Ninpo33

Apparently not...!!!

We can dream... Shady website specs leaked on a Chinese social media site. • 4K 240p uncropped • 5.1K 120p open gate, ProRes RAW • V-Log2 • 16+ stops dynamic range • Arri codec • 39 LUTs • ProRes 4444 XQ, 4444, 422 HQ, 422, 422 LT, Proxy • 32-bit float audio • Phase Hybrid AF • 8.5 stops in-body image stabilization • 120fps continuous burst shooting • Dual CFexpress Type B slots • New active cooling system

This right here… Don’t waste your time trying to have a normal debate. Instead of admitting you were right about exposing more lens character at the edges with MF sensors he moves the goal posts and still says you’re wrong because “not ALL FF lenses look good on MF” You obviously never said that or claimed that but it’s a tactic people use to find ways to “correct you” after making a valid point. eatstoomuchjam won’t ever admit the might not know something and always needs to maintain the belief that he’s right. Either self esteem issues or simple EGO. It’s the same tired argument with the “MF Look” or something being “Cinematic”. Terms many of us understand and use but these idiots want to argue on an internet forum about how these aren’t a thing. Yet they’re on a full frame camera talking about how “technically” you could achieve the same look with Super 16. I’ve given up with most of the characters here, big waste of time.

Funny I’m not seeing any of your posts about the wonders of the GH7 but lots here on the Eterna. Funny that you would waste your time here when you could be getting the same EXACT look out of M43 and save a lot of money. After seeing your further posts below and remembering our previous exchanges I’m going to decline your invitation for further discourse. Your ego and style of cherry picking various “truths” makes it an exercise in futility.

Yes I agree. I’m ok with this strange little ZR as a sort of 1st gen beta to roll out the new cross pollination. Smart to make it $2,000 because it’s still very capable but it will allow them to test out all the features on content creators, and then hopefully roll it into pros later.

Just curious, if there is no such thing as a medium format look, then why do a lot of the great celebrated filmmakers choose to shoot on it when going for big tentpole films? The Joker, Dune, Revenant, Dark Knight, etc… Why go through all the trouble of extra weight, crew, expense if there’s nothing to gain over Super 35? Surely they believe there is a benefit. Why do you own a GFX 100ii?

“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.

Oh yeah, sounds like you’re only missing a few. I also scored great deals by just waiting around until something reasonable came up. I refuse to spend top dollar on vintage glass when it can always be found cheap if you’re patient. I bid on a 21mm a couple of weeks ago that went for just about $500. Given that there’s a Tokina wide for much less out there I decided to let it go. The Konicas are only now starting to get some attention for video finally after the rehouse projects at Ancient Optics and Old Fast Glass. I’m working on a speedbooster project to mount on Fuji APS-C. Really tough because of the short flange distance but I found an ALPA speedbooster that works if I make a custom adapter.

I have the whole set of Konica Hexanons. Just recently picked up the older F mount version of the 52mm 1.8 and 1.4 lenses. Wow, these are really good bang for the buck. Got them both for $50 total. For AR mount the 40mm f/1.8 is one of my favorites. A great pancake for the Lumix S9 even with the adapter. The 35mm f/2 and the 28mm f/1.8 are also mandatory in my opinion. The 28mm is rare in that its minimum close focus is only 7". The 21mm f/2.8 is really good but stupid expensive now so I would skip it. What's been really fun is all of the undiscovered rangefinder glass from 60's Konica's. With a little time and energy one can adapt these vintage beauties with some really stunning results. The 48mm f/2 especially. I'm working on a bunch of Leica M mount conversions for all of these old rangefinders I've been picking up in Tokyo. Konica 48mm f/2 Rangefinder modified to Sony E mount on A7RV. (Not my photos BTW)

Anyone geeking out over the gorgeous lens choices of Season 3 of White Lotus? Season 3 shot on Sony Venice with DP Ben Kutchins. From what I can find out they used a lot of custom vintage Leica M glass from Zero Optik this season with maybe a handful of OMs as well. Last couple of seasons featured Zeiss Superspeeds, Cooke S4s, Baltars, Angénieux, Panavision Primos and Canon EF Zooms. Quite the buffet... A lot of people complain about the overuse of shallow DOF but it's creatively used in my opinion and only extreme in a handful of shots. Plus those shots are justified as a narrative tool in those instances. Tons of other shots with deep focus and the series always does a great job of establishing the exotic locale. I'm actually working a press event with HBO and the cast of season 3 next week here in Los Angeles and really looking forward to it.