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Andrew Reid

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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

It’s on eBay but I only sell in the US. For the amount that eBay and PayPal take from a sale, and for the price of the lens, it’s not worth the paperwork to sell it overseas.

If you’re looking for a great Minolta prime, look out for the MD 28mm f/2.

I shot this with it on the NX500.

I was going for a muted, vintage look, so it isn’t tradition Minolta colors and contrast but it will give you an idea of the lens’ characteristics.

There’s also a shot or two from the 24-35mm... the ones of the boardwalk binoculars.

 

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Here’s another video shot on the GX85 primarily with the MD 28mm f2... and a few shots with a Cosmicar 25mm f1.9 c-mount...

Looking back at it, it’s way too saturated in most of the shots, but again, it should give you an idea of that lens on the GX85.

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Since I twice unsuccessfully tried to sell this Schneider Optivaron 6-66mm 1.8 on ebay, I decided to try it on the bmpcc, for shits'n'gigs.  I punched in about 200% on the footage and it's not as bad as I thought it would be. I'm curious as to how this will perform with the right c-mount doubler. I saw one test using the Computar doubler with this lens/camera and it looked like hot garbage, but maybe that's the doubler's fault. @cantsin any insights/advice on this?

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56 minutes ago, Matt Kieley said:

I saw one test using the Computar doubler with this lens/camera and it looked like hot garbage, but maybe that's the doubler's fault.

I would like to find a nice doubler for cmount as well. Afai read, cmount doublers give bad results and might not even avoid vignetting.

Is it  true that the 1.4 and  2x extenders for mft or FT only work for one or two lenses? Would love a 1.4 extender for mft to mft and then put a cmount adapter on top of it.

So, Matt, did you find a way to mount your 12.5 Fuji properly?

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27 minutes ago, PannySVHS said:

So, Matt, did you find a way to mount your 12.5 Fuji properly?

It looks like the rear element is recessed a couple mm below the the bottom thread of the lens mount, so I'd probably have to either file down the rear barrel (it's big so it would be a lot of work) or get one of those lens spanner tools to pull it out to reset it. I also discovered the front of the barrel is every so slightly dented, rendering the filter thread unusable, so I would need another tool to fix that. At this point the tools to fix it would surpass the $20 I paid for the lens. My Schneider also has a dented thread, so if there's a good c-mount doubler out there that would make the lens more practical, maybe it'll be worth purchasing the tools if I have two good lenses worth repairing.

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This morning we filmed our friend Ariel Dyer's entry for the Tiny Desk Contest. We shot with the Canon 7D and BMPCC with My Canon TV-16 25mm and Cosmicar 12.5mm. Here are my BMPCC grabs with quick and dirty color correction.

Canon TV-16 25mm 1.4 (5.6/8 split, 200asa):

1_2018-03-09_0706_C0003.00_06_29_09.Still001.thumb.png.fe60b094784a521e7a773e5e3e33a633.png

1_2018-03-09_0706_C0003.00_08_14_01.Still002.thumb.png.a66310ca5e7289368014a38f15c4f78d.png

Cosmicar 12.5mm 1.9 (wide open with ND, 800asa):

1_2018-03-09_0706_C0003.00_18_57_19.Still004.thumb.png.932e61d5d483e592efcbbc8affada973.png

The last one was a bit underexposed, so there's noise, but I like the rest of the image.

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On 9.3.2018 at 1:00 PM, Matt Kieley said:

Since I twice unsuccessfully tried to sell this Schneider Optivaron 6-66mm 1.8 on ebay, I decided to try it on the bmpcc, for shits'n'gigs.  I punched in about 200% on the footage and it's not as bad as I thought it would be. I'm curious as to how this will perform with the right c-mount doubler. I saw one test using the Computar doubler with this lens/camera and it looked like hot garbage, but maybe that's the doubler's fault. @cantsin any insights/advice on this?

How did you manage this amount of grain with such speed? Colors would be nice too. Looks nice for doing zooms like in the graduate, haha

On 8.3.2018 at 11:55 PM, mercer said:

Here’s another video shot on the GX85 primarily with the MD 28mm f2... and a few shots with a Cosmicar 25mm f1.9 c-mount...

Looking back at it, it’s way too saturated in most of the shots, but again, it should give you an idea of that lens on the GX85.

Mhm... I actually like it and would go for the same amount. The scenery is kind of wes anderson style (moonrise kindom) so in that case there would be room for even more. :D Looks quite cinematic. Colors are very important for me (and filmmaking) and because of those colors I am happy to go for the same look (not for sony)! It's like: Why should I paint on a bigger picture, If my colors are not as nice? Also the highlights are at a very good spot, it seems like you caught a lot of dynamic range... Did you use/ can you recommend a filter?

The moonrise kingdom idea also just reminded me of something else, which is sharpness that is used very subtle in that movie. I feel like many lenses are judged by their sharpness, even in minoltas line-up, and therefore the 28mm's don't get far too good ratings. But if you remember that digital cameras tend to give us too much ratings, in your video you can see the sharpness is more than enough (and nobody is looking at the corners). For product videography and model shootings it could be different, but that's not where I am headed. 

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@canonlyme thanks I prefer a more muted look like 70s/80s films. But most people prefer the pop of a vibrant, saturated image. I believe the Minolta 28mm f/2... the MD version not the MC version has a CRC floating element for sharpness. The MC lenses have a more dreamy effect where I find the MD lenses have a more modern look to their rendering. But I am a lazy operator and usually shoot everything wide open with a variable ND and I usually use cheap ones because I haven’t noticed that much of a difference in sharpness between cheapies and expensive ones. I also only use variable NDs that have hard stops at either end. So I use the Bower brand for their price, hard stops and very neutral color cast.

Well, these cameras are known for their sharpness and I downscale 4K to 1080p for easier editing... so that will make it even more sharper. I actually like softer videos.

Quick question... with Canon in your name, why not shoot Canon?

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7 minutes ago, Dustin said:

@mercer Just watched that GX85/Minolta 28mm montage. I definitely think that’s a good look for that combo! Honestly I got some chills after a while with that music choice, kinda had a subtle haunting vibe that really fit the shots. 

Thanks Dustin... empty woods and a deserted campground definitely has a chilling feel to it when you’re by yourself shooting. 

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@mercer Thanks for your answer. I'm going to downsample too. 
Well I chose this name when I first learned english as for can only me, which doesn't translate to anything :D ... and I have shot canon.  This one I shot with the Sigma 17-35 that I still own.+ my 500D I gave to a friend. And sure, canon colors are really nice. But for video I would have just had to already pay too much for a heavy camera with bad codecs. But once I'd be able to afford one that shoots raw or a nice codec and gives me some versatility (maybe with the canons of the future), I'd think about it again. You shoot raw, right? Also if it turns out that my gx80 will not allow me too shoot events nicely with my minolta tele lenses I'll probably get a cheap canon-DSLR for 200 bucks with a nice sensor to use with my Sigma + I own a 50mm sigma macro.  

About sharpness and a suiting lens. I am be able to get hold of a 24-35 for 70 Euros until tomorrow.  Should I do it? I would than sell my 35mm for the same price, and while travelling be able to use the 24-35mm with zhongyi speedbooster for a 17-24mm panasonic-wise (does the zhongyi one work with it by your knowledge or might it hit the glass?), switch to a 35-70 3.5macro with a plain adapter (because it hits the glass) and also bring my 50mm 1.4 for bad lighting conditions. On the very end I would decide between the heavy 70-200 f4 and the lightweight 70-200 that wasn't that bad in comparison. 
Cheers 

Picture shot in norway

9.JPG

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@canonlyme yeah that seems like a good price. I just sold mine yesterday for about 100 US... so that’s about the same, right? And yeah I’d rather use that zoom instead of the 35mm f/2.8 for the same money... now if you could find a cheap 1.8, then I would recommend that over the zoom. Honestly I have no idea if this lens will hit the glass on the Turbo II... I’ve never used a Speedbooster.

And yeah, I shoot Canon 5D Mark III raw now. I’ve been with it for about a year now. I’ve had a couple second cameras since, but I’ve sold them because nothing I have used has matched it. And although they were meant as casual cameras... I never used them because I love the image I am getting with ML Raw to even be bothered with the other cameras.

Have you done the CineLikeD hack that BTM discovered?

Also, nice photo... what was that shot with?

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4 hours ago, canonlyme said:

How did you manage this amount of grain with such speed? Colors would be nice too. Looks nice for doing zooms like in the graduate, haha

I am punched in 200%, which probably makes the noise more pronounced. Here's a Super 8 emulation test where I just applied a mask over the vignetted area, to give you an idea of how cropped in it is:

Te Graduate is one of my favorite films and is one of the reasons I love a good zoom shot. That and Kubrick.

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On 2-3-2018 at 11:44 AM, Cinegain said:

Did you try to get a hold of Ryan Avery yet? Asked Matthew Duclos, Noam Kroll & Adam Wilt if they know anything about this disappearance act? They seemed pretty in the loop.

And I would start a procedure with your creditcard company to get your money back...

Ha, I knew there was a connection there. :P Glad things are sorted out now! Now for the tedious bit... mounting! But you've seen this right?

 

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