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Andrew Reid


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23 minutes ago, kidzrevil said:

Dope ! Looks pretty balanced on the small a7s body. The styling fits it too 

Ya that was my goal. I feel like most lenses swallow the a7 bodies. These lenses are the perfect size. Especially with the MK2 body style. Highly recommended. 

28 minutes ago, Cinegain said:

I figured the cat would've been the princess. :grin: They're usually such divas. They're equally cute though.

And... true! I was thinking about these or Leica R. But it seemed although the Leicas are gorgeous, sure, they perhaps just have a bit more of a baked-in look, whereas it appeared the Contax Zeiss ones would have a bit lower contrast and more neutral look to it. And you're right on! They're reasonably affordable and yet so up there in quality. It's like they are on that line of realism and really have that 3D pop <insert laugh-tape - reference joke>. But seriously though, they do have something special about 'em. There are some good reads and recommendations out there regarding these. Even in comparison with the big boy Zeiss optics. Of course it too helps that andy lee stands behind them! I guess the 21mm would be the one to get on the wide end, but I think it roughly sells for more than the ones in the other ranges combined. Ouch. Nah, in that case I'm good with 25mm being the widest I guess (wishlist). And focal reducing is still a thing if you're commited to small sensor cameras. ;)

I was thinking of Leica R as well, but the Leica name just adds such an extra expense and these really have some character. I noticed my 85 has some pretty noticeable flare. May want to buy a lens hood or use a matte box with it. There is an 18mm F4 Contax Zeiss that I will probably go with. 

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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
7 hours ago, mercer said:

Did you do b&w in camera or in post? If in post, can you explain the workflow, because it really looks great. Also, what kinda lighting did you use?

I did it in camera with the nx1's classic picture style. I like it, seems to have a heavy yellow filter in it and looks awesome on skin. In post I used noise reduction, added a curve & slightly warmed the color temperature. As for lighting it was regular fluorescent lighting but the tiffen black satin really evened things out in terms of contrast. LOVE THIS LOOK (I also didn't use grain on this one just for better compression)

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The ASC Mag piece on The Bourne Ultimatum can be found here: https://www.theasc.com/ac_magazine/September2007/TheBourneUltimatum/page1.php .


The production carried Cooke S4 primes lenses and an Arri LWZ 15.5-45mm zoom, but the crew “mostly used lightweight zooms that I had specially made from two Nikon digital still-photography lenses, a 28-70mm and an 80-200mm,” says Wood. “Arri in Munich converted them to lightweight cinema-style zooms, and they work quite well. The Nikon glass is brilliant.” Dierken notes, “We called them the Oliver Lenses, and they helped the operators shoot everything handheld with the documentary approach Oliver and Paul wanted. Unlike other zooms, which are either too heavy or too slow, these zooms opened up to T2.8 and were quite light. Arri made the housings in six weeks, and the lenses turned out to be very sharp and the contrast was quite good. [Still-photography] lenses turn the opposite of the way cine-style lenses do, which could have been unpleasant if we’d used a normal follow focus, but with the LCS-3 we were able to just reverse the gears. The lenses worked so well that we ended up shooting 70 percent of the movie with them, and now Arri is making more!”

Not only ARRI cinemods these, there's Duclos, G.L. Optics/Cinema Glass and Cinematics/PCHood that will mod these kind of lenses as well for example.

The official name is 'AF Zoom-NIKKOR 80-200mm f/2.8D ED'. Tagged AF-D by uncle Ken.

Just beware that:


AF lenses

These lenses use a mechanical coupling between the lens and camera to focus. The focus motor is in the camera, and through a series of gears that drive the lens' focusing mechanism allow the lens to locate the optimal focus. These lenses can be used on any D-SLR which has a focus motor. The only cameras lacking the focus motor at this time are the D5300, D5200, D5100, D5000, D3300, D3200, D3100, D3000, D60, D40X and D40 cameras.

The other Bourne lens is officially named 'AF-S Zoom-NIKKOR 28-70mm f/2.8D IF-ED', in which case the following goes:


AF-S and AF-I lenses

Unlike "regular" AF lenses these lenses have a built-in focus motor and can be used on any camera body whether the body has a focus motor or not. Required for Autofocus operation with the D5300, D5200, D5100, D5000, D3300, D3200, D3100, D3000, D60, D40X, and D40.

~ https://support.nikonusa.com/app/answers/detail/a_id/14439

These Nikon lenses are known to match very well amongst one another, though I couldn't give you any guarantees as I haven't used the 17-35mm f/2.8D myself or delved into its capabilities, but I think the fact these get customized says enough.

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Had to test the used Canon 35mm f2.0 I bought before the return period was over. 
So I just brought it for some boring random shots when I went in to town for some shopping.

The IS works nice. In many of he shots Im not even trying, just holding it out onehanded, works fine imo.
I don mind shakes. I want my handheld to look handheld, shoulder rig to look shoulder rigged, or I use a tripod. 
Steady cams and gimbals is not my thing unless it serves a purpose.


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