Oliver Daniel Posted November 24, 2014 Author Share Posted November 24, 2014 the easiest coating to remove it the front element - get some isopropal on a micro cleaning cloth and get busy I just think it will flare a bit more - as for the internal coatings you will have to take the lens apart - Rich is your guy to ask about this as he takes helios to bits and strips off the coatings - ask him. Haha, just curious.... I know Helios are the way to go for this as they are madman lenses. I know that Matt Duclos started "Rokinon Raws" to give them more "character" by removing coatings, as some DP's have disliked them due to their "ordinary still lens look." There are many times when I don't require character lenses at all, and super sharp contrasty lenses are the best choice. Most of my work does require this weirdness though, approaching 200 music videos shot/edited now -and upping the style each time! Quote Link to comment Share on other sites More sharing options...
nahua Posted November 24, 2014 Share Posted November 24, 2014 Based on Andy Lee's recommendation I went and bought a Tokina ATX 28-70mm zoom lens. I tried it with my GH4 + Metabones Speedbooster + Kowa 2x Anamorphic. The lens has some interesting character. I think it's more "soft focus" and not so contrasty as most modern lenses. The only thing is it doesn't flare enough. I wish it was just a simple single coated lens. I wonder if there's any zoom lens that isn't multi-coated but offers the same F2.8 or better range. I really debated between the Tokina and Sigma 18-35mm, but the Tokina does have the best zoom range that's most usable for anamorphic use. andy lee and maxotics 2 Quote Link to comment Share on other sites More sharing options...
andy lee Posted November 24, 2014 Share Posted November 24, 2014 the Tokina RMC 28-85 f4 , flares more than the AT-X Pro 28-70mm its alot less contrastly too Quote Link to comment Share on other sites More sharing options...
Inazuma Posted November 24, 2014 Share Posted November 24, 2014 Nice stuff nahua :) BTW for more natural colour in night shots I recommend using the inbuilt Incandescent whitebalance with the Hue/Tint adjusted to near the bottom right corner. Quote Link to comment Share on other sites More sharing options...
nahua Posted November 25, 2014 Share Posted November 25, 2014 @Andy Lee - Thanks I'll look into it. Just wondering about the F4 aperture, although the lens must be smaller? The Tokina is so large I need to use it on rails. @Inazuma - Thanks! I wanted a more reddish look so I used "cloudy" although I did try to edit the color in resolve. It just didn't have the pop and look of a night shoot when color corrected to incandescent. Quote Link to comment Share on other sites More sharing options...
Cinegain Posted November 25, 2014 Share Posted November 25, 2014 Thanks for the great suggestions, Andy. :lol: I'll be taking these puppies for a couple of spins next few weeks. nahua, andy lee and Oliver Daniel 3 Quote Link to comment Share on other sites More sharing options...
andy lee Posted November 25, 2014 Share Posted November 25, 2014 Cinegain - World class glass ! get shooting - you have no excuses - it does not get much better than the Nikon haha! I might have to ask you to film me something in Vienna ! ps: just been reading your blog - very nice Quote Link to comment Share on other sites More sharing options...
Cosimo murgolo Posted November 25, 2014 Share Posted November 25, 2014 @ Andy this goes to show that all your advices have been seriously taking :D olympus Zuiko 100mm f2.8 with proskar ishico Quote Link to comment Share on other sites More sharing options...
andy lee Posted November 25, 2014 Share Posted November 25, 2014 comurit its a very nice lens the Oly 100mm ! great for head shots - and background separation you should have a very narrow dof with the anamorphic on the front too - try some close up Sergio Leone style face shots with it Cosimo murgolo 1 Quote Link to comment Share on other sites More sharing options...
Cinegain Posted November 26, 2014 Share Posted November 26, 2014 Cinegain - World class glass ! get shooting - you have no excuses - it does not get much better than the Nikon haha! I might have to ask you to film me something in Vienna ! ps: just been reading your blog - very nice You're so right! And I will certainly do so. ;) The mailman also just brought me the earlier discussed Zhongyi 42.5mm f/1.2. Just keeps on getting better. :P Makes for a nice little character shootout I'm sure. From tomorrow on 19km of christmas lights will light up each evening. There's punschstandln everywhere. Should be inviting enough to get some decent Vienna atmosphere on tape SD whilst having fun trying out these lenses. Quote Link to comment Share on other sites More sharing options...
Lightlightlight Posted November 26, 2014 Share Posted November 26, 2014 Wait a second. Correct me if I'm wrong. Let's say you have a 24mm, with a speedbooster on a GH4 shooting 4k this equals 24 x .71 x 2.3=39.192 or 40mm. Aperture with a speed booster is 2.8 save a stop so 2.0x 2.3=4.6. No? Quote Link to comment Share on other sites More sharing options...
andy lee Posted November 26, 2014 Share Posted November 26, 2014 no - apperture goes from f2.8 without speedbooster to f2 with speedbooster 1 stop brighter Quote Link to comment Share on other sites More sharing options...
andy lee Posted November 26, 2014 Share Posted November 26, 2014 You're so right! And I will certainly do so. ;) The mailman also just brought me the earlier discussed Zhongyi 42.5mm f/1.2. Just keeps on getting better. :P Makes for a nice little character shootout I'm sure. From tomorrow on 19km of christmas lights will light up each evening. There's punschstandln everywhere. Should be inviting enough to get some decent Vienna atmosphere on tape SD whilst having fun trying out these lenses. Im glad you have this - Ive been looking at this and the 24mm they do - can you compare it to the Nikon 28-70mm at 42mm so I can see how good the Zhongyi glass is sharpness at f2.8 contrast bokeh etc thanks Andy Quote Link to comment Share on other sites More sharing options...
Christina Ava Posted November 26, 2014 Share Posted November 26, 2014 canon FD 85mm 1.2..... straight out of the camera footage.. love it also the new petzval with manual rack focus.. its hipster lens but its all good and it turns out unique footage a crazy sankor 28mm that i haven't found anyone knowing about it or owning it and everything from dso optics if you love the helios...then its for you! finally my lovely zeiss 50mm 1.4...the blues are magnificent. love c. JazzBox and andy lee 2 Quote Link to comment Share on other sites More sharing options...
Lightlightlight Posted November 26, 2014 Share Posted November 26, 2014 Andy Lee. I still don't grasp how a 2.8 lens becomes a 2.0 lens with a speedbooster attached to a M43 sensor. Especially 4k where the sensor is further cropped. IMO and I would love to be wrong, but 2.8 becomes 2.0 but you still have to multiply it by 2.3 or the crop. I would love to be wrong, I'm hoping someone can explain it to me. Quote Link to comment Share on other sites More sharing options...
andy lee Posted November 26, 2014 Share Posted November 26, 2014 Metabones , Zhongjy Lens Turbo and RJ speedboosters all make your lens 1 stop faster - thats the beauty of them plus they make your lens approx x0.72 wider the crop factor has nothing to do with the f stop being faster just think anything on a speedbooster is 1 stop faster and x0.72 wider approx thats the basic physics of it all Quote Link to comment Share on other sites More sharing options...
andy lee Posted November 26, 2014 Share Posted November 26, 2014 canon FD 85mm 1.2..... straight out of the camera footage.. love it also the new petzval with manual rack focus.. its hipster lens but its all good and it turns out unique footage a crazy sankor 28mm that i haven't found anyone knowing about it or owning it and everything from dso optics if you love the helios...then its for you! finally my lovely zeiss 50mm 1.4...the blues are magnificent. love c. Christina I do like your sankor 28mm, Ive not seen that before ! it has a nice look to it plus the Canon 85mm is great too Christina Ava 1 Quote Link to comment Share on other sites More sharing options...
SleepyWill Posted November 26, 2014 Share Posted November 26, 2014 Andy Lee. I still don't grasp how a 2.8 lens becomes a 2.0 lens with a speedbooster attached to a M43 sensor. Especially 4k where the sensor is further cropped. IMO and I would love to be wrong, but 2.8 becomes 2.0 but you still have to multiply it by 2.3 or the crop. I would love to be wrong, I'm hoping someone can explain it to me. Think of it this way: The speedbooster bends the image projected by the attached lens into a smaller circle. So there is a trade-off going on, the image the lens projects can only cover a smaller sensor. On the positive side, however, the photons that form the projection are being bent closer together, causing the same amount of light transmitted to concentrate onto a smaller area, thus brightening the projected image. This causes the lens to act as if it had a wider aperture than in reality it has. Likewise with the field of view, that wasted bit of the projected image that falls bejond the edge of your sensor, now is projected onto it, having the effect of reducing that crop factor. If you have larger lenses than your sensor, there is no trade-off as you are just utilising wasted light and image, but you wouldn't want to put a lens that only just covers your sensor through one, it would give you a circle of an image projected onto a black background. In this diagram, a subject being projected into the top left hand corner of your FX sensor without the speedbooster is now being projected into the top left hand corner of your DX sensor with the speedbooster, thus negating the "crop factor" Hope this helps!! FYI, lens extenders do the exact same but in reverse - they take that image circle and make it larger, thus giving your sensor a greater "crop factor" but the trade-off, as I'm sure you are familiar with, is that the light gathered by the original lens is dispersed over a wider area, so less light hits each photosite on the sensor, so the image is dimmer, and the lens acts like it is "slower" while gaining a longer FOV reach. Quote Link to comment Share on other sites More sharing options...
Christina Ava Posted November 26, 2014 Share Posted November 26, 2014 @andylee about the sankor its not attached on the body in this footage i have been trying for some time now to get information about it it has three rings 1 is the focusing fluid distance and fstops 2 is the manual/auto ring (yes its a ring which i find peculiar)... i suspect because of this ring that its a 70s lens? 3 is the Fstops ring 2.8 to 16 "lens made in japan" Auto-sankor 2.8 28mm and i believe its multicoated it has a green MC on it. found it on an old camera shop paid 40 euros, very clean glass both caps on, the guy who sold it to me knew nothing about it. :) .... Quote Link to comment Share on other sites More sharing options...
Cinegain Posted November 26, 2014 Share Posted November 26, 2014 Im glad you have this - Ive been looking at this and the 24mm they do - can you compare it to the Nikon 28-70mm at 42mm so I can see how good the Zhongyi glass is sharpness at f2.8 contrast bokeh etc thanks Andy Sure thing. Not really sure what's up with the 24mm. I was given the same tracking code for both, but only the 42.5mm was to be found. From the video impression on 'em earlier this topic the 24mm did have a nice look too, but sounded a bit quirky handling wise. Of course this range is already covered by the great companies, but the pre-order price was reason enough to get it over the others (Panaleica/Olympus, although I do have the SLR Magic HyperPrime CINE 25mm T0.95 which I adore). andy lee 1 Quote Link to comment Share on other sites More sharing options...
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