JordanWright

A few stills from a shoot last night all on the Pocket 4K XL and CZ 35mm 2.8. 

Darn! Great light. Great captures! Thanks for showing. No 2 and 3 are especially beautiful.

A few stills from a shoot last night all on the Pocket 4K XL and CZ 35mm 2.8. 

A few stills from a shoot last night all on the Pocket 4K XL and CZ 35mm 2.8. 

I found the hairspray trick to work quite well

I'm presuming you are looking at the Leitax adapters ?
I've never installed them myself and it looks straightforward enough but I think the path of least resistance (or prospect of damage!) would be to enquire with a camera repair place like Sendeans and ask them if they can quote to install the Leitax adapters for you if you source them.
https://www.sendeancameras.co.uk/free-estimates
Other places to consider would be ApertureUK and Fixation.

The sensor in the C300 Mark 3 is explicitly stated to be a dual gain sensor similar to the one found in the Arri Alexa, which creates a much cleaner image compared to even the C500. I highly doubt the komodo will come anywhere close to it's performance, as that would significantly undermine RED's higher end cameras. 

“This whole virus thing”.
The empathy is almost visible...

Story of my life.

First post after visiting and enjoying this site for quite a while. I'm mostly into writing and looking to produce on low budget so it's interesting to read how others are getting stuff done with readily available gear.
Came across this short and thought it might be of interest. Two versions on Vimeo ( via cinematography on Reddit ) and Instagram.
Enjoy 😀
 

The Tokina is also a very pretty looking outfit. Weird me, that I gave up on using it after messing around with a lackluster EF to Nikon adapter. On the other hand I have an awesome FD to SL adapter from the Polish adapter manufacter which has often been recommended by Andrew and others. I am  enjoying the beauty of the 20mm Canon FD on the large sensor of my S1. Though more sillyness with my Tevidon lenses, which are still in urge of an adapter. I read the 35 and 70mm even cover s35 format. Beautiful lenses laying around should not be allowed on this thread.:)

The Tokina is the lens I always seem to go back to. I think this is my 3rd copy, I'll probably never let it go again. I paid much less than £200 each time. I sold the Sigma zooms because I rarely used them after my most recent copy.
Mechanically it's a dream at its price point. The lens doesn't extend and the focus ring has hard stops. It would make a great cine-mod lens. It also has a short throw, good for handheld pulling. The zoom ring is quite stiff, you won't be zooming mid shot.  It feels well built, it'll survive a few knocks. The AF system seems to be broken on every one of these I've used, but that usually means they sell at a cheaper price.
Optically, it's not the sharpest lens in the world but also not noticeably soft even wide open on a SB. This is where I sort of miss the sigma zooms. It also doesn't focus very close (0.7m) 28mm on the lens really sings when filming people, really wish I could get a bit closer. The lens also isn't par focal, but its not far off, it only needs minor adjustments. Breathing is very well controlled. On the wide end, the lens distorts a touch more than a modern lens, but I quite how it falls off.
The lens flares really change through the focal length, I always experiment with the zoom when there's flares. Around 35mm if one of my favourites, you get some cool thin red rings. The lens flares very easily, I like it for narrative stuff but always have some black wrap or gaff tape on hand for corporate shoots.
It's such an all rounder zoom lens to have in the bag, just enough character for narrative work but can also clean up when it needs to.
 

The tokina 2.6-2.8 is definitely one of my favorites and probably one of the lenses I've had the longest.
I have no intention of selling mine, it's just so great. I'm still very happy with it.
I have gotten other zooms that I use a bit more regularly these days (Nikon 28-70 2.8 and Samsung 16-50 2-2.8), but that tokina is just epic.

The Tokina is the lens I always seem to go back to. I think this is my 3rd copy, I'll probably never let it go again. I paid much less than £200 each time. I sold the Sigma zooms because I rarely used them after my most recent copy.
Mechanically it's a dream at its price point. The lens doesn't extend and the focus ring has hard stops. It would make a great cine-mod lens. It also has a short throw, good for handheld pulling. The zoom ring is quite stiff, you won't be zooming mid shot.  It feels well built, it'll survive a few knocks. The AF system seems to be broken on every one of these I've used, but that usually means they sell at a cheaper price.
Optically, it's not the sharpest lens in the world but also not noticeably soft even wide open on a SB. This is where I sort of miss the sigma zooms. It also doesn't focus very close (0.7m) 28mm on the lens really sings when filming people, really wish I could get a bit closer. The lens also isn't par focal, but its not far off, it only needs minor adjustments. Breathing is very well controlled. On the wide end, the lens distorts a touch more than a modern lens, but I quite how it falls off.
The lens flares really change through the focal length, I always experiment with the zoom when there's flares. Around 35mm if one of my favourites, you get some cool thin red rings. The lens flares very easily, I like it for narrative stuff but always have some black wrap or gaff tape on hand for corporate shoots.
It's such an all rounder zoom lens to have in the bag, just enough character for narrative work but can also clean up when it needs to.
 

More Tokina 28-70 2.6-2.8

The Tokina is the lens I always seem to go back to. I think this is my 3rd copy, I'll probably never let it go again. I paid much less than £200 each time. I sold the Sigma zooms because I rarely used them after my most recent copy.
Mechanically it's a dream at its price point. The lens doesn't extend and the focus ring has hard stops. It would make a great cine-mod lens. It also has a short throw, good for handheld pulling. The zoom ring is quite stiff, you won't be zooming mid shot.  It feels well built, it'll survive a few knocks. The AF system seems to be broken on every one of these I've used, but that usually means they sell at a cheaper price.
Optically, it's not the sharpest lens in the world but also not noticeably soft even wide open on a SB. This is where I sort of miss the sigma zooms. It also doesn't focus very close (0.7m) 28mm on the lens really sings when filming people, really wish I could get a bit closer. The lens also isn't par focal, but its not far off, it only needs minor adjustments. Breathing is very well controlled. On the wide end, the lens distorts a touch more than a modern lens, but I quite how it falls off.
The lens flares really change through the focal length, I always experiment with the zoom when there's flares. Around 35mm if one of my favourites, you get some cool thin red rings. The lens flares very easily, I like it for narrative stuff but always have some black wrap or gaff tape on hand for corporate shoots.
It's such an all rounder zoom lens to have in the bag, just enough character for narrative work but can also clean up when it needs to.
 

More Tokina 28-70 2.6-2.8

The Tokina is the lens I always seem to go back to. I think this is my 3rd copy, I'll probably never let it go again. I paid much less than £200 each time. I sold the Sigma zooms because I rarely used them after my most recent copy.
Mechanically it's a dream at its price point. The lens doesn't extend and the focus ring has hard stops. It would make a great cine-mod lens. It also has a short throw, good for handheld pulling. The zoom ring is quite stiff, you won't be zooming mid shot.  It feels well built, it'll survive a few knocks. The AF system seems to be broken on every one of these I've used, but that usually means they sell at a cheaper price.
Optically, it's not the sharpest lens in the world but also not noticeably soft even wide open on a SB. This is where I sort of miss the sigma zooms. It also doesn't focus very close (0.7m) 28mm on the lens really sings when filming people, really wish I could get a bit closer. The lens also isn't par focal, but its not far off, it only needs minor adjustments. Breathing is very well controlled. On the wide end, the lens distorts a touch more than a modern lens, but I quite how it falls off.
The lens flares really change through the focal length, I always experiment with the zoom when there's flares. Around 35mm if one of my favourites, you get some cool thin red rings. The lens flares very easily, I like it for narrative stuff but always have some black wrap or gaff tape on hand for corporate shoots.
It's such an all rounder zoom lens to have in the bag, just enough character for narrative work but can also clean up when it needs to.
 

Best thing about that lens is how natural the falloff is and the lack of breathing. 

This is an older Test I did with it, jump to 4:12 to see samples and how "smooth" it is. 
 

@JordanWright Hallo, a few words from you about the Tokina would be cool. I know, a lot has been written about it. But I can never get enough of some beautiful lens reports. I even own one myself but never got around to buy a better adapter for it and get beyond 8 metres of distance.

More Tokina 28-70 2.6-2.8

More Tokina 28-70 2.6-2.8

More Tokina 28-70 2.6-2.8

More Tokina 28-70 2.6-2.8

More Tokina 28-70 2.6-2.8