Ninpo33

“Useless” is a bit of a strong word LOL. Most real documentaries have an actual sound recordist on set so I see no idea why this wouldn’t make a great B-Cam to a big brother C400 or whatever. If it’s the R5ii sensor in there that’s a pretty sweet look and a very capable camera.

Yes, 100% Tokina made and these lenses predate the Kino and Komine partnerships. Vivitar lenses have a serial number system that will tell you which original manufacturer made the lens normally but these older 60’s preset versions predate that serial number system. I’ve researched them quite a bit over the years however and found information confirming Tokina. My 35mm is doing great and solid, maybe you got one that was not very well taken care of?

They are also really, really cheap. I think I paid $35 for the 135mm and $45 for the 35mm. The 85mm 1.8 is a rare one that is fast for a 60’s era lens and i use it to match with other similar era lens sets that never got a fast 85mm. Got that one for $150 so it was a score. There’s even a super rare 135mm f/1.5 “Vivitar Professional” In the set but pretty soft and overpriced, ($2,500) these days. The 135mm f/3.5 is super tiny. (pic 2)

Not as easy to find, but the Vivitar Preset lenses made by tokina in the 60’s are pretty sweet. Single coated and have circular aperture blades with smooth movement which work out well for filmmaking. As I mentioned before, stoped down to f/3.5 is fine to keep round bokeh on these but you still have f/2.8 as needed. Soft and dreamlike with great out of focus areas. Bodies are small and light and quite well built. Threaded T mount so easily adaptable to M42 or other modern mounts. I have the 28mm 2.5 (pyramid) 35mm 2.8 85mm 1.8 (rare) 135mm 3.5 and 2.8 200mm 3.5

Yeah, i did ok without it on the shoot but was worried the whole time. There’s no off the shelf solution but I took a chance on the smallrig clamp designed for Sony Cameras and got that one the other day. Worked out and it fits perfectly. Blocks the USB-C but i use a dummy battery anyway.

Did you even really read my post? I gave several suggestions and the OP never clarified or said his requirements were set in stone. Soft vs clinical, deep focus and circular bokeh right? There are a few ways to achieve that look. Most vintage lenses are soft compared to modern lenses. Does OP want REALLY soft? Why? Very easy to take a vintage soft lens and add a desired look in post for anything extreme. My vintage Yashicas and old Vivitars all have many bladed apertures and produce round apertures at f/2.8 so I get some low light benefits as I need it while still being vintage soft. But I can live at f/3.5 or f/4 as desired. So no, I wasn’t just waiting to talk, I was offering a perspective and fostering a discussion.

Had a fun time trying out my X-M5 micro cinema rig on a low budget, 3 day music video shoot last week. No overheating or issues of any kind shooting 6.2k prores raw in open gate mode to an Ninja V+. Insane what this little guy can do for an $800 purchase (body).

There are so many options out there with those requirements. Any of the major brands had some real gems depending on the era. Anything 2.8 will really clean up at 3.5 and still be vintage soft vs modern and clinical. 2.8 copies will allow you to not get jammed up in low light situations when you might need it but you can live in deep focus the rest of the time. I have the whole Contax Zeiss set and they’re a perfect blend of vintage and not too sharp. great color. Can be found cheap now. Also highly recommend the Yashica M42 stuff and Konica AR for cheap underrated options.

You first asshole.

One has nothing to do with the other. For all the things you are complaining about, someone else in Africa having a worse time could say YOU are also grossly exaggerating things. everything is subjective.

Imagine of the S1Rii had come out with exactly the same specs that it did but in a proper range finder style body with EVF... People would have flipped out. All of the RS issues and other niggles would have been downplayed because people would say, "well, look it's a proper rangefinder with all the right features but wow, it sure can do some sweet 8k video"

Everyone is talking about how they used the Ronin 4D on the "Adolescence" and how well it did. I bet they only used it in like 4 shots though.

Did someone say wide adapter? I’ve been having fun working on a few adapter solutions with my rangefinder lenses. Will be fun to see what covers the GFX Sensor.

I suppose it depends on a few things, namely how yellow your 57mm has become and yeah, not mixing the older single coated versions or even the second gen MC versions. I honestly haven't had any trouble with mixing all lenses from the newest gen and maybe only need to do a slight adjustment in post for really, really subtle color shifts. Have you thought about the UV light trick with your? I remember there was a cheap IKEA light that people were using for a while with nice results. I should look back into that because I have a few M42 Yashica and Mamiya lenses that could really use it.

Watched the whole thing in one sitting, really remarkable. Really solid acting from everyone involved and the 'one take" episodes were very well done. I almost want to watch again and just focus on the camera the whole time. There were some interesting choices with where to have the various episodes take place and to have to think about the limitations of space and time that come with this style of storytelling. It's normally easy to manipulate these elements in traditional filming and editing so here it's fun to see the creative use of transitions and blocking.