leslie

what can i say, i'm an excitable lad, i saw the word bolex and jumped on it. Figuratively speaking of course ?
i'll show myself out now

what can i say, i'm an excitable lad, i saw the word bolex and jumped on it. Figuratively speaking of course ?
i'll show myself out now

all of them ?

i second the motion, apart from maybe using a chain for the driveline of a rather robust motorized slider i cant see any reason for chain advertising in a camera forum

all of them ?

Hey guys! 
Diving into anamorphic this next few weeks and I think I have finally settled on what i’m gunna do. Rapido’s Full Package C. 
I use a BMPCC4K with the .64 speedbooster with my Helios and Mir1b. (100% sure the MIR wont work, but i got it for free so hey!) 
Full Package C includes:
Schneider Super Cinelux 2X Anamorphic Lens 
FVD-16A
FMJ-16
V3 full clamp
Step down ring/ Step up ring
1/4-20 foot support
Rear Metal Jacket (RMJ)
Will all of this work with the new 2.8k mode and get me a clean and sharp 2.4:1 delivery?
Just trying to avoid as much vignetting as I can so i don’t have to crop. 
Thanks everyone!!

I don’t think any of my posts are clever enough to be misread for intelligence, artificial or otherwise. 

thanks @mercer coming from you, thats high praise indeed ?
honestly i think it must be beginners luck   I watched one dudes youtube on how he grades, he's called the loam ranger. He does mountain bike riding and uses a gopro, he likes to shoot flat as possible. I just copied what he does with his footage and applied it to mine. Even then i forgot to adjust the sharpness and i dont think i changed the contrast,  just moved the colour wheels and upped the saturation a little.
I have to confess i like late afternoon a lot, the sun has less bite but has more oomph i think, and its a tad easier to see the screen. Plus the wind has usually died down abit.  Now that i have dipped my toes into the shark infested waters, there probably will be a whole slew of videos pop up ?

it would be interesting to throw an ir filter on it and see if you could get some inferred photos. It should work. they have heightened the red sensitivity and increased the inferred pass filter, which is why the dude alludes to the colours being different and not really for normal photos. Canon did do a 60 Da that was astronomy based, was considering looking for one but now they have bought out this, I'm tempted really tempted, wouldn't even bother me if the video is complete mush the inbuilt timelapse and raw is all i need, its odd so many video modes are listed seeing as this is supposed to be astronomy related unless you put a lowpass filter on the front but even then the colours may still be a bit off.
two photos from my old nikon 950 that i removed the ir lowpass filter. Sadly the only piece of glass i had is the wrong thickness glass and it only focuses on flowers at the moment, i really need to fix that.


 

The only reason the "creator" of this thread would want an f1.4 lens would be to give him this type of subject isolation :

A halogen bulb is one of the two primary types of tungsten light sources.  This type of lamp uses a thick, quartz glass "envelope" with a tungsten filament and halogen gas inside, hence the terms "quartz," "halogen" and "quartz halogen" -- all of these terms refer to the same type of bulb.
 
The other type of tungsten lamp is "incandescent," which is the same technology as traditional household bulbs.  Incandescent lamps have a thin, large glass envelope enclosing a tungsten filament and such bulbs are often filled with argon gas.
 
Quartz halogen bulbs are significantly smaller and longer lasting and their color remains consistent throughout their life.  Incandescent bulbs are more delicate and discolor as they age.
 
Never touch the quartz glass of a halogen bulb with your fingers/skin.  If you do, immediately clean the quartz  thoroughly with isopropyl alcohol and a clean paper towel or plain cotton pad. Otherwise, the oil from your skin will impregnate the quartz and weaken it when it heats up, which can cause the bulb to explode.
 
 
A 1/2 CTB gel cuts about 1/2 stop of output.
 
On the other hand, if you are mixing ballasted daylight fixtures (such as HMIs), it 's just as easy to put CTO gel over those fixtures.

come winter time some of that heat might be quite welcome.
the bunnings lights are pretty cheap i'd lean that way too.
Please pardon my ignorance, is there much difference between halogen and tungsten ? could you throw a gel in front of a halogen to balance it ?

I've been doing lens and camera tests, and want to do them in a stable lighting environment, so I know that means I need some artificial light, and that it needs to be high CRI.  My challenge is that I have no real need for this lighting apart from doing these tests, so I want to spend as little as possible.
I'm assuming that the best option is a large power halogen light?  Something like this?

https://www.bunnings.com.au/arlec-1000w-halogen-worklight-with-tripod_p7070522
And maybe just bounce one / both of them off the ceiling (which is painted white) to soften things a little?
Thanks.

Well there is the phone holder that attaches to the Nano controller mount so don't forget to budget the extra £4.99 for that.

thanks @mercer coming from you, thats high praise indeed ?
honestly i think it must be beginners luck   I watched one dudes youtube on how he grades, he's called the loam ranger. He does mountain bike riding and uses a gopro, he likes to shoot flat as possible. I just copied what he does with his footage and applied it to mine. Even then i forgot to adjust the sharpness and i dont think i changed the contrast,  just moved the colour wheels and upped the saturation a little.
I have to confess i like late afternoon a lot, the sun has less bite but has more oomph i think, and its a tad easier to see the screen. Plus the wind has usually died down abit.  Now that i have dipped my toes into the shark infested waters, there probably will be a whole slew of videos pop up ?

Sun flare is part of lens characteristic. While my zeiss milvus is bloody sharp with a good dose of micro contrast, the coating eliminate any short of sun flare whatsoever. 
 during bridal shot I like to use canon 50mm f1.2 to get that crazy sunflare.

@leslie I really like the color contrast you’re getting from the P4K. It’s very natural but also cinematic. Nice job. 

no... i suffer badly from procrastination
just watched some youtubes on resolve 16 not really knowing what i'm doing, here's the second ever mini production.  I even had a go at grading, next time i might add some transitions but i need to play around a lot more. I can crash resolve pretty easily, i presume i need to throw more ram at it. Having said that 16.1.1 worked better than the 15 i had before and seems to work flow better after watch some youtubes for me anyway. feel free to comment. i need to learn one way or another.
shot in the back yard quite late, three static tripod mounted shots, bmp4k, russian lomo 40mm triplet, raw 3 to 1 compression. Interestingly there's a 191 Mb difference between h.264 and h.265. You guys got h.264 ? A cheap toshiba 32 gig card from woolworths worked surprisingly well with braw 3 to 1, with dng's i could get 35 seconds braw easily doubled that.
would like to know how you guys shoot into the sun for flares ?  i had a go at it but it ended badly maybe i need to stop down perhaps. more youtubes and experimenting i guess

Untitled1.mp4 here's a pic of the adapters i had, the left is m42 i did have a m39 to m42 step up ring but when i mount the lomo lens theres no infinity focus with the l39 adapter i can achieve infinity focus. as you can see theres quite a size difference.

no... i suffer badly from procrastination
just watched some youtubes on resolve 16 not really knowing what i'm doing, here's the second ever mini production.  I even had a go at grading, next time i might add some transitions but i need to play around a lot more. I can crash resolve pretty easily, i presume i need to throw more ram at it. Having said that 16.1.1 worked better than the 15 i had before and seems to work flow better after watch some youtubes for me anyway. feel free to comment. i need to learn one way or another.
shot in the back yard quite late, three static tripod mounted shots, bmp4k, russian lomo 40mm triplet, raw 3 to 1 compression. Interestingly there's a 191 Mb difference between h.264 and h.265. You guys got h.264 ? A cheap toshiba 32 gig card from woolworths worked surprisingly well with braw 3 to 1, with dng's i could get 35 seconds braw easily doubled that.
would like to know how you guys shoot into the sun for flares ?  i had a go at it but it ended badly maybe i need to stop down perhaps. more youtubes and experimenting i guess

Untitled1.mp4 here's a pic of the adapters i had, the left is m42 i did have a m39 to m42 step up ring but when i mount the lomo lens theres no infinity focus with the l39 adapter i can achieve infinity focus. as you can see theres quite a size difference.

Well I'm russian to get it to work on the Panasonic cameras if that counts.

does this  count as spam ? ? which part is russian ??

Yep, just need to sort out the overheating issues.

i nearly bought the mir 37mm but i think i went looking for something cheaper and i might have also been hoping the lomo triplet might get some bubble bokeh happening lots of experimenting yet to do with it.
The helios is popular for the swirly bokeh however i'm not much of a fan of swirly so i passed on the helios. The industar i looked at too i think. You got some nice results from the industar might have too add one at some time
 

for what its worth, The LOMO TRIPLET T-43 4/40 LOMOGRAPHY LTM L39 LENS *MINT*
I think i paid about Aus $60 delivered. all in all not a bad investment i think. Since i upgraded the p4k to 6.6 this morning i'll have to shoot something this afternoon.
I really lucked out with the m39 to  m4/3 mount that was a mount i accidentally bought some months ago.

Ah gotcha.

I'm not really directing this at you but just to anyone in general who isn't aware or wants to learn more, and I'm probably being a 'stickler for accuracy' here but obviously a sensor/camera has no inherent highlight rolloff as the sensor is linear (as close as practically possible with calibration) so highlight rolloff is mostly down to the dynamic range of the sensor, how the image is exposed and how the colourist chooses to roll off the highlights. All typical CMOS sensors will have "hard clipping" though, being linear capture devices.
I only say this because I see a few people mention 'highlight rolloff' as part of a log curve or colour science or something when in that respect it is just a by-product of the log curve optimising the dynamic range of the sensor in the container its being stored in. It's still assumed the user will create their own highlight rolloff in grading (I'm speaking just of RAW and log captures, not "profiles" or looks applied in camera intended for display on Rec.709 devices).

ARRI for example have a lot of stops above where they recommend middle grey be exposed for - due partly to their very large pixels and the large dynamic range they have - and when a log curve is calculated for mapping that dynamic range from middle grey to 940 (video white in 10bit where they map sensor saturation to in their log curves) you get a very flat curve at the top as it maps that range. When you flatten contrast that much it also appears to desaturate. I've seen some mention they believe ARRI purposely desaturate their highlights, but if they did that in processing before creating RAW files or LogC ProRes clips you wouldn't be able to inverse it correctly into linear for ACES workflows etc because processing like that is non-linear. They possibly do something like that for their LogC to Rec709 LUTs etc but people seem to attribute it to their LogC/RAW files too.

For our cameras we map sensor saturation at our "native ISO" to 940 also, but for ISO curve's above we go into "super whites" to make better use of the bit depth available especially since we deal so much with SDI output (10bit) and ProRes 422HQ is common for our customers (10bit also). ARRI says ProRes 444 (12bit) is the minimum for LogC because they don't use the full range available. We may change that in the future but the caveat would also be you would need to use 12bit for best results.
In theory you could expose a 10 stop camera/sensor so that you place middle grey at the second bottom stop, giving you 8 stops to create a very gentle highlight rolloff. You would just have VERY little range for the shadows. ?

So long story short, the question I would suggest people ask is 'what is the dynamic range like compared to other cameras' as that will really tell you what kind of highlight roll off YOU (the user) can create for your preference with how you like to expose given the amount of shadow information you like to retain, tolerance for noise, etc.