all my 4:3 files to media encoder, changed the size manually to 960x720px transcoded everything, than replaced the original (bad) proxy files with the new ones and it's working. Hope that premieres future updates will solve this issue.
  5. Yes, it is :D Magically the image part of the thing works like a charm, the transcoded file is in 4:3, than interpreted (2x ana) by premiere. Strangely, the audio is not synced!!! Not sure why or what the heck should this mean?! Okay, so, Adobe Media encoder does DVCPRO HD = 960x720px (4:3) in 23,967fps. Which means, that I should now transcode all of my 4:3 footages in the AME, than relink all 100 footages in premiere. Piece of cake :D Too bad that I can't export this setting and just load it inside of premiere.
  6. Meanwhile I exported a DV 24fps setting from the encoder, than right clicked 4:3 files » proxy » create new proxy » loaded the setting, now I'm waiting to see if it will encode it to 4:3. Will let you know how it worked.
  7. Hey folks! I'm working with 4K footages that are in different aspect ratios. 3/4 of them is in 4K 4:3 anamorphic, the others are in classic 16:9. I have transcoded everything natively in Premiere using the built in proxy settings, but the 4:3 footages are messed up by 16:9 transcoding. Do you have any .epr presets I can add to a new transcoding? I tried to create my own in media encoder but no 4:3 option in the dropdown menu, and there is also no option for a custom value. Or is there another way of transcoding 4:3 footages without leaving premiere to a third party app, transcode everything than conforming them back in premiere? Thanks!
  8. Looks great, may I ask for an anamorphic desqueeze demo please? Thank you so much!
  9. Looks awesome. Can you make a bit longer video about the usability, etc.? Thanks & keep up the good work!
  10. funkyou86

    GH4: 29min 59sec

    So, have you tried this on you GH4, because it's not working I meant, that 3 years after releasing this camera, it's firmware is still not capable of restarting your recording after 30 minutes. Damn shitty if you're doing long interviews... Of course GH4R upgrade is an option, Alexa Mini is an option as well :D
  11. funkyou86

    GH4: 29min 59sec

    14th of October 2016. Still can't hack the 29min 59 sec recording time
  12. I switched from t3i to GH4, it was a big jump in quality, you might not feel it if you're switching from the G7. The 4K is the same on both cameras, gh4's got better 1080p and slowmo and of course the headphone jack. Do your calculations and ask yourself does the investment worth it or is it just for your own comfort. IMO go for it.
  13. Thanks for your reply! Now I remember your post from the past It looks great! Yep, I like aputure products, however, currently I'm trying to avoid spending 800 euros for two lights. The LED strips cost 2x40 euros, the voltage regulator 2x 10 euros, and that's it. I'm trying to build a 50x40cm which is smaller than yours, any idea where to get proper filters? I think that I will go with the 6000K LEDs than. Thank you once more.
  14. My favourite anamorphic retailer got one for sale, good luck! http://www.ebay.com/itm/SALE-Dream-Lens-Moller-Moller-Anamorphot-Anamorphic-32-1-5x-not-16-32-1-5x-/131956159344?hash=item1eb9333370:g:~aUAAOSwMgdXxJQ7
  15. Hey! I'm about to build my first LED panel, and I need some advices. My problem starts with choosing the right LED for the job. The one I choose is CRI > 95, 6000K, 12V, 4,8W/m. It's almost perfect but I'm affraid of the color temperature. My questions are: 1) Is 6000K okay for video productions? I'm not sure about the compatibility with other 5500K devices. 2) Should I combine the 6000K leds with 4000K leds to achieve 5500K? I never saw something like this before so I'm not even sure if it'll work. Thanks for your time and answers! Alex
  16. I made a sharpness test video to demonstrate the IQ of the lens:
  17. Looks great, thumbs up. What was your post production work flow? I never worked with a 360 camera, but now I really want to try it
  18. I'm pretty curious about the recording modes and bitrates, no mention of the 1080p. But I guess it'll be just the classic .h264 around 40mbit/s,
  19. Do your research before buying an audio device. Make sure that the MIC you'll buy will go well with the recorder. I shot several documentaries in the past years with the Zoom H4N + Shure lav mic + Rode NTG-2. Both mics have different output levels, the H4N has a really rubbish built in preamp, so it did not work well with the RODE NTG-2. It was a pain in the ass to adjust those levels in the post production (one was around -6db, the other at -40 db), there is a sw update availabe for adjusting the channel levels separately, but that won't solve the shitty preamp issue. I switched to TASCAM DR-40 and everything works flawlessly. To sum it up: make sure your recorder has a good preamp, personally I can recommend the tascam.
  20. Hey! My 2x Sankor Cinemascope is for sale. It has a single focus mod in the front. Sharp from f2, mint condition, comes with the rear clamp. Weight: around 450 gramms. PROS: Sharp from f2 Single focus Awesome image quality Perfect condition Cons: Around 400 degrees throw on the front focusing element Vignettes under 45mm MFT (on 16:9 mode), 35mm (4:3 mode) Here's a test video I shot with the following setup: GH4 (16:9 4K mode) + KF adapter + Pentax SMC 50mm set to f2.8 For more pictures or videos, please contact me via PM. The reason of selling: I'm about to switch camera system. Price: 750 gbp. Payment via PayPal (buyer pays the fee). Shipping from European Union.
  21. Hey folks! Looking for a monitor for my GH4 for a reasonable price, if you have one for sale, please PM me. Thanks! Alex
  22. Hey guys! I have a Canon FD 28mm f2.8 lens for sale. The lens is in mint condition, very few signs of use. The glass is clean, the lens works perfectly. Comes with the K&F FD to EOS adapter, which has a glass element so you can focus to infinity Minimal focus distance is 0,3m. I bought the lens because I thought it will go with my anamorphic setup, unfortunately the widest I can go is 35mm (on mft), so i never used it. The last 3 pictures (IMG 1450/1451) were made with the FD lens. Shipping worldwide from Slovakia, Europe (if you're overseas, you are responsible for import charges). Payment through PayPal only. Price: 75 eur with shipping (to europe, please contact me if you're overseas). Cheers! Alex
  23. This is a typical filmmaking story: no time, have to hurry up and of course no budget ? This is a story about the shoot of our music video and about the mistakes, which you should avoid. The band: 3 people + me (also the director of the shoot) The crew: 1 DP, 3 assistants The lights: 5500K thungsten studio lights + Small Aputure Amaran portable LED light The camera: Lumix GH4, Mitakon Lens turbo Lenses: Soligor 1.33x anamorphic adapter, Pentax SMC 50mm f1.7, Tamron 17-50mm f2.8, Canon EFS 18-55mm, Canon 85mm f1.8, Gear: Shoulder rig, Fotga DP500II follow focus, manfrotto 550 tripod + fluid head, 2m home made camera slider The pre production started one month before the shoot. I did everything myself: I wrote the script, made the storyboard, wrote the shotlist, etc. I tought that I am fully prepared, but I wasn’t since the whole video was shot at night with a very limited ligthning setup. I did not have the time to try out what are the best settings for the GH4, but will get back to this later. A month before the shoot I sold my AGFA 1.5x anamorphot, which was a very-very big mistake. I missed two great anamorphic lens deals on ebay so 5 days before the shoot I was without anamorphic gear which was one of the keys to the videos feel. Just few days before the shoot, an EOSHD forum member offered me a 1.33x Soligor and I took it. It arrived 2 days before the shoot, so I quickly checked the fastest aperture I can use, than I had to realize: there is no way I can shoot every scene with anamorphic lens attachment. I have my GH4 for 6 months now, before it I was shooting on 5D MKII & t3i. When I got the Lumix I automatically set my PP to James Millers (i really like his work and trusted his settings). After shooting on several live events it performed great, it was easy to color correct and the image was pleasing. Too bad I didn’t read Noam Kroll’s article on GH4 PP settings before the MV shoot. I screwed up, and I did the worst thing that a videographer can do: I trusted my cameras LCD screen, not my knowledge and instinct. I was reminding myself, but we just simply did not have the time to figure out the best settings. Never trust your camera’s screen (but you already know that). The location was nice a huge house with a garden. The first 1,5 hour went to packing and setting the stuff up, than 3 hours was the filming of the band with a very easy 2 light setup + 2m dolly. We thought that it would be great if the band is sitting while playing, but to make sure we’ve got everything, we shot the band in a standing position as well. And we did good, I ended up using just that one shot, because the sitting did not work as expexted. When we moved outside I switched the anamorphot for a Pentax SMC 50mm f1.7, I shot it wide open, than I cropped the footage. I think I was shooting at base, 400 ISO. On the screen it looked okay, in fact blacks were crashed and the image was underexposed, which caused me a lot of noise. This is why an external monitor is handy. The story part was filmed in 3 hours. There were 15scenes/34 perfect shots I had to make, the first 5 shots already took one hour of filming. We were getting really stressed that we can’t finish the shoot that evening. This stress caused a lot of trouble, we did not had the time to figure out the best lightning, we forgot to double check the camera’s settings so I filmed the half of the evening with wrong shutter speed which caused me a lot of flicker, bad ISO settings, and we didn’t even had the time to check the filmed clip to verify if the focus was pulled badly or not. During the post production I found out that some of the scenes are really blury, so I decided to go back, ask the actress once again, and reshoot some of the scenes. But I did not have my crew then, and I sold my soligor meanwhile, so a small Aputure LED was my main light, and i used a Tamron 17-50 f2.8 lens to reproduce the soligors 24mm anamorphic feel. I feel sorry that I did not tried to shoot it with a 2x anamorphic lens, that would give it better depth and flavour. This all caused me a lot of trouble in post production. After cutting the video I had to spend a lot of time in after effects to remove the flicker. Grading was like hell, the picture was absolutely orange, we forgot to set the white balance, so I tried to grade it with Resolve, but the XML does not went through properly because there were too many interpreted footage (from 60 to 24fps), etc. Than I tried to make it happen with speedgrade but after messing with the clips I stayed with Lumetri colors. Every clip is graded with lumetri, well it took me around 10 days to adjust each clips settings, and it’s still far from perfect. Than came another issue: the noise. I tried to reduce it with denoiser, which helped me a lot, but it made my premiere really, really slow. Anyway, here’s the result, it's not perfect but I did my best to make something watchable from it And here’s a cut to show the difference between unprocessed and post-processed footage. What do you think guys? Cheers! Alex
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