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About bjohn

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  • My cameras and kit
    BMD Micro Cinema Camera
  1. The sensor on the Micro Studio 4k is not very good, especially compared with that on the Micro Cinema Camera.
  2. This person has some of the nicest S1 (and also the best Sigma fp) footage I've seen anywhere; nicely shot and graded: https://vimeo.com/yasunariarai.
  3. Are you able to get usable handheld shots with the top handle alone, or do you generally use a tripod?
  4. Cool! And I'm assuming Panasonic cameras have a focal-length selection menu somewhere that I can assign to a button? For IBIS to work properly it needs to know the focal length of the lens you're using (at least this is true with Sony), and since I'm using old adapted lenses I have to tell the camera myself by selecting the focal length from the menu. Having that assigned to a button makes this potentially tedious task take a few seconds.
  5. This brings up my question: I only use manual adapted lenses, so AF performance is not a concern for me. But I've got my Sony A7iii (which I only use for stills) set up for manual shooting with the custom buttons mapped to the tools I need at hand for shooting with these lenses: one button brings up the focal length menu, another brings up focus magnification, another toggles focus peaking on and off. Would it be possible to set up the S5 with dedicated buttons like this? I don't have time to go menu-diving when I'm shooting photos. The A7iii is great for stills but its video quality is so com
  6. bjohn

    is lensbaby naff?

    There's an excellent guide to these lenses from cinematographer Uli Plank here: https://www.reduser.net/forum/showthread.php?92246-Minolta-Rokkor-Survival-Guide The 85mm Rokkor Varisoft is kind a precursor to some of the Lensbaby lenses in fact! Also some useful reviews from Philip Reeve (from a stills-photographer perspective) here: https://phillipreeve.net/blog/lenses/minolta-mcmd/
  7. bjohn

    is lensbaby naff?

    I think you'd like them. I shot this with the 55/1.7 Rokkor, wide open, with a Hollywood Black Magic diffusion filter to add even more glow to the highlights: Inuit carving by Brad Hurley, on Flickr And this was with the same lens, also wide open, at minimum focal distance: Backyard Art: Chardon et bourdon by Brad Hurley, on Flickr The 28mm is a little soft and has a very painterly quality to it: Hydro station and clouds by Brad Hurley, on Flickr I haven't used them for video yet as my cinema cameras are all Super 16-size sensors (Blackmagic Micro Cinemas and
  8. bjohn

    is lensbaby naff?

    That's the one I was looking at...I'm just not convinced it would give me anything I couldn't get from the Minolta Rokkor 85/1.7 which has similar qualities: low-contrast and dreamy wide open, very sharp stopped down. Most of the Rokkors are like that, and have amazing bokeh and painterly colors, but they have poor flare resistance. The other Lensbaby I would consider using is the "Sweet" and also the Omni filters; the filters in particular could be useful. The Edge really doesn't seem much different from blur effects you can achieve in post, and the post-effects are adjustable in he
  9. bjohn

    is lensbaby naff?

    It really depends on which of the many Lensbaby effects you're talking about. I agree that duplicating the "Sweet" lens line look in post would be difficult (or at least a lot of work and not as convincing). But the "Edge" look is not so hard to duplicate in post; Resolve and probably most of the other NLEs have tools that allow you to selectively blur as much or as little of the image as you like, leaving other parts untouched and sharp.
  10. bjohn

    is lensbaby naff?

    The swirly bokeh only appears in certain situations and more reliably on full-frame sensors than smaller ones. I've gotten it with APS-C cameras but never on my Super-16-size cameras (it's a remarkably sharp lens on those cameras with gorgeous color rendering). Even on my full-frame camera the conditions have to be right for it to appear (typically you want it to be wide open with a nearby subject in close focus and a busy out-of-focus background). As for Lensbaby, I think you can achieve some of that stuff in post (especially the lenses with selective blur), but I like the look of the ve
  11. Spending more time with the 28mm, I'm thinking this would be one I'd choose for cinematography. It's not super-sharp, which is a good thing, and everything I shoot with it ends up looking like a painting. Barrage et Inukshuk by Brad Hurley, on Flickr Clouds over Montréal-Nord by Brad Hurley, on Flickr Daybreak by Brad Hurley, on Flickr
  12. I really like the look of the Pro primes as well, but without a manual aperture dial they're pretty much useless for me. I remember reading somewhere (maybe from John Brawley, who remains an Olympus Ambassador) that there are no plans to stop production of Olympus lenses and the new lenses in the pipeline will still be developed. We'll see.
  13. See https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=110368 I always use separate batteries for monitor and camera. I know plenty of people use the same battery to power both, but it can be risky.
  14. Agreed 1,000 percent. The so-called cinematic look is 99% about lighting; the camera and lenses make a difference but it's minor in comparison. This video in particular drives the point home:
  15. I'll mainly use lights for documentary interviews and small (i.e. duo or trio) music videos. I decided to go with a reflector system; I debated between the three leading systems (CRLS, Dedo Lightstream, and K-flect, and went with Dedo since there's a distributor in my country. I got a small kit of reflectors in different diffusion levels and one small dedolight with the parallel beam attachment (which increases its output by about 8 times). It's pretty amazing. Only one light to plug in but I can get three- or four-point lighting by bouncing the beam around with the reflectors, no need for dif
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