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Andrew Reid

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I watched your video comparing the BMPC vs NX1 vs the LX100. At first glance I agreed with some of the comments regarding the LX100 being the best. It has a cinematic yet organic feel to the iq. But the BMPC just has a pure cinematic feel overall. As it should. 

But I must admit that part of me is interested in the fixed lens convenience of the LX100, or even better yet... The FZ1000. Sometimes I feel that people make filmmaking, on a microbudget level, way too complicated and "Hollywood" than it needs to be. To have the run and gun capabilities a camera like FZ1000 affords can be very freeing. But I am in love with lenses... So it's a dilemma.

For the BMPCC, I always liked the idea of c mounts. Small in size, a lot of options for shorter focal lengths, so you don't have to worry about a speedboosters. How is the audio quality on the BMPCC since the firmware update? Btw, sorry for all the questions. I really appreciate your help!

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

The audio is decent. Usable with the right mic. But dual recording is my preferred MO. 

I've messed around with double system a little. It's a pain in the ass. I much prefer external mic with manual audio control. But you do get a better quality with the double system. 

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I have been interested in 2k or 4k video lately and I have been researching some of my options.

Right now, it seems like the gh4 gives the most bang for the buck, when you consider interchangeable lenses. There are some other options if you don't mind a fixed lens... Which I am also contemplating.

Being a lover of old, manual, vintage glass, I have read over the years that older glass barely has the resolving power for some of these newer sensors, and that's for 1080p. But I always took that with a grain of salt because I have also read that most 1080p cameras only use 5mp in their video functions, unless I misunderstood what I read, which is possible as I am not a tech head. Either way, 70's glass can resolve 1080p if it resolves well on 35mm film.

But, if any of this is true, regarding older lenses, is there a point with 4k, or higher, that these vintage lenses will actually hurt the iq capabilities of modern sensors?

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I have been interested in 2k or 4k video lately and I have been researching some of my options.

Right now, it seems like the gh4 gives the most bang for the buck, when you consider interchangeable lenses. There are some other options if you don't mind a fixed lens... Which I am also contemplating.

Being a lover of old, manual, vintage glass, I have read over the years that older glass barely has the resolving power for some of these newer sensors, and that's for 1080p. But I always took that with a grain of salt because I have also read that most 1080p cameras only use 5mp in their video functions, unless I misunderstood what I read, which is possible as I am not a tech head. Either way, 70's glass can resolve 1080p if it resolves well on 35mm film.

But, if any of this is true, regarding older lenses, is there a point with 4k, or higher, that these vintage lenses will actually hurt the iq capabilities of modern sensors?

​NX1 shooter here. Almost every vintage prime lens can resolve a 4K image. I'm shooting vintage glass (Mr 24n 35mm, Nikon 105mm f2.5, old Tokina 28-70 2.6) on my D800 (over 8K) and stopped down they are razor sharp. You don't really want razor sharp images most of the time, so a little softness is a good thing. Will they be razor sharp on a test sharp with no coma, no they won't. But they will always create a nice pleasing images. Bottom image here has tons of chromatic aberration and is soft, but I still like the look :)

 

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​NX1 shooter here. Almost every vintage prime lens can resolve a 4K image. I'm shooting vintage glass (Mr 24n 35mm, Nikon 105mm f2.5, old Tokina 28-70 2.6) on my D800 (over 8K) and stopped down they are razor sharp. You don't really want razor sharp images most of the time, so a little softness is a good thing. Will they be razor sharp on a test sharp with no coma, no they won't. But they will always create a nice pleasing images. Bottom image here has tons of chromatic aberration and is soft, but I still like the look :)

 

ceciliamwwdasdas.thumb.jpg.93c0f808d5204andrew2.thumb.jpg.2aca3883885e6a5d2b246a

Geoff, thanks for the input. The reason I love vintage glass is because of their flaws. They feel more organic and cinematic.

I didn't realize the D800 shoots 8k, I assume that's in photo mode only. I was also looking at the NX1, have seen some nice footage with that camera. The imagery has some weight to it, even when downsized to 1080p, which will probably be my workflow.

I also liked the look of the NX500 preproduction model at 2.5k but at 4k with no mic input, it just isn't the right camera for me.

To be honest I don't really need a new camera, I have an EOS-M that shoots nice 1080p footage at a respectable bitrate and a few nice sets of lenses that go beautifully with it and a NEX that just records with a vintage look, no matter what lens is on it.

But the current movie script I am working on may be better suited at 4k.

I have been asking a few people what their favorite lens on the NX1 is, what say you?

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Those images are from the NX1, Tokina 28-70 with and SLR Magic Anamophot, first image is wide open, second is f4. My personal favorite setup on the camera, really great skin tones with it.

What I meant by the D800 comment is that if I can still use old glass on a sensor that detailed, 4K video should never be an issue for you with your favorite glass :)

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good to see you using the Tokina 28-70mm its one of my favourite lenses it does have a certain look to it when shot fully wide open

and on a speed booster it is insane !! f2 and sharper

645

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Hello. I've made a few special effect lenses lately for myself and friends, and recently decided to try and sell a few. What I have now is 35mm 2.8 with interesting blur and boke effect, and 58mm 2.0 enhanced flares with anamorphic flare imitation. They are M42 mount, so can be put on Canon or any mirrorless camera. If anyone's interesting please send me a message or reply here. I can sell through Etsy, eBay or directly, ships anywhere.Thank you. 

 

 

 

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Just picked up a Tokina AT-X 24-40mm in FD mount. I was looking for a Konica AR version, because the adapter is much smaller, but I couldn't pass this lens up in the condition it was in and the price they wanted. 

Anybody have any experience with this lens? I saw a few videos online and I was really impressed. On my aps-c sensor it will be a nice 36mm to 60mm... Nothing too extravagant but I could probably shoot, nearly, an entire film on this bad boy.

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Does anyone know how the Tokina 28-70 holds up when blown up on the big screen? I'm currently choosing between this, the Nikon 28-70 (Bourne len), or just going primes. 

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Does anyone know how the Tokina 28-70 holds up when blown up on the big screen? I'm currently choosing between this, the Nikon 28-70 (Bourne len), or just going primes. 

Andy Lee is the person to ask, but I assume he will say the Bourne lens. I just got a good copy of the Tokina 28-70 in MD mount. The day it arrived, my dream zoom, the Tokina AT-X 24-40mm 2.8 constant became available, so I bought that one too. I did test the 28-70mm and it is a nice lens. Part of me wants to keep it, but I have too many lenses already. To ebay it will go. 

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I get it, the lens looks awesome. I could always get both and just return which one I don't like but I don't have a theater to run for tests. If it was a nikon mount I might have picked up the Tokina off of you.

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Does anyone know how the Tokina 28-70 holds up when blown up on the big screen? I'm currently choosing between this, the Nikon 28-70 (Bourne len), or just going primes. 

yes I have been championing both these lenses on this forum for many years now

They are both full frame lenses - so no issues at all when projecting onto big screens .

I have seen my work with both lenses in cinemas and it looks great

The Bourne lenses are optically identical to the lens you can buy from Nikon

they just rehoused them for PL mount. so no different

The Nikon is very similar in looks to Zeiss Master Primes - modern sharp great blacks and colours and it pops off the screen at f2.8 (or f2 on a speedbooster how I use it)

I shot this on 3 Bourne lenses last week all at f2.

 

3 cameras two with Nikon 28-70mms and one with a 80-200mm

 

the Tokina is really an Angenieux type cinema lens - just as good but alot cheaper

It has the classic Angenieux look - low contrast - and a bit softer at f2.6 than the Nikon - this lens is very very cinematic - it has a cool mojo to it

 

both lenses are very very good

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its an f2.8 lens so just like any f2.8 lens in low light .....or stick it on a speedbooster and gain 1 stop making it f2....that how I use this lens.... fully wide open ...where the mojo is in it.

 

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can anyone help..

Camera - GH3
Lens - Panasonic lumix 12-35mm

Problem - I film alot of night scenes with a led attached to my camera. If I'm filming people wearing colorful clothing my lens/camera works fine, everything is nice and bright on my screen but if I move to people wearing white clothing the people and screen tends to get darker. I'm filming in manual mode so I don't know why this is happening...

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