HockeyFan12

When are ND filters coming to their smaller camera bodies, this seems like an essential but is strangely being overlooked by all camera manufacturers.  Variable NDs are a pain, period

Looks really nice. Cool to see more people on this forum shooting 16mm. Have you tried Kodak Film Lab Atlanta? Their rates and turn around time are the best I have found.
Exactly. I shot this on the Bolex Rex 4. If you get high quality scans and treat it right in post, it'll be close to what those bigger cameras can do. Bolex is kind of like the DSLR of the film cameras.  I really love the internal NDs and simplicity of the camera. I think for solo type shooting, it is a really good option. 
 

S35 "normal" lens comparison:
 

I think that particular thumbnail is from a low light comparison, but that's a very useful channel.
To my eye;
4.6K G2: 
https://vimeo.com/408639496
Highlights hold to about +4.5. Shadows go deep but get green and unusable around -4 or -4.5.
EVA1:
https://vimeo.com/399691355
Highlights hold almost to +5. Shadows go deep but heavy noise. Nice color linearity, but maybe good to -3.5?
https://vimeo.com/400031418
Amira clips around +5.5, maybe a bit better. Great color linearity but noisy, but nice noise texture. Good to -4.5 but noisy? So would measure much worse but it looks good. Subjective.
S1H:
https://vimeo.com/404396461
Pretty similar to EVA1, much more banding. Difficult to judge shadows because banding, noise texture, etc. is all more subjective than results on a wedge chart.
P6K:
https://vimeo.com/408524414
This was at 400 ISO. So it looks like +4 or +4.5 and -2 or -3 if you can tolerate some banding. But at 800 ISO that would be +5 or +5.5 and -1 or -2 but that's from banding, not noise. So if you don't underexpose and rate at 800 ISO I can see this being surprisingly close to an Alexa unless you need to dig into the shadows.
S1 has great highlight detail, not so good shadows:
https://vimeo.com/399496111Every result is fantastic. An embarrassment of riches on the market today. I don't entirely trust the methodology though.
 

S35 "normal" lens comparison:
 

S35 "normal" lens comparison:
 

Iscorama, early Rollei Zeiss 50mm f1.8.
Very good combination. If you like a vintage look, German Rollei Zeiss are the most underrated FF lenses on the market.
Same coatings as pre-T* standard speeds, slightly improved designs. Very sharp with slightly old school painterly bokeh:
 

Iscorama, early Rollei Zeiss 50mm f1.8.
Very good combination. If you like a vintage look, German Rollei Zeiss are the most underrated FF lenses on the market.
Same coatings as pre-T* standard speeds, slightly improved designs. Very sharp with slightly old school painterly bokeh:
 

Thanks, I wish I had. Just random clips from free sound. The arpeggio reminded me of Twin Peaks and the buzz of Larry Jordan's Our Lady of the Sphere.
I was just messing around with stuff I had ordered from KEH.

Vintage
 
 

Vintage
 
 

Have you done any grading other than applying a LUT? I was underwhelmed by the .mp4 files from the C200 but didn't find them quite this noisy, I found raw lite noisier. How did you expose these shots? The log files do look dark.
Try black balancing and see if it helps a bit. 
I had the same experience with the C100 having more noise (and a stop less highlight detail) but nicer noise texture, at least with an external recorder. I found the C100 noisy when I exposed properly, more so than the C200, but the look was nicer when it was. Made me focus more on aesthetics and less on specs (or even lab tests) but with a camera that has gobs of dynamic range as the C200 has, it's easy to expose incorrectly, too. And then the noise reveals itself in post.

C100 and C200 are pretty different in my experience. 
Not sure what to make of it, but the C100 has +5.3 stops of highlight dynamic range at base (850 ISO). C200 has +6.3 at base (800 ISO). So for the C200 maybe the best way to get an image closer to the C100 is shooting 400 ISO where the highlights will be similar.
How are you metering? Since most of us are just metering by eye the ISO setting feels kind of irrelevant relative to how we expose, or at least can only be discussed in that context.
I found the cameras to be completely different. Totally different looks, totally different ergonomics, totally different workflows.

I've owned the Nikkor 20mm 2.8 AIS along with the AIS versions of the 28mm 2.8, 35mm 2.8, 50mm 2.8, 55mm 2.8 micro, 85mm 1.8 and Nikon 135mm 2.8. They are all of the same period and some are still sold new.  I think they are generally 7 bladed diaphragms with 52mm front diameters, except for the 20mm which has a 62mm. 
They all match really well color wise / neutral - warmish and are very sharp.  Probably not any sharper than the AI versions but sharper as you go to the 135mm.  Distortion is well controlled on all mentioned lenses too.  
I think maybe only vintage feeling in that they flare and lose contrast wide open towards the sun, they look good doing so.  I used them on a Blackmagic Production camera 4k several years ago and now they mostly live on my Nikon F6 for black and white stills.  

Ten years ago I would have said Tim and Eric.

Ten years ago I would have said Tim and Eric.

Ten years ago I would have said Tim and Eric.

The rules are three-act narratives (preferably with a hero's journey) on 100 script pages, shot/countershot blocking, continuity editing etc.etc.
The breakers and benders today are filmmakers like Apichatpong Weerasethakul, Werner Herzog, David Lynch, Harmony Korine, Nicolas Winding Refn, Abbas Kiarostami, Michel Gondry, Paul Thomas Anderson, Lars von Trier, Hayao Miyazaki, Bela Tarr, Gaspar Noé, Kim Ki-duk, George Miller, Joshua Oppenheimer, Guillermo Del Toro, Miranda July...

Matching  different cylinders glass from different anamorphic scope is equivalent of a cylindrical Galilean telescope running backwards, finding a match with different systems that meet the afocal condition. Here are few prototypes  I put together and some sample shots. I hope you like, thanks!
.
 
 

Most Rokinons I've used are nothing special wide open, but fine by f2. They have unusually even resolution across the frame. Some of them I wasn't wild about the bokeh with but it's not bad. The 50mm I understand is good even wide open.
They aren't bad. Do you have the option of renting or returning what you don't like? I feel like hipsters would sneer at Rokinon and corporate clients might ask why you're using old lenses their grandfather owned if you showed up with Nikkors. I had both for a while and there is nothing terribly wrong with any of them, except my 24mm f1.4 Rokinon was soft wide open.
Unpopular opinion: 28mm f1.8 EF, 50mm f1.4 EF, 85mm f1.8 EF is a really good and really affordable kit, especially used, except for the focus ring. Big but not too big. But a lot bigger than Nikkors and bigger than Contax. Consistent 58mm fronts. Fast. Good center performance. Canon-branded so they look legit. Nice build quality and durability. Not as clinical as Zeiss or Sigma, not super vintage. I don't own the 50mm f1.4, but it's based on the nFD 50mm f1.4, which I think is the best of its kind, and the other two aren't perfect, but they perform better at f1.8 to me than their Rokinon brethren and I like the look more, too. And so incredibly cheap for what they are. Like $700 used for a set of three. The 28mm f1.8 has a bad reputation but it's actually pretty good, center is perfectly sharp even wide open. The 85mm f1.8 is very good.
The focus throw is short and they don't have hard stops, and that might be a deal-breaker for you or you might shoot the kind of content where it's not if you're just pulling off the barrel anyway. But other than that they're just great. Absurdly cheap for what you get. Nice and chunky, too.
Well, that explains why nFDs have the smoothest focus rings I've ever used. 
The K35s turn yellow over time, so does the Cooke 75mm, and apparently the rare glass in the Super Baltars degrades over time, too. It's almost like an E60 M5, when you tune something as far as you can tune it, it's not built to last. Master Primes fail in extreme cold. The Iscorama plastic parts are all apparently a mess, too. Anything bespoke or over-engineered seems to have issues, but those are always the most fun and most special. Aren't M43 lenses still serviceable at least? And if rehousing changes the focus mechanism, is there a market for your 85mm? I'll ask about this issue next chance I get, but it sucks. Panchros and K35s fail too, though. And virtually every cinema lens gets haze or stiff focus rings. I have some museum quality vintage lenses and it sort of hurts just to use them or to put focus gears on them that will scratch the barrels or whatnot.
 

Just the fact that you're on full frame means any bespoke cinema lenses are going to be pretty obscenely expensive. Established DPs will shoot with Rokinon or Nikon but there is a bias against Rokinon being cheap, I think. They're not even bad, but it's no one's top choice. Whereas Top Gun 2 is Sigma Art, which is kind of crazy. And Joker has some Nikkor. But no one's top choice is Rokinon. I'd try to avoid that kind of client in the first place but that's not always an option.
Not all of this is personal experience:
The Nikkors offer the best price/performance I think. They've been used for years for Vistavision and Joker had at least one Nikkor used pretty extensively I've read. Focus direction is backward, if it matters to you. The f2 versions of 28 f2, 50 f2, 85 f2 are all 52mm fronts. Make sure to match vintages approximately if consistency is your goal, coatings changed over time, likely not too much in recent years.
The Contax lenses do feel bigger and the mechanics are really high end, they feel a lot nicer than many "true" cinema lenses. But focus rings are a bit stiff in some cases. The 28mm and 50mm f1.4 have 55mm fronts, I suspect the 85mm f2.8 does, too. Again, I never had issues with Nikon focus rings being too small but these are bigger. More room for fingers. Better grip. Again you could just get follow focus gears.
https://followfocusgears.com/
And have wider diameters and a better grip and look more "pro" but a bit silly to get those without a follow focus?
Canon SSC Aspherical is rumored to share the same designs with K35s, the most desirable set of vintage super speed lenses you can get. The 24mm and 85mm are 72mm fronts, 55mm is a 58mm front, but is still enormous and the build quality is outstanding. A set has recently gone from like $2000 on eBay to $8500 or something ridiculous so good luck. This is sort of the ultimate, though. 
The next generation (nFD L) has the same designs but different coatings and the 55mm has been replaced with a 50mm f1.2 with a different design. By all accounts that one is tiny and has 52mm front threads but the others remain large. I think these correlate with second generation K35s, a bit less desirable. Build quality and mechanics have been downgraded a bit. Coatings are updated and a bit less vintage but a tenth of a t-stop faster. You could probably still get a set for $2500 or less. The 50mm might be a little small and you'd want to buy a 72mm step up ring I guess. I've also read the bearings in these can degrade over time and will eventually need repair.
If you don't need hard stops, Sigma Art is an option. If that's too clinical, first generation Canon EF L are the basis of the CN-Es, I think, at least some of them, and you get the pro red ring. I think Blue Ruin was shot on these, looked good to me. Mix of 77mm and 72mm fronts, easy to add some step up rings. If you don't need hard stops this might be the best option with that Sigma to L adapter. Never tried it.
Some of the ZEs I think are updated Contax designs and less desirable. I think the 25mm f2, 50mm Makro Planar, and 35mm f2 I think are new and excellent but the line was recently discontinued so not too expensive. Milvus is pretty high end, never used it, but excellent performance and big. Maybe a bit clinical. Sort of a Sigma Art/Otus type deal. Rent one?
 Can't speak for the build quality, but the image from SLR Magic MicroPrimes is stunning. Apo designs so bokeh is smooth with pure colors. You could get a 25, 50, 85 for 3500 euro I think. 82mm threads and 2 pounds each despite being "micro." I think these are bespoke "cinema" designs but miniaturized, but it remains to be seen how the construction holds up. Optically from what I understand they are excellent. Not so sure about the mechanics.

Just the fact that you're on full frame means any bespoke cinema lenses are going to be pretty obscenely expensive. Established DPs will shoot with Rokinon or Nikon but there is a bias against Rokinon being cheap, I think. They're not even bad, but it's no one's top choice. Whereas Top Gun 2 is Sigma Art, which is kind of crazy. And Joker has some Nikkor. But no one's top choice is Rokinon. I'd try to avoid that kind of client in the first place but that's not always an option.
Not all of this is personal experience:
The Nikkors offer the best price/performance I think. They've been used for years for Vistavision and Joker had at least one Nikkor used pretty extensively I've read. Focus direction is backward, if it matters to you. The f2 versions of 28 f2, 50 f2, 85 f2 are all 52mm fronts. Make sure to match vintages approximately if consistency is your goal, coatings changed over time, likely not too much in recent years.
The Contax lenses do feel bigger and the mechanics are really high end, they feel a lot nicer than many "true" cinema lenses. But focus rings are a bit stiff in some cases. The 28mm and 50mm f1.4 have 55mm fronts, I suspect the 85mm f2.8 does, too. Again, I never had issues with Nikon focus rings being too small but these are bigger. More room for fingers. Better grip. Again you could just get follow focus gears.
https://followfocusgears.com/
And have wider diameters and a better grip and look more "pro" but a bit silly to get those without a follow focus?
Canon SSC Aspherical is rumored to share the same designs with K35s, the most desirable set of vintage super speed lenses you can get. The 24mm and 85mm are 72mm fronts, 55mm is a 58mm front, but is still enormous and the build quality is outstanding. A set has recently gone from like $2000 on eBay to $8500 or something ridiculous so good luck. This is sort of the ultimate, though. 
The next generation (nFD L) has the same designs but different coatings and the 55mm has been replaced with a 50mm f1.2 with a different design. By all accounts that one is tiny and has 52mm front threads but the others remain large. I think these correlate with second generation K35s, a bit less desirable. Build quality and mechanics have been downgraded a bit. Coatings are updated and a bit less vintage but a tenth of a t-stop faster. You could probably still get a set for $2500 or less. The 50mm might be a little small and you'd want to buy a 72mm step up ring I guess. I've also read the bearings in these can degrade over time and will eventually need repair.
If you don't need hard stops, Sigma Art is an option. If that's too clinical, first generation Canon EF L are the basis of the CN-Es, I think, at least some of them, and you get the pro red ring. I think Blue Ruin was shot on these, looked good to me. Mix of 77mm and 72mm fronts, easy to add some step up rings. If you don't need hard stops this might be the best option with that Sigma to L adapter. Never tried it.
Some of the ZEs I think are updated Contax designs and less desirable. I think the 25mm f2, 50mm Makro Planar, and 35mm f2 I think are new and excellent but the line was recently discontinued so not too expensive. Milvus is pretty high end, never used it, but excellent performance and big. Maybe a bit clinical. Sort of a Sigma Art/Otus type deal. Rent one?
 Can't speak for the build quality, but the image from SLR Magic MicroPrimes is stunning. Apo designs so bokeh is smooth with pure colors. You could get a 25, 50, 85 for 3500 euro I think. 82mm threads and 2 pounds each despite being "micro." I think these are bespoke "cinema" designs but miniaturized, but it remains to be seen how the construction holds up. Optically from what I understand they are excellent. Not so sure about the mechanics.

Nice topic. This one i did with a modified Isco 36 (now cine Iscorama mkII). I used different taking lenses (voigtlaender 40mm 2.0, Nikon 50mm 1.8, 58mm Helios and i think there was a 80mm Nikkor as well) I used the Gh5 on a Letus gimbal in 4:3 full sensor mode. So the final frame was a 2:1 ratio in 4K. Which gave me a lot of freedom for reframing.
 

Just personal preference. I prefer the look of the 3.2k and 2.8k Alexa to the Alexa 65 and Alexa LF, it seems more organic and has more texture and I think that's part of the reason vintage lenses are so popular on the 65.
And features I watch that were shot at 2.8K look better to me than my own 4k+ footage (pretty obviously). But when I worked in post with a variety of cameras the Alexa footage always looked so much better than the F55 and Epic footage to me, too. It's just got a smoother look to it and the texture is smooth and looks more organic and more like film so even if the shadows are noisy it's a good look, and when you lose that texture it either looks more digital or more plastic to me. I know other people who feel this way, but I know a lot of people don't. It could be fine. The Gemini and Black Magic stuff doesn't look too bad to me, presumably since it's not over-sharpened. Oddly, Alexa ProRes is sharpened by default so who knows. Maybe it's the low frequency sharpening on Alexa footage that I like, but I dislike the edge enhancement on a drone or iPhone or something. I can't say for sure, just speculate. But when you capture too much fine detail it looks worse to me.
There's an interview with the DP on the Crown where he goes through all the steps he took to make the F55 look more organic. He wanted to use an Alexa but he wasn't allowed to. I guess I can relate to that. It's just personal preference. I really like the look of S16 and 2-perf S35. I like a more painterly image, I was more into Kaminski than Deakins. I like high speed film when I shoot stills. But I also want the texture to look good. I think it's also sort of a running gag, they keep delaying it and the joke among Alexa fanatics is they're delaying it because the 2.8k is already so good.

Story of my life.