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Found 55 results

  1. Hi guys. So let's say in theory if Metabones brought out a EF lens mount specifically for the GH4 with electronics, which I'm about to buy), and we lived in this universe.... I'm going to make the move from TV documentary editing/shooting into directing short films, more commercials, more music videos/ and a step up to a documentary DV director. That sort of thing. I'm planning on getting the GH4, with a Sigma 18-35mm f/1.8 as my first lens, as it is by all accounts a very high quality lens and would fit me perfectly for most situations. So... do I buy the GH4 with a speed booster with a nikon mount, and a nikon mount Sigma? Or do I wait for a possible soon to be released metabones speedbooster for the GH4, EF mount with electronics etc and a canon mount Sigma? I'd like your (much more knowledgable about DSLR's) guys opinions?! If I got the GH4, with a speed booster, which glass is the wise to invest in? I don't have a lot of money to spend on lenses in the near future, so I'd rather cheap quality glass in general. Canon/Nikon mounts? Which one in general is cheaper for a high level of quality? Which is just the best in general for someone like me? Who wants to start shooting low budget short films and features? Also what's the actual benefit of a EF mount with proper electronics? Does it just mean that I could use the autofocus feature on the GH4 with the Canon lenses? Any other benefits? Would it mean that lenses with image stabilisation would work on the canon lenses while on the GH4, and an imaginary speed booster which would allow such a thing?
  2. Hello I'm trying to figurate what lens are the best for me. Art Director and Visual Effect Artist with more than 10 years of experience. I want to enter in the film directions realms and buying a Blackmagic Pocket Cinema Camera for start, and need advice for lens for videoclips and short films mainly, to archive the best cinematography quality possible. Budget $3000 top for cover all the lens range, (no run and gun, no vintage lens ... from now) This are my options: Option A: $2530 Metabone SpeedBooster (SB) for BMPCC: $490 24mm: Samyang 24mm T1.5 Cine Lens for Nikon F $700 35mm: Samyang 35mm T1.5 Cine Lens for Nikon F $520 50mm: NIKON 50MM F1.4 AIS: $470 85mm: Samyang 85mm T1.5 Cine Lens for Nikon F $350 _________________________________ Option B: $2621 Metabone SpeedBooster for BMPCC: $490 SLR Magic 12mm 1.6 $600 Sigma 18-35 1.8 $855 Tamron 28-75 2.8 $676 Total: $2621 _________________________________ Option C: $2170 Sigma Zoom 14-35 $855 Sigma 24-70mm $825 Metabone SpeedBooster for BMPCC: $490 _________________________________ Lens Discarted: Samyang 10mm Is not Yet in the market :( Pana 18-35 - Barrel Distortion Tokina 11-16 Blurry Edges with SB What options you think is better for me ?, Do I miss some lens focal for the bmpcc or something else ?? Please Help!
  3. Now you can have 40mbit/s on the d5200. Make shure to read the instructions and forum before asking. https://nikonhacker.com/viewtopic.php?f=2&t=1985
  4. Personally moving on from camera discussions and now focussing on how to get the best grade from what I have. I know that it's preferable to start with a raw source, or at least flatly shot source if you don't have raw capability... but what I don't get completely, has to do with film emulating LUTs vs just doing all the adjustment/grading yourself from scratch. Have done several tutorials and can get a pretty decent final image with just using the color tools in FCPX. But, then I drop various LUTs on top of that and it often looks even better! Logically, it seems it'd be best to just get good at dialing in your look from scratch and not fooling with LUTs at all, but there are looks I've seen after applying various LUTs that I can't even fathom getting on my own. A lot of Brandon Li's footage lists the Osiris LUT for his MK3 raw footage, and some of his RX10 footage as well. Is it a waste of money buying something like the Osiris LUT package for use with a Nikon D5300 that isn't raw source? Or, am I better off just spending the time to get the color grade/style looking the way I want without using LUTs at all? Or, is it best to get the basic levels adjusted in FCPX for a generally good look, then stylizing with LUTs like Osiris after the fact? Or, applying the LUT style you want to start off with, and fine tuning the look via the color tools? Sorry for all the questions, but it feels redundant using both the builtin FCPX color tools AND the various LUTs. (PS. I know about Davinci Resolve, etc. but want to stick with getting it with just FCPX for now)
  5. Hi I'm a completely new to the dslr video world but I'd like to get started. Checking out the reviews online and what fits what I'm willing to spend I think I narrowed it down to the Canon 70D or the Nikon D5300 I just plan on getting a body and then purchasing a sigma 18-35mm 1.8f lens and a good shotgun mic. I've been waffling back and forth as to which one to get. The 70D is a better all-around camera and a class above the D5300 in it's , touch screen UI, better build quality, weather resistant, quieter, autofocus that's actually somewhat usable, good low-light performance, better live view simulation and controls, better features for still photography. The D5300 however has some nice advantages as far as video goes, slightly better low light performance, virtually no moire, better dynamic range, headphone jack to monitor audio, and ability to output uncompressed HDMI, and from videos I've seen the image quality does look slightly better especially when filming people the D5300 shows the subjects skin texture & pores a lot clearer compared to 70D where it's a bit blurred How in the world do I choose? I would love to eventually get a Blackmagic 4k camera down the road if I can get good enough to make some money with this, not sure if that would have a bearing on what camera and lenses to get now. Thanks for any input.
  6. Simple, all-in-one lens kit for S35 and M43 sensors, I've shot many fun projects with this sharp and agreeable little setup. It's for sale now for anyone interested. Moving to SLR Magic Anamorphot soon. Let me know if you have any questions, thanks for looking! Click here for eBay auction, demo video in description.
  7. Hi Guys I want to chime off and see if you have any suggestion. I am a professional wedding and commercial photographer looking to make big camera switch. I plan on doing some commercial video assignments for clients in the next few months. I currently own the Nikon D4 and the video as everyone knows is not very good. I see myself as aspiring filmmaker/cinematographer. I want to put together a camera package that would allow me to still do my still photographer client work, and have a video camera for client and film work. I'm think of sell the D4 and getting a used d3 and use the rest of the money on the video end. I figure I could get $4,500 - $5K for the D4. The only thing is I have invested a lot in nikon lenses. Open to the idea of sell them as well, but would need some glass with AF. Current Gear Package Nikon D4, D7000, D90 Nikon 24-70, 70-200 VR2, Tokina 11-16(F-mount), 50 1.8d, 85mm 1.4d, Vitiator series 1 70-200 (macro), Leica Summron 35mm (M-F mount). Nikon SB-900 and 910 flash Manfrotto 501HDV - Manfrotto video monopod, CFL 3 point lights, LPMicro LED video light, Zoom H4N, Filters; Variable ND (Lightcraft Mk2), Polarize, Vid atlantic cinemorph. Cameras I like BMCC 4K GH4 (I know not out yet)
  8. According to DxOMark the dynamic range of the Nikon D800 is a whopping 14.4 stops. I have no problem believing that it is not the same as the Alexa and that the Alexa's 14 stops are calculated differently. It is interesting though that the Canon 5D Mark III only scores a mere 11.7 in the same test, making it almost a half stop less than the 6D (currently the best performing Canon DSLR in the dynamic range category) and 0.2 stops lower than the Mark II Nikon D800: http://www.dxomark.com/Cameras/Nikon/D800 Canon 5D Mark III http://www.dxomark.com/Cameras/Canon/EOS-5D-Mark-III Does anybody else find this a bit peculiar? Especially since the 5D is the "go to" DSLR for filmmakers, heck I even own one my self.
  9. Hey! Does anyone have a suggestion for a good film-look lens with Nikon mount which doesn't cost a thousand dollars? I'm not quite happy with my lenses so far concerning the sharpness and look, as most of them are photographic lenses. Zoom wouldn't be bad, but doesn't have to be. Also of course it should be somewhat fast. Perhaps anyone has a advice or a secret tip? Shall be used on BMPCC with BMPCC-Nikon Speedbooster.
  10. I am hoping to use the GH3 for a run-and-gun doc camera. I would like to use a lens with a long zoom range that also has built in image stabilization. Does anyone have experience or concerns with DX lenses/Metabones Speed Booster for GH3? Can I expect stabilization (VR) to function correctly? Will I run into vignetting problems? I don't use AF for video, but will it function for stills? Will the camera control the aperture, or will the dial on the adapter do that? I'm looking at the Nikon AF-S DX NIKKOR 18-200mm f/3.5-5.6G ED VR II http://www.bhphotovideo.com/c/product/644744-USA/Nikon_2192_AF_S_DX_NIKKOR_18_200mm.html with Metabones Nikon G to Micro Four Thirds Speed Booster on the GH3. My calculations suggest that this should give a GH3 equivalent of 13-143mm with a 1-stop gain. Thanks! I have been reading EOSHD for a few months now and find it such a good resource. PS: Why not use a Panasonic lens? I have not been happy with panasonic lenses as they seem to have poor behavior when it comes to zooms, which I sometimes want to keep. The 14-140mm has a focus flutter on zooms, and the 12-35mm, which claims a constant aperture of 2.8, actually opens up and closes down in steps while zooming, basically creating an exposure flutter. I have samples on vimeo, but it's down right now. I can post them later if someone wants.
  11. wolf33d

    Along the way

    Hi ! I wanted to share with you my video done with a GH3, a D5200, a Dji Phantom 2 drone and a GoPro 3. I hope you dream and travel with me trough these images
  12. Hello everyone, this is my first post. My question is regarding the new BMCC specific speedbooster - will it work with my existing contax lenses if I use a contax to Nikon adaptor?
  13. skiphunt

    Nikon & LUTs

    Hi, Experimenting with the D5300 before I take it on a little trip to Mexico. Trying to get something close to a decent look before I leave, and with minimal gear. Have decided that the 18-200mm VR lens, while not perfect, is close enough to my manual glass to sacrifice some shallow DOF for the benefits of the VR stabilization. The trade-offs are worth having a wide range, macro, AF for stills, VR for handheld, etc. So, now I'm trying to get the in camera settings where I want them to be for grading in FCP X. I've been playing with the LUT Utility with test footage I shot using the Flaat 10 profile, and a modified Standard profile. I didn't think I really needed the LUT Utility or any LUTs to start with... however, I just graded the same footage the best I could by eye and several different shots. Then used the Fuji 3513 to Rec709 at about 50% and miner tweaks to the exposure, etc. Added a little bit of grain and sharpened. Consistently, despite my best efforts, the footage using the LUTs comes out better and closer to natural film stock. I can get close starting with the Teal + Orange Look built-in to FCP X, but it's always better using the LUT. I'm sure a good colorist wouldn't need the LUTs but it's just so much quicker to get it right if you're a relative noob like me. ;) Anyway, what I've figured out is that I get better results with a tweaked Standard file than I do the Flaat 10 one. I don't think the LUTS that come with LUT Utility are the best for the Nikon, but they're not bad. I've seen really nice stuff from Brandon Li using Osiris, but it's mostly been from cameras like the Sony RX10, 5D3 & BMPCC which I think that LUT is particularly tuned to. Can anyone using Nikon here, recommend some LUTs that you find most appealing? Not going for Film Convert at the moment. Sticking with LUTS and tweaking my own profile.
  14. Shot over the past few years when we go home to Salisbury NB. This is down by the river where the children play. WE have such a good time hanging out with friends and family here. Big thanks to everyone who comes out to see us while we are home. Shot on the Nikon D800 and D4 with the Dog Schidt Optiks FF58 Q1.5 Amber lens, Iscorama 1.5X anamorphic and other Nikkor lenses.
  15. This is shot using the D800, DSO Trump FF58 with Oval aperture, the new flare sex filter and towards the end the Iscorama 1.5X anamorphic lens mounted inside the Trump for a 2X oval bokeh.   https://vimeo.com/76912854   Some images of the trump I'll grab one with the iscorama in there too.        
  16. Hello Guys! Just a small example how good this combo is. Really happy with the results  ;)   D5200 used here because I'm waiting for my Nikon F to mft adapter. (Tilt and swivel lcd was very usefull in this situation to focus.)     This will be my setup with the pocket in a few days, I will use a 28mm, 35mm and this 50mm all from Nikkor.   https://vimeo.com/77586987     Best, JDS  
  17. Is there a full frame DSLR out there, that has no or at least a usable amount of moiré and aliasing in video mode. I can't decide in between a Nikon D7100 and a D600 which I am currently testing. Wait, that's not entirely true, I have, kind of, decided already because I love the picture that the D600 renders with my old 1980’s - 90’s AF (no D no nothing) Nikkors, I love the minimal DOF, I love the latitude, I love the vignette that some of my lenses make on the D600 (the D7100 does none of that with my lenses). But the moiré and aliasing on D600 is in my opinion simply atrocious compared to the D7100, which has some but it’s bearable for me. The shadow noise banding on the D7100 on the other hand, even on low ISO settings, kept me awake working for some nights to try to soften this flaw in post, (and it didn’t really worked out BTW).   So, my options I think are, if I want full frame (shallow DOF, lens compatibility etc.) and the least amount of moiré and aliasing: the D800 with the mosaic engineering thingy or a D5 Mark III with a lens adapter or what else? Suggestions? Anybody?
  18. Shoot with Nikon D5200 and in Flaat11 http://www.youtube.com/watch?v=J9IsZFtdQ-I  
  19. Hi guys! I just wanted to give the heads up in case there's anyone interested in this (and I believe there is, considering how big the GH2 user base is here at EOSHD, the site that got me started!)   Here's the link: vimeo.com/ondemand/3737   At $2.99 it's very affordable, I think you should all give it a chance. I've already bought it but haven't watched it yet. "Musgo", in case you happen to be one of those who don't know, is a Spanish feature film shot entirely on the Panasonic GH2 with an early 44Mbps hack and three lenses (Tokina 11-16mm, Nikkor 28mm f2.8 and Nikkor 50mm f1.4 if I remember correctly) over the course of one week. It has awesome cinematography.   Gami Orbegoso (director, cameraman, editor, color timer, etc.) is very kind in sharing all the gear he used and other info on the shoot. There are a couple of behind the scenes that can be seen here, with several answers to many possible questions you might have on the making of the movie: https://vimeo.com/33456753 https://vimeo.com/57277710
  20. Ultra rare Original ISCORAMA anamorphic lens with Nikon F-mount. Here it is mounted on my nikon d3000 for reference. Mint condition, full metal body,solid construction and heavy. Comes apart and there are two pieces. Rear elements are extremely clean. Comes with 72mm UV filter and hard leather case. For more information please contact me on here or at [email protected] http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=130962018872&ssPageName=ADME:L:LCA:US:1123   Pictures I've taken with the lens http://i752.photobucket.com/albums/xx164/tommyboy11/Example3.jpg http://i752.photobucket.com/albums/xx164/tommyboy11/Example4.jpg http://i752.photobucket.com/albums/xx164/tommyboy11/Example1.jpg http://i752.photobucket.com/albums/xx164/tommyboy11/Example2.jpg
  21.      Selling this ultra rare pre isco 36 iscorama lens F2.8 comes in 2 pieces in amazing condition here are the pictures of the lens itself. Included is the 72mm UV filter as well as hard carrying case. The only thing I know about this lens is that it is a nikon mount and that it was used in the 60's in cinema. Offers start at 4500 U.S.         For more information please contact me either on here or at [email protected] Sorry for the exseccive links but I was unable to post the pictures directly on here. Pictures of Lens http://www.flickr.com/photos/tommyminer_photography/9423899779/ http://www.flickr.com/photos/tommyminer_photography/9426669274/ http://www.flickr.com/photos/tommyminer_photography/9426669442/ http://www.flickr.com/photos/tommyminer_photography/9423900075/ http://www.flickr.com/photos/tommyminer_photography/9423900139/ http://www.flickr.com/photos/tommyminer_photography/9423900209/ http://www.flickr.com/photos/tommyminer_photography/9426669764/ http://www.flickr.com/photos/tommyminer_photography/9423900363/   Pictures I have taken with lens http://www.flickr.com/photos/tommyminer_photography/9426749750/ http://www.flickr.com/photos/tommyminer_photography/9423981339/ http://www.flickr.com/photos/tommyminer_photography/9426751724/ http://www.flickr.com/photos/tommyminer_photography/9426752652/
  22. Hey guys, To start things of im a real noob to DSLR filmaking and im filming longboarding. Longboarding consists of really fast movement and i cant find the right settings for capturing this action. The camera i have is a NIKON D5100. I have it set to manual and i just want to know: The perfect shutter speed if im filming a 1920x1080 24fps and when i put it to 1/50 it tends to blur the movement. The right aperture. the right iso and exposure. Im mainly filming through cloudy over cast scenes. And as well sunny.
  23. Just another short shoot with the iscorama and D800. I used the hyperdeck shuttle 2 recording to DnxHD out of the hdmi port.   http://vimeo.com/64695364  
  24. yuri

    Image Stabilisation

    Hi there,   I am a german-based cinematographer an I have observed dslr video only from a distance until recently. To many problems to really see the picture. The GH2 I once played with for a day or two, I actually liked he best - lots of detail in the pictures, and that little screen is useful - but than again the clipping of the highlights and the banding in the sky, and worst, those deep shadows - not really an option. Now I have a project I have to shoot with a small camera, it need to be almost invisible. I did some testing with the Mark III and the d5200. At first I was really impressed with the d5200 - I like the image, it has a lot of detail, the dynamic range is not bad, an it feel rather natural. But then there is the noise in low light ... and the handling is a mess. You need to go out of the live-view to change the aperture - not very usefull. Then I had a close look at the Mark III, which has a much better handling - except for the fixed screen. But comparing the images of both, in the Mark III I saw all the things I don't like about dslr video. So for me it is the d5200 - the pictures feel much more natural an organic. Anyway, here is my Topic: I am looking for a proper wide angle zoom with image stabilisation. I am shooting documentary style, and I cannot use a shoulder rig or anything like that. Has anyone got experience with this type of lenses? I am talking about the nikon 1:4 16-35mm VR or similar. I am right now testing a Sigma 2,8 17-55, and it is not convincing. To soft, to much distortion, all straight lines are bending, no matter whether it is at 17, 21, 24 or even 50 milimeters. So what is a proper lens with image stabilisation?  
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