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But his original T2i films felt like an extension of his arm. As you said, organic. And never once while watching his films, or ever since, have I ever felt or thought... that film would have been so good if only it was shot at a higher resolution.

But he was also very smart to use a notoriously sharp lens and a lot of medium to close up shots. 

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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

Correction... it seems he IS shooting 1080p on the a6300 and still with only one lens. He shot this with the Sony 20mm in 1080p sLog2... it’s pretty detailed, I thought the 1080p on the a6300/a6500 was supposed to suck?

This one I quite liked as well. I assume he used the same lens...

I still prefer his T2i work but I must say... the guy is talented. 

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It seems to me one of the revolving themes in all of this look, which I really like by the way, is they seem to use Film Convert a lot. So i am not too sure it is a camera, lens thing than more of a LuT thing going on. These people seem to be able to make pretty much any combo work because they have skill. I think the camera is the least of their worries.

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1 hour ago, mercer said:

@heart0less yeah you have to scroll down a ways to see the stuff he shot. Most of his work is done with crews that he directs but he has about a half dozen videos in there that are great.

And I could not agree more about Kendy Ty. At least once a year I watch his stuff and get inspired. I consider selling off almost every lens I own... I gotta keep a couple... and just shooting with a medium wide handheld and only worrying about the story and the composition.

And yes... his a6300 work looks great but it’s amazing how quickly it changed. If I was him, I’d buy a 5D4... or M50... or whatever and get back to his basics.

Don’t get me wrong, his newer stuff is better than anything I’ve ever done.

movies or videos are like photography, it is more about the idea, the ocncept than the technic itself. too many people only think technics and give birth to nice technical things that give you no emotions at all.

for example look at helmut newton's work, technicaly it is close to zero, hasselblad and sometimes one flash, but the concept and emotions he gives us threw his pics are still there.

but of course once you master the technics you don't really need to worry about it. and i must say video is far more technical than photography

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Crazy price I know, but that rig I would guess is around a $100,000.00. But that is about as good as it gets for sports, wildlife especially if it was the FS7 mk II. And a person ought to be able to re coop your money back with deprecation and cash inflow in a pretty short time. I think in a way it is a bargain. You could do what few can. You can't make money  doing what everyone else can do. And I think it would hold up and be a viable solution for quite a few years. I am sure it would be a good investment if you have talent, or learn to become talented LoL.

I have spent a lot more than that on one piece of heavy equipment used even. It takes money to make money. No free rides. That is a actual case of GAS for sure. That would draw a crowd no doubt. 😬

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1 hour ago, webrunner5 said:

Crazy price I know, but that rig I would guess is around a $100,000.00. But that is about as good as it gets for sports, wildlife especially if it was the FS7 mk II. And a person ought to be able to re coop your money back with deprecation and cash inflow in a pretty short time. I think in a way it is a bargain. You could do what few can. You can't make money  doing what everyone else can do. And I think it would hold up and be a viable solution for quite a few years. I am sure it would be a good investment if you have talent, or learn to become talented LoL.

I have spent a lot more than that on one piece of heavy equipment used even. It takes money to make money. No free rides. That is a actual case of GAS for sure. That would draw a crowd no doubt. 😬

Agree.

They said that it takes two people to set it up but then a single person can operate it, which seems ideal.  If you were any good as a wildlife photographer then I'm sure you could put that to good use.  Anyone who is travelling the world may very well be going with another person anyway, so that's not as big a deal as it sounds.  It's also not as much of an investment as it sounds considering that the image quality is very high and the costs of travelling to the exotic locations, getting guides, etc would be considerable, especially over a multiple year timeframe.

I've been contemplating a trip to Antarctica as part of my bucket list and considering the costs involved I'd definitely be taking some serious camera equipment, especially renting some serious glass.  Not suggesting that I'd rent that one (!) but those long lenses really are the tool for the job.  Personally though, I'd make sure I took multiple camera bodies as a backup, and having two bodies means that you can always have a short lens on one and a longer one on the other, like the pro event stills shooters do.  With my GH5 I can also take advantage of the crop factor to turn more reasonable lenses into hugely long telephoto lenses too, saving considerable weight as well!

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Yeah that whole rig is overkill for the average person. A C100 mk II and a Canon 100-400mm and a 1.4 extender would get the job done. I can't see a DSLR or a Mirrorless using gloves working as well as a Cine camera with all the buttons they have. But I guess a Smartphone could work LoL. Have to get a little closer to a Polar Bear than I would like but..

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well the el nikor 63 turned up in pretty good time from japan. have to say i like dealing with the japanese. not that i dont like you americans, but your postal service wants to violate me fiscally 😥

the lens looks immaculate, got a hand written note and a piece of origami no idea how it works or what it does but its the thought that counts 😀

have ordered a m39 to m42 step up ring and 40.5 to 55mm ring for the front as per tito's review. stay tuned 

IMG20190205150713.jpg

IMG20190205150757.jpg

On 2/1/2019 at 1:23 PM, webrunner5 said:

Crazy price I know, but that rig I would guess is around a $100,000.00. But that is about as good as it gets for sports, wildlife especially if it was the FS7 mk II. And a person ought to be able to re coop your money back with deprecation and cash inflow in a pretty short time. I think in a way it is a bargain. You could do what few can. You can't make money  doing what everyone else can do. And I think it would hold up and be a viable solution for quite a few years. I am sure it would be a good investment if you have talent, or learn to become talented LoL.

I have spent a lot more than that on one piece of heavy equipment used even. It takes money to make money. No free rides. That is a actual case of GAS for sure. That would draw a crowd no doubt. 😬

but would it attract a crowd of birds, or are they likely to mistake it for some type of punt gun ?

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New Lens Query Topic: EF Full Frame Lens on Canon Crop Sensor Bodies - Possible to Maintain full frame angle of view?

Hi

I'm thinking to use a full frame EF lens (Sigma possibly Canon) on a C200 (Super 35mm so not full frame Sensor). We know this will work well enough without any adapter but what is a wide-angle lens on full-frame now becomes 1.5x less wide (ish). Does anyone know is there is an adapter/spacer/speed-booster etc that allows a full frame EF lens to maintain (or close to) its full-frame field of view when used on super 35mm or ASP-C bodies etc. Could be wishful thinking!

Many thanks!

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4 hours ago, KitaCam said:

New Lens Query Topic: EF Full Frame Lens on Canon Crop Sensor Bodies - Possible to Maintain full frame angle of view?

Hi

I'm thinking to use a full frame EF lens (Sigma possibly Canon) on a C200 (Super 35mm so not full frame Sensor). We know this will work well enough without any adapter but what is a wide-angle lens on full-frame now becomes 1.5x less wide (ish). Does anyone know is there is an adapter/spacer/speed-booster etc that allows a full frame EF lens to maintain (or close to) its full-frame field of view when used on super 35mm or ASP-C bodies etc. Could be wishful thinking!

Many thanks!

Alas, no.

It is actually worse as Canon crop is 1.6x and not 1.5x as Pentax, Nikon, Fuji and Sony are.       A spacer would just take away infinity focus.      Best to use another mount camera that does have focal reducers available.

I am using a cheap old Canon crop camera while my A7s is dead and it is frustrating with lenses like my 17 TS-E.      I have found a very cheap A3500 that I might get just so I can get a focal reducer for my EF lenses.

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I thank you! Yep, that's certainly a shame...Hmm.

Can I ask, would I be making some fundamental ballsup by thinking that mounting a (full frame) Sigma 20mm F1.4 on the C200 would be a sane idea? Manual focus (most of the time though autofocus will probably work ok) and no stabilisation, but that F1.4 is enticing and there's plenty of excellent footage with the unstabilised Sigma F1.8 18-35 out there. Of course the C200 has internal ND's so that bypasses the bulbous front element filter issue. I really want wide, perhaps that is not wide enough...

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8 minutes ago, KitaCam said:

I thank you! Yep, that's certainly a shame...Hmm.

For a very long time S35 has been the goto for most Hollywood films, so instead of looking at it as a negative, accept that you're in good company. And in most cases, there is an EF option for a wide angle FF equivalent.

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Thanks. No issue at all with Super 35mm, just wanted as wide and as fast (F1.4 (real?) vs. F1.8 (real?)) as reasonably affordably possible with perhaps the ability (hence my thinking twice about the 18-35 which is for DX/Super 35mm) to mount on a stabilised full frame mirrorless (potentially canon, panasonic or otherwise) further down the line.

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There is nothing wrong really using FF lenses on crop cameras.       It is simply that you do not get the same angle of view.      It can be an advantage sometimes even (when you want more "reach").     I just find it frustrating with wide angles sometimes though there are other lenses you can use on crop cameras to get the same angle of view as you would get with a 20mm on FF.        Of course, DOF  depends on distance to subject as well as focal length and aperture.

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10 minutes ago, KitaCam said:

Thanks. No issue at all with Super 35mm, just wanted as wide and as fast (F1.4 (real?) vs. F1.8 (real?)) as reasonably affordably possible with perhaps the ability (hence my thinking twice about the 18-35 which is for DX/Super 35mm) to mount on a stabilised full frame mirrorless (potentially canon, panasonic or otherwise) further down the line.

The Sigma 18-35mm paired with the Sigma Art 30mm 1.4 could be a good combo? The 18-35mm for your bread and butter and the 30mm when you need that extra half stop of light. But if you are thinking ahead to a possible FF mirrorless camera, then maybe the Sigma 24-35mm f/2 could be an option although you'll lose the wide end on S35... then I guess the Sigma Art 20mm could come in handy.

Tough call... I used to only shoot cropped sensor and then when I switched to FF, I had to rethink all of my lenses. Now that I have that sorted out, it's hard to think about going back to a cropped sensor. 

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