SigurdW

A little film from my latest trip to the home-place of my girlfriend, the Lofoten Islands.

Brought along the 5D Mk3, Bolex 16/32 + HCDNA and two new little gems:

The Helios 44-2 Silver, which I have to say I did not become too fond of coming from the 44M. Might have just been an unfortunate sample, but way softer than my 44M as well as a blue-ish tint.

And the Jupiter 9 Silver, which I absolutely loved. Nicest colours of my assortment, not to mention impressive sharpness wide open (read a lot of hate on that part on-line).

Shot in 1748x 618 (or something) stretched to 2160x778

 
 

OMG, the last two posts... Thanks for sharing folks, you just made this the best topic on eoshd
@SigurdW, what single focus solution have you used?

A little film from my latest trip to the home-place of my girlfriend, the Lofoten Islands.

Brought along the 5D Mk3, Bolex 16/32 + HCDNA and two new little gems:

The Helios 44-2 Silver, which I have to say I did not become too fond of coming from the 44M. Might have just been an unfortunate sample, but way softer than my 44M as well as a blue-ish tint.

And the Jupiter 9 Silver, which I absolutely loved. Nicest colours of my assortment, not to mention impressive sharpness wide open (read a lot of hate on that part on-line).

Shot in 1748x 618 (or something) stretched to 2160x778

 
 

thanks tihon!
 
I went with the 5d raw in the end! Happy so far, but just getting my act together at the moment!
 
 

Heres some lens tests with the anamorphot - some come good easy with the focus others not...... the Sony Zeiss is SHARP ! and the AF handy. The Minolta 45 very small and renders well and close focus and sharp with nice flares. The Jupiter 85 is lovely - crazy organic - i think best for middle distance person with focus on them wide open ish. If its close to inifinity then the organic renders a bit too funky for my like. I need to test the Minolta 58 and the Canon 100 macro more........

another test wit the Mentter Pro variable ND filter, HardcoreDNA, Bolex 16/32/1.5x, Ultron 40mm and Samsung NX1.
 

Did a quick and dirty lens test for illustrational purposes. 
An interesting thing a fellow Bolex-Ana owner discovered is the slight green-cast. Something that is also visible in this test.
 

Finally managed to get my head around processing crop_rec material, so did a small test at around 2.7K mastered in 3.4K Anamorphic

Setup:

5D3
Helios 44M
Bolex-Anamorphot 32/16/1.5x

Graded using @hyalinejim Kodak Ektar 100D TWISTED lut (Thanks!!).
 
 

Looks great. That little extra resolution is nice. Somebody wrote a while back that 5D3 ML Raw just makes them smile... and it's so true.

Finally managed to get my head around processing crop_rec material, so did a small test at around 2.7K mastered in 3.4K Anamorphic

Setup:

5D3
Helios 44M
Bolex-Anamorphot 32/16/1.5x

Graded using @hyalinejim Kodak Ektar 100D TWISTED lut (Thanks!!).
 
 

Back to the Bolex family again! I few weeks ago I just send only 5 emails to Bolex shops all over the world and there was one guy in Ellijay (US) that has one in stock, not mentioned for sale... till I mailed. Today I received this little lens and it is in almost NEW quality. Now I have two 1.5x lenses, but I think the Bolex will be standard mounted on my NX1.

Firstly I'd like to say that Ive been a long time lurker on this site - and Ive learned a lot. I'm a pro photographer thats recently been steered towards producing moving images for the peeps i work for but also have been a huge fan of the medium from a very early age. Ive learned so much from this site and others like it and appreciate the knowledge base that these places are - so thanks to all the effort that peeps go to share their acquired knowledge. Its no turn to share some of my findings...
Heres my notes on my experience after one night shooting with this in stills mode
 
Bolex paired with -Sony Zeiss 55 + Sony A7R2
Grain / noise could be reduced using A7S2 - Was shooting at night at 3200 min
Need to stop down - hard to nail focus wide open - F3.5 seems like sweet
Oval Bokeh is present - but one needs separation - a longer lens would be of more benefit
Close focus as in head in frame looks possible
On full frame - one needs to shoot at Super 35 - to crop out vignette
Was shooting at night at 3200 min
The alignment has to be right - otherwise verticals slant - although that does it give it a weird cinematic vibe
AF works quite well - so does focus peaking - although one needs to nail the ana lens focus first. Its not always easy to discern the difference between the squeeze and the lack of focus
To shoot motion one probably needs a monitor/stills in a pro way. Focus was at times easy - just point and fire - while other times impossible ?
AF possibilities like eye tracking and high end AF solutions could be used - need to test these.
Photoshop actions can be applied for the desqueeze quite easy - I’m going to see if I can apply an action to build the black bars.
Flares are present - some sources flare without being in the frame - while others less so in the frame. Flares are blue and sometimes red.
Looking at the images - it make sense to really think in this format - its strengths and weaknesses - to be able to pre visualise. The same with any photographic tool.
One unique thing about this format is the ability to point your viewer into areas of the frame that are very relevant to the story - that i think is a pretty important note. I can see by some of theses test shots exactly where a person would be within the composition. Also leaving some space in this potentially busy format for a person might be necessary or not - one could intentionally confuse the viewer too.
Onwards and upwards - need to try a few more lenses. Next on the list an 100mm Macro Canon 2.8 AF.
 
 
 
 
 

To everybody I can say, if you have a Bolex, keep him, don't sell him. It's a great lens. I owned one and sold him. Now I have a Kowa c35, also a great lens but as second lens I am looking for a Bolex 16/32/1.5x again. So if you want to sell your Bolex, let me know. Thanks!

Looking really, really good @Liszon !

Finally I was able to shoot a quick test with the Bolex, not much to see here, just me terrorising my mates with a camera:
 

I will leave a bit of a "test log" here for future reference:

On the BMPCC I am able to go 22mm and I have a feeling it might work with 21mm lenses too, depending how close you can get to the front glass when attaching the Bolex. At 22mm I have no hard vignetting, that is without cropping from 2.66:1.
With a 0.58x Speed Booster my Mir 1B 37mm is vignette-free, and the original 0.71x Speed Booster is good to go from 30mm. Obviously cropping to 2.40:1 would give me many more choices.
The Bolex is sharp. Like very.. very sharp. Basically it all comes down to the taking lens behind it, if that looks good wide-open then it will look just as good with the Bolex screwed on the front. If the taking lens performs like a rotten cabbage then the same can be expected with the Anamorphot.
Unlike others the Bolex was actually intended to be a taking lens and it can focus down to roughly 0.7m without diopters. It has a perfectly usable 62mm front thread as well. In this video I had a Tiffen Black Satin 1 + Hoya UV and IR Cut + Genustech Eclipse Variable ND on the front, these were all 77mm and caused no extra vignetting with the Mir 1B. Some of the vignetting you see here was actually added in post.

I've been using 5D3 Magic Lantern RAW for a few years now and it's my personal gold standard for image quality as I'm very familiar with it, can predict the results I'll get in various situations and have developed my own look that I like using in post. I do a lot of documentary and corporate stuff and wanted to do more handheld, so I got the GH5 for its IBIS, 10bit V-Log, 4K and general ease of use. Although the GH5's colour is an improvement on its predecessors, the 5D3 is nicer looking to me. So I wanted to see if I could tweak the GH5's VLog colour to be more similar to the colour I get from Magic Lantern Cinelog-C, processed via Adobe Camera Raw (other debayering workflows will give different results).
I shot a chart with both cameras, extracted the squares and put them side by side in Resolve. V-Log on the left, ML on the right:
 

 
I used Hue v Hue and Hue v Sat to line up the signal on the vectorscope:
 

 
Here you can see the effect of this correction.This is accurately white balanced V-Log (default colour) with a curve and saturation added:
 

 
And here's the same shot with the colour correction applied:
 

 
Skin goes from green-ish to pink-ish. Reds become more saturated, blues are pulled back. Foliage separates out into varying shades of yellow to green to blue-sh green, rather than being one big block of pure green. So next, I wanted to test this by comparing the same shots to Magic Lantern RAW. Would this correction really turn my GH5 into a handheld and more usable version of my 5D3?
I stuck the GH5 on top of the 5D3. I shot the 5D3 at 3520 x 1320 (the maximum resolution I can get that's both continuous and at a sensible aspect ratio) - this has a crop factor of 1.63x. ISO was 100, and aperture at f5.6 on the Canon 24-105. The GH5 was 10 bit V-Log, Cinema 4K, ISO 400, aperture f4 (roughly equivalent) on the Leica 12-60. I used shutter speed to control exposure, so motion blur is different between shots. It seems like the GH5 has around 0.66 stops more info in the highlights at the same exposure as the 5D, so I shot it one stop over to maximise DR.
 
 
First I corrected the 5D shots to the way I wanted them to look. Then I tried to get the GH5 to match. It's not a perfect match by any means, there are individual hues that tend to go awry a little, especially in the first shot. But for me the exercise is a success: the GH5 footage looks more like Canon Magic Lantern than it would straight out of the camera. And I would be happy to intercut the two, or to use the GH5 in situations that are more suited to its features. The take home message is that V-Log has a lot of grading potential - you're not necessarily stuck with Panasonic's colours on this camera.
A nice surprise for me was how much detail is in the 3.5K 5D files compared to Cinema 4K GH5, especially when sharpened. However, it's not very practical to shoot in its high resolution modes at the moment, due to the slow refresh rate of the LCD preview.
If you want to check out the files yourself, here are a series of matched pairs of 5D DNGs, and GH5 V-Log TIFFS.
FOLDER:
https://drive.google.com/open?id=0B1exEpCRAfgFdi1FZ3hma09YZms
ALL FILES ZIPPED:
https://drive.google.com/open?id=0BwzsbjMgrAwzTFJZby0xSTV6VmM

Yes! The 5D stuff came through Adobe Camera Raw with the Cinelog-C DCP profile. I'll upload some stuff later so people can dig around for themselves in the files.

The detail is pretty good in the 5D3, huh? I wasn't expecting it to hold up so well against the GH5's Cinema4K res although I can't really see myself shooting in 2.67:1 on the 5D just to eke out the last few pixels of resolution.
For me the biggest giveaway between the two is the difference in lens contrast and flaring, rather than the usual concerns with resolution, dynamic range or colour. (Although, the GH5 has more usable dynamic range - at the same exposure there seems to me to be 0.66 stops more info in the highlights and 0.66 in the shadows.) And of course the preview on the GH5 is real time!

well, what can I say... shooting full frame raw has ruined me for other cameras. and mercer, you're right. the blackmagic LUTs for their 4k sensor are looking pretty good at first blush. I like v2 in particular.

1 year after selling my 5dIII for a Sony a7s, I am now selling my Sony a7s to get a 5Diii.... The circle of camera life continues.
I've missed the 5Diii so much

Yes there is a difference. I had a 16/32 and a moller 32 - one with great front optic one with great rear optic. I took it to a lens repair shop to see if the elements could be swapped to make one great lens and there were subtle differences in the optics. Also worth noting that the repair shop got hold of a couple of another 16/32s and went to undertake a swop from one of those and the element was a little different there as well. So not only are there differences between the 32 and 16/32 but not all 16/32s are alike...

So as some already know, I recently purchased a 5D3 primarily to shoot Magic Lantern Raw. Well this week I started my first short film with it. It was definitely a learning experience but I really don't know of any camera where I would have achieved such pleasing images. I also purchased the Canon 24-70mm f/4 lens and I am consistently blown away by what a great lens it is and the OIS is so damn good, even at 70mm, that the majority of my short, thus far, has been shot handheld.
With the recent 4K Raw developments, I figured I would post some pros and cons in case somebody else is looking to pick one up.
Well the first pro is that shooting Raw could not be simpler with it. Set up Raw histogram with the overexposure hint and when it shows your color channels are starting to clip or the word "over" appears on the histogram, then just dial back your exposure a touch.
Another pro is that there are a bunch of people on this forum still shooting with the 5D3 and everybody is helpful. If you have a problem about any aspect of the process or workflow, there are plenty of other ML shooters around here that go out of their way to answer even the stupidest of my questions... not nearly as daunting as the ML forum.
Now a couple cons... you need a bunch of cards... or a computer and hard drive to offload your footage... 12 minutes on a 64GB cards gets filled quickly. Even with 3 cards, and trying to be conservative with my shots and shot ratios, I still ran out of space 3/4 of the way through my second day of shooting.
Converting the footage is a bit tedious. The RawMagic route of converting the MLV files to CDNG is fairly fast but then you still have to process the footage through Resolve or After Effects before really seeing what you have. I really like the MLRawViewer program, but although you get to preview your footage, the conversion is slow and after I updated my Mac to Sierra, the version I have does not work with it, but I believe there is a newer version,  so hopefully it will work then.
I guess that's about it for now, so I'll leave you with a couple graded screen grabs, from a couple shots I briefly messed around with yesterday...

When I have some spare time, I'm planning to do a little shoot with my Kowa B&H, Kowa inflight 1.75x (both with Core DNA) and iscorama pre 36 (with 3.5ft close focus mod) on full frame with recent 3-4K magic lantern crop resolutions. I will probably throw in some iscomorphot s8 2x shots in there (because it's ridiculously underrated for portrait/closeup compositions). Think the Bolex 16/32 is the only lens I'd actually be interested in trying out...the recent Bolex+ML footage from @SigurdW looks great.

Hey Marty, here's another grab from 1080p 5D3 Raw with the Tokina 24-40mm...
 

Sorry to the rest for the OT but I also kinda wanted to bump this thread... I need me some 4K ML Raw...

Latest short movie in low light with the Bolex 16/32/1.5x, Voigtländer Ultron 40mm and Samsung NX1. 1600 ISO