SigurdW

3 hours ago, au8ust said:

Tried a Canon 0.8x WA in front of FVD-16A. It gives about 15-20% more coverage but very difficult to use. You need a proper support for it since you can't simply clamp on your FVD-16A's front. You will also need to be aware that most FVD extend when focus closer so it will hit your rear WA glass.

That is promising! Do you have to fiddle with the focus on the taking lens and scope in order to reach infinity or just focus with FVD?

Hi all!

Wondered if anyone have had any success with Wide Angle attachments in front of variable diopters? Would «zoom through» adapters be more suitable than standard ones? Something that does what the 30mm attachment for the Kowa Cine Prominar 40mm does!

Need a get out of jail free cards in the situations where our DIY jewellery just wont cut it.

best, 

Sigurd

On 7/21/2020 at 1:50 PM, PannySVHS said:

Looks like a mockumentary to me. If so, please call it that. Matias Nordahl Carlsen is an actor who looks like the Matias Nordahl Carlsen in your video. He might enjoy the luxury of living in the nature and he might enjoy doing forklifting meanwhile once in a while. A professional forklifter he is not. Sony PMW F3 btw or filmstock?:)

I don't think he stated he is a professional 😉 BM Pocket 6k! 🙂

A portrait of a dreamer, who moved to the arctic archipelago, Lofoten, to unite his love for nature with his love for forklifting. In this heartwarming documentary he also tries to tear down the stigma he feels is attached to his craft. A story about life and its ups and downs. And forklifting.

TVC for Mc Donalds with the Bolex on the Terra 4K.

45 minutes ago, keessie65 said:

Nice, what are "Paired with the usual suspects"? taking lens?

Summicron 50mm

FOV test on Terra 4K Open Gate to 16:9 master. Paired with the usual suspects:

On 10/27/2018 at 4:28 PM, Colin C said:

Can someone tell me the widest taking lens using the Bolex (with HCDNA, if that matters) in front of a Super35 sensor?

Thank you!

It depends on your delivery: 2.39 or 2.66. For 2.39 I guess you can get away at 37mm without vignetting. 40mm pancake its probably the perfect match, with minimal corner darkening.

9 hours ago, mercer said:

Just gorgeous! Such a fan of your work, ever since your ML Raw days. I’d love to know more about this. Which shots were which? I have a couple ideas but I’m not a hundred percent sure.

Thank you, sir! The ML raw image is still what excites me the most! Basically the more "exotic" location shots were on the Terra and the rest EVA-1.

Shot this spot using the two cameras and an odd collection of lenses. Leica, Xeens, Tamron zoom...
 

13 hours ago, Andrew Clunie said:

That looks beautiful ?

 

Do you have anything you’ve shot it with? And how are you finding the camera? 

Haven't really had the chance to shoot anamorphic nor with the Terra, as I got a job in for a commercial production company where we rock the EVA-1. But I am loving the image from it indeed. Borrowed it to a friend who shot some really lovely stuff with that exact setup, will upload when the cut is ready.

Thought I'd post this here for the curious who are not part of the Kine FB group.

The only adjustment made to the footage is applying an Arri rec.709 LUT.
Shot with Tamron 24-70 f/2.8.

f/2.8 - 4.0
ISO: 800
25 and 75 fps
4300K

Downscaled to 2K and exported in 422.

This thread is so, so interesting! Thanks for sharing every thought!

@raf702 I also made the switch from an a7s (which I shot with in both HD and 4K) to the 5D3, and have to say I have never looked back. To me, the DR in the 5D3 is so much more "true", in terms that you actually have control over it in post. Unlike the thin 8-bit "14 stops", that has to be at 3200 ASA, perfectly exposed and with heavy amount of filtration in order to be worked with properly in post. By the time I had got a reasonably life-like image in the grade, was also the point when I had to deal with the aftermath (color casts, skin tones, noise, etc) and the limitations of the Sony. I get ten times more excited looking back at what I shot with the 5D3, than any other prosumer Sony cam I have used 

Shot this promo back in August on a 5D3.

Using a Tamron 24-70 f/2.8 and a Canon 70-200 f/2.8

It was professionally graded in Baselight Studio, the colorist was very surprised when he found out what it was shot on.

Let me know what you think or shoot a question!
 

Thank you so much for sharing this @hyalinejim! I have been using your Ektar TWISTED lut and absolutely love it! I have no doubt this is gonna be extremely useful for all of us.

@tigerbengal I remember having some trouble with formatting the card the right way on my Mac.

I have not read the whole thread and don't know if it will make a difference, but try loading the ML firmware on your CF without the SD card in your camera and run it, then check benchmarks.

(Then you can erase the ML fw on the CF and run it again through the SD, this is how I always handle new CF cards with ML)

 

Personally, would be a happy camper with any of them (except the Scarlet) ... (and maybe even the UMP if low-light performance was a key factor). But then I have pre-ordered a Kinefinity Terra 4K  

35 minutes ago, Inazuma said:

This post has me really interested in the F3, but I see it does not have 50/60p. What other cameras of op's spec has 50/60p?

The F3 outputs 50/60p, to i.e. a BM Video Assist. Both JVC LS300 and Sony FS700 does higher frame rates, but will need adapters for PL lenses. There are also differences in resolutions/codecs/bit-depths but can potentially fit the OP with the right kitting.

2 hours ago, Mattias Burling said:

You don't need to be a canon fanboy to see some size and ergonomic differences.

Personally I wouldn't get any of them. 

Constructive comment. But I'll bite  JVC LS300 paired with a PL adapter

2 minutes ago, redimp said:

Thanks guys! I'm really unfamiliar with F3, looking at it right now. How would it compare with the c300?

I think on paper the F3 beats it in about every way. Canon just might have the slightest edge in low light, not 100% certain on this.
 

It all comes down to your preferences in image and Canon fanboys might tell you "Sony's color science is crap", but have in mind:

You can do a whole lot more to a 10-bit 4:4:4 image than Canon's 8-bit 4:2:2.


BTW This is coming from a Canon fanboy, that shoots 14-bit raw  Just to cause some confusion.
 

@mercer You got me by the second

Sony F3

BOOM!

Ticks of all of your boxes and, if you are lucky, you can get away with a 4:4:4 version.

Waiting curiously for your reflections on the 5D ML raw in this context! 

Please put it up again, Ed! Opened the wine when I read the title.