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I finally did manage to convert that Minolta MD 58/1.4 to EF. It was a tricky process, mostly trial and error since you can't predict how much you need to file down some parts in order to reach infinity focus. I couldn't have done it without this guide: https://web.archive.org/web/20131026030722/http://www.cogitech.ca/Rokkor/index.html (thank God we can travel back in time, because the site doesn't exist anymore) But all in all, I think it was worth it. Wide open it's a bit glowy, but sharp and contrasty. Bokeh is quite bubbly. At f/2 the glowiness is gone and both sharpness and contrast improve, bokeh is more smooth. Helios 44-4 at f/2. And, finally - Minolta MD 58/1.4 on a Viltrox EF-M2 speedbooster meant for EF lenses. f/1.4: and f/2: More importantly: it works in an anamorphic setup, but vignettes slightly when combined with a speedbooster. f/1.4 f/2 Fun fact: at f/1.4 it's 150K colder and just a tiny bit more green (3 units) than at f/2 Mission accomplished, yay.

Cinemartin was something out of a joke. Was never a serious, anything. You have missed some chapters of theirs(his) existance. Check the 8K camera demo video, it is more like a 90s parody, than a 2018 promotional video of a groundbreaking cine professional camera!

Let me add to @mercer comments - cheap doesn't mean bad, but more likely with vintage lenses, just not wanted or not appreciated. Such a subjective & loaded question, especially here! I've owned such a lot & ended up with a full set of Russain [Zeiss copies] lenses - couldn't be happier. But ironically, I use my Tokina ATX-Pro 28-70mm zoom lens the most for pics & any filming I might do. But if I still filmed a lot, I think I would complete my Nikon Ai-S set, as when I look at things I've shot with the 24mm f2.8 or 50mm f1.8 I'm always satisfied - in fact, i'm glad I used them. Not the cheapest, not the most expensive - just good solid lenses that get the job done & more often than not they surprise people.

I'm not sure how much pie Cinemartin were consuming to be honest. Space cakes perhaps but not pie.

@kaylee, I turn 47 next month & am freaking out! All my friends are married, some have kids & all of them have sensible, stable jobs that earn them a good comfortable living - I don't! The last few years, the work slowly started to dry up & I had to get a sensible part-time job. The realisation that I should perhaps move away from what I liked doing, to actually something that would leave me in a more comfortable position has been beckoning me for some time - should this become a hobby has become the question for a while now? Last year, I agreed to help a friend of a friend out with the music he had begun to make - made a video & tweaked some of the music. He offered me to join & work with him, which I accepted as I had nothing better to do. Another friend joined us & we were 3 guys in our 40s just doing something in our spare time, all having fun, albeit living in different parts of the country. We don't meet up very often & there were never any intentions to play live - it's electronic music & I don't think we have the time or money to figure that part of it out just yet. A few months ago we were offered a Record Contract! This has come, pretty much, totally out of the blue & we were all - a Record Deal, Really?! Fuck!!! Shit happens & you never really know what's around the corner or how many corners you might have to turn - try everything, experiment, contact people on the off chance that they might have work or advice to give you! Everyone going down the art type route (not the desk job route) gets down from time to time - if you don't, then you're lucky! But to be honest, my desk job causes me more stress, anxiety etc. then I've ever felt in my life. And the funny thing is, I see my stable, well off friends & they are about 15/20yrs further down the crazy road than I am - you scrape way the top layer of their lives & its far worse than yours. One friend said he wished he never got married & had kids - he was having a really bad day/month/year.....

Man, life is a ride. I have no idea what I'm really doing either (in my 30s now)... I realised no one does and if they think they do they are probably lying or over complacent and something will happen to throw them off guard. Just live your life, be happy doing whatever it is you are doing. I'm not a millionaire (or even close to earning a good wage) but I'm happier than pretty much all my friends because I mostly just do the things I love. Just be you, let them be them.

Totally agree, and to take this one step further, I've discovered that in life people tend to project an image of who they want to be rather than who they are. People who project confidence are typically very insecure, people who project wealth tend to be spending all their money on showing off and are broke, those who are showing off how happy they are (eg, instagram) are typically miserable. I saw a documentary on what life is like for most billionaires and it's pretty awful actually - they can't trust anyone because people are after their money, they have these huge houses but are constantly renovating them to try and one-up their other billionaire friends, and spend most of their time driving fancy cars and drinking expensive champagne wishing they had some real friends. So @kaylee, when you're looking at friends who are married and having kids and feeling that you're missing something, your friends are being torn apart by trying to have careers as well as families, pay their mortgages, not strangle their kids after the 4th sleepless night with the baby crying and the toddler drawing all over the good couch with their favourite lipstick that isn't made anymore, and wishing they could just live in a small town with their dog and get to have a bit of glitz and glam of the film world. I'm out here in the suburbs surrounded by lots of broken people who are now single parents because their relationships failed and when their kids phone gets hacked and their nudes are posted to other kids and they're getting bullied and coming home in tears and don't know WTF to do. Never compare your insides with someone elses outsides.

Coolio!

The diminishing returns are certainly particularly diminished when it comes to the Samyangs versus lenses many times their price. I hadn't really considered the 135mm but I will certainly pick up a cheap used one when I next come across one. Just push sliders in random directions until you like the look of it ! Many, many moons ago when I was a young pup recording engineer there was a set of cards made by Brian Eno called 'Oblique Strategies". The idea was that if you reached a creative block in the studio you pulled out a card at random that had a phrase written on it that would stimulate you to take a different approach. So there were ones like "Don' be afraid of things because they're easy to do", "Cut a vital connection" or "Give way to your worst impulse". The one that always stuck out because it was generally the most effective though was "User fewer notes". If Eno did these cards for colour correction he'd definitely have one that said "Use fewer nodes"

I think I did a wonderful job!

Hope you're feeling better Kaylee!! 30's (if that's where you are now) are a real treat, much more productive than 20's.... it's where things finally start to come together. I am sure you will start to see that soon. I didn't even start EOSHD until I was 30!

I honestly thought this was a Blackmagic Pocket 4K waitlist support thread. Hope you feel better soon.

Hi Everyone I finally managed to get my first short underwater clips with the GH5 And I am using Cine Like D and the results are pretty good. However those videos are with rich ambient light in other situation I need to go in deeper water and there will be less light I am wondering if VLOG is a better option. Dynamic range is not the issue there isn't a lot at depth but low noise is. I will be shooting with predominant artificial LED light Would love some theoritical pro and cons of Vlog vs Cine like D in this circumstances (optimise noise not range( Thank you

Maybe I was a bit harsh on Yashica - they are good value lenses but nothing exceptional. Based on what the OP want's from a set of lenses that will work with future 6 and 8k capture needs then exceptional lenses are what are required.

You started it by showing off all of your superior images with inferior lenses. I know the feeling and I wish I could settle on one small set. Believe me, I have tried but there are just too many nice lenses out there. But yes, the smart option really are Nikkor lenses. I recently bought the 35mm 1.4 (one of my favorite lenses of all time) and the 85mm 1.4 for only a little more than @enny ‘s budget for one lens.

when i watch xt3 post i want to buy xt3, when i watch gh5 posts i want to buy gh5.. how to get out of this?

P4000 = GTX 1070 2x GTX 1070 = 1x Radeon VII It is cheaper to buy another nvidia card, the performance will be almost the same. But it's highly depends on card support, right now i dont think Radeon VII has full resolve support. Unfortunetaly neither of these options will give you 1080 24 fps rendering while using Temporal NR (Better) with 5 frames averaging. You will get around 20-22 fps

Don't drag me into it I'm reading @Shirozina's post "I do know about Yashica and it’s (inferior) relation Ziess" as saying Zeiss is the inferior relation to the Yashica by the way or have I misunderstood ?

FCPX for video. Aperture and Lightroom for stills. (The former for work when its all jpegs). I'm going to download the trial of the Chromatic plugin for FCPX this week. For my needs (which are pretty basic), I'd sooner use ProRes and stay inside FCPX than have that nth degree tweak ability of RAW and Chromatic seems to me to be a good bridging device to a more pseudo-Resolve depth for correction with tracking power windows etc.

Inferior is such a strong word. For instance the Yashica ML 50mm 1.7 is an almost identical design as the Zeiss Planar 50mm 1.7 but the Yashica is all metal where the Zeiss has plastic parts. The Yashica ML 50mm 1.4 has 8 aperture blades, the Zeiss only has 6 blades. My $20, brand new, Yashica ML 50mm f/2 is sharper than the 3 different Zeiss 50mm 1.7 lenses I’ve owned. Hell, the Yashica ML lenses even have a very similar body design. So, since they were built in the same plant, at the same time, with similar builds and similar designs, some even sharing the same Zeiss glass, it doesn’t take a rocket scientist to realize that Yashica ML lenses are more than “cheap ... inferior” lenses. I will concede that Zeiss lenses are better than the Yashica lenses. There is no disputing that. But as a budgetary option, they’re not bad and often underrated. With that being said, there are plenty of budget lens options available that hold their own against much more expensive lenses. Just look at @BTM_Pix ‘s latest test, in the lens section, between the Contax Zeiss 85mm 1.4 vs. a much cheaper Samyang 85mm 1.4.

@heart0less listen for it... SLOW CLAP.... great job. It looks nice. Amazing how much the Viltrox and Anamorphic cleans that puppy up. So cinematic and clean. It almost looks like a modern lens if not for the vignette. What camera do you use again?

We're about due for the GH6....

Nope, but seems like LED still has some catching up to do. Aputure 300D is not nearly bright enough for me during noon.

This is an interesting image showing many different frames:

yeah, it all is based on intent... it's no easy task I am also waiting for a couple of screens to arrive, that i want to use for scopes and false color. Btw, once you get to 50IRE, it becomes way punchier :

That camera has a 54x40mm sensor, the fuji is closer to Fullframe having a 44x33mm Sensor

30? Still a child! I have THE BIG 5 OH looming in less than 2 years... But then I am a child myself to my mother (born 1945) as she is to her father (still with us) born 1916! A lot of age (other than ultimate limitations due to age) is in the mind. One of my brothers, not even 40, thinks his life is over because he does not have a successful career. Only another 30 working years to sort that one out! I myself physically feel around 30, but then I do workout 6 days a week so a bit of a nutter in that department. A lady I was talking to recently did not believe I was older than 37. Yes dear, I actually am nearly 50. Mentally, I feel around 30 also? Act like I'm 6 sometimes though... Oh and dogs instinctively do want to chase cats, but they can be trained quite easily. We have 2 large rescue hunting dogs (terrible to train for most things other than sitting for food!) and one of them especially wanted to eat the already resident tiny cat, but now it's the 2kg kitty that rules the roost over the 30+kg dogs and they love her, even sleeping in the same bed sometimes.

I'm testing it on a XE3 this afternoon so I can report back tonight about the AF.

After shooting with an FS7 for years at my work, I just found Sony cameras to be a total PITA. The menu system alone. If you haven't tried a BM camera before you'll be in heaven just from a usability standpoint. They are simple and to the point. Beautifully so. I don't want to spend weeks getting used to a menu system. It keeps me from doing what I'm there to do. I know I'm both exaggerating and dramatic, but not really.

The approach of skipping FF and having APS-C and Medium Format is an interesting one. Just wait a decade when everyone wants Medium Format video and all the FF companies will be behind the 8-ball and Fuji will have been there with lenses for a decade! I have no idea how much of this video is due to it being a MF camera and how much is colour science, but it looks just great to my eyes:

I'll test that theory.. here are some old pics from a less than stellar technical setup (photos, not frame grabs). IIRC these are all Panasonic GF3 and the 14-42 3.5-5.6 kit lens, with the camera probably on full-auto. The first three were taken blind out the window of moving vehicles. Nice... Have you considered Film Convert? I've never used it but I suspect it might be a possibility to get the kind of look you want with the fewest controls to mess with.

My beat, battered and heavily scratched Helios 44-2 that I picked up for £4.99 produces an incredible image on the Pocket that made me sell my Sigma 50-100 @mercer the falloff on the 25mm looks fantastic

I used BRAW for a big project all last week and I agree with you. No reason for Prores for me moving forward.

Right. That's also where I believe cDNG coupled to slimraw will shine over braw at my first bet. Correct. Reason why we can have less where there's more, not vice versa. People always call for '1080p enough' mantra without clue what they're asking for ; ) That's the whole point : ) P4K doesn't shoot lossy cDNG (nor lossless) anymore in any way other than as going back to 6.1 firmware version. In such case, is slimraw able to match braw file sizes as well the same amount of minutes length as for instance for 4K DCI 24fps 5:1 compression around the 110-120 minutes range per 500GB? Quality-wise, enough for movie theater screening with intense color correction / grading work even though without VFX needs?

Its way beyond mine most of the time too

Its not just people on gear forums, we post them to FB and YT and get comments about the crappy IQ from viewers. The company I produce stuff for is hesitant to invest big $$$ in something that may just be a passing fancy from a social engagement standpoint. I shoot tourism content, and it is cool to take people to a beach 360 or to a unique place like a natural spring full of manatees. Seems like it'll be awhile before a decent 8k camera hits the sub-$1000 price point, which is probably the most they're willing to spend at the moment. Chris

Only if you will be doing more lossy compression on the same video down the line, and the methods used in the different compression passes differ in some significant way. If you are going to use the same method (only with different amounts of quantization), it doesn't matter much. So if you'd be doing compression after acquisition with, say, slimraw, there are enough differences between lossy slimraw and lossy in-camera to warrant doing lossless in-camera. Well, it is normal. Not only BRAW needs to happen in-camera which imposes some limits (power, memory, real-time, etc), but it is likely hindered by its attempt to avoid Bayer level compression (possibly due to the patent thing). On the other hand, denoising (which often goes together with debayering) does have advantages when done before very high compression. More precisely, lower resolution images can withstand less compression abuse. It should be fairly intuitive: if you have a fixed delivery resolution, let's say 2K, and you arrive at this delivery resolution from a 2K image, you can't afford messing with the original image much. But if you deliver to 2K from a 4K source, you can surely afford doing more compression to the 4K image. BM raw is already tonally remapped through a log curve. The 10-bit log mode in slimraw is only intended for linear raw. No. Size will always go up when transcoding from lossy back to the lossless scheme: this works by decompressing from lossy to uncompressed, then doing lossless compression on the decomrpessed image; you can't do the lossless pass straight on top of the original lossy raw, it doesn't work like this. So going this route only makes sense when people need to maximize recording times (and shoot lossy), but still want to use Premiere in post. If you insist on using DNG, you'll get best quality per size from shooting lossless in-camera, then going through any of the lossy modes in slimraw: which one depends entirely on what target data size you are after. I honestly wouldn't bother doing it for a camera that has in-camera lossy DNG, unless I really, really wanted to shrink down to 5:1 or more.

After testing for a couple of days, we're Q5 all the time. Shot a film with it last week and yes, in the new Resolve, it is as fast - even faster than ProRes w/ FCPX. I was in the field w/ a MP skimming through a twenty minute timeline, every clip w/ a LUT and a grade. It's amazingly fast. So much so that as a small shop w/ 3 FCPX stations I really never expected to integrate resolve. After 1 week shooting braw and working with it in Resolve, I'll never shot ProRes or edit in FCPX again. A couple of producers had mentioned to me that they didn't see the "magic" from the new cam until they shot in braw and processed it in Resolve and I have to agree. It isn't just the file size and the ease of editing and grading - it's where the full potential of Gen4 and the new cam IQ comes together.

I used BRAW exclusively on a shoot for the first time earlier this week. The footage is *very* easy to work with. I was shocked when I just opened Resolve, pulled the DCI 4K clips in, and started editing, without creating proxy files or doing anything special. It was as easy to use as pulling a Prores file into Final Cut. Given the advantages of RAW and the small file sizes of BRAW, I suspect that we will be shooting BRAW most of the time going forward.

Ha! This sock-puppet sketch reminds me of some of the skits my friends and I used to make...wow, started almost 30 years ago now. We actually had a weekly recurring sock-puppet character that was part of the "sitcom" segments of our sketch show. He was our apartment complex neighbor that kept complaining about the noise next door. We were doing stuff mostly for public access TV or local PBS on and off from 91-96. It was pretty fun because it allowed me to hone the craft. We started doing things on a Video Toaster w/low-end-sloppy-editing tape decks, and at the conclusion we were using Premiere 1.0, hand coding HTML for a website, and uploading RealMedia 320x240 videos to the "world-wide-super-information-highway." (and, honestly, that first versions of Premiere was a more stable version of the current one - plus we were in the 1st U.S. market with consumer high speed internet; faster than what I have now!) My brother uploaded all that video nonsense on Facebook a few years ago. It's all embarrassing as hell, but that's to be expected unless you're lucky enough to be a bit of an talented artistic savant. Which, I can assure you, we were not. I should share that so you can see that silliness. 30 years hasn't been kind to my young sense of humor, I'll tell you that much! Point is, even though I cringe when I watch the stupidity we thought was "so cool," I'm still proud that we actually went out and managed to somehow do that stuff DIY, especially back in the day when video gear and editing systems were incredibly expensive. Like, real gear was mid six-figure expensive. Somehow us broke-ass-blue-collar-kids cobbled things together with anything we could get our hands on. Anyway, keep making things. Ideas that are realized make a difference somehow and someway; even if it's just fond memories of youth from an old guy. Ideas that never get made don't.

Here's my effort, and to help anyone who might be thinking something fishy went on, the first clip I shot was at 10:02 - and I exported the edit at 11:10 ( screen shots attached ) - No animals were hurt in the making of this film, just one carrot.

Ok, here's my first effort. Filmed on a iPhone, audio recorded on iPhone headphones supplied with iPhone, editing, voice-over and grading done in Resolve. I've never done a voice-over before, so a big chunk of my time was spent figuring out how to do it, and then trying to work out how to make Resolve do it, including reading tutorials etc. I even came up with the idea for it in the three hour window, so that's cool too. ah crap. Just realised mine is way longer than 1 minute! oh well.

I'm planning on making a proper go at this today, but totally dependant on a nap - 3 hours might prove a stretch, but we'll see. Until I can post that though, here's something I made a few weeks ago to test a Resolve workflow. Similarly to @xzobinx, it's spoken word and people watching, although mine is a lot more pretentious.

heyyy guys.... thank u so much..... im ok ive got a birthday ending in 0 next week, feelin a lil sad and lonely. talked to some old friends from the ancient past... that was weird. not good but not all bad i guess. didnt get the closure i wanted but maybe it just came in a form i didnt expect just thinkin about my life. there are my "normal" friends who have kids, families, and so on, and being an adult now, on an emotional level, those are the things i want, stability, etc, not bein an art star like when i was 20 its whatever. ill be ok. im feelin a lil better today. thanks for the hugs, i needed that

Yes, 4K: DCI and UHD. OK, so let's set up 5:1 compression as big screen requirement for 4K then. I've also arrived to similar conclusion as reported. Which means better to avoid lossy compression in-camera? I meant quality-wise. .braw seems lower quality, I bet. Competition is part of the game. Impossible to not compete if you offer something better. Does this mean the lower resolution the lower compression needed? Why not with Blackmagic cameras too? How to not see it as serious contender to the .braw workflow?! : ) Won't this save disk space in the end? If so, how much will the ratio be? LOL I guess there's a quality freak inside each P4K owner... ; ) In conclusion, what's the best method to save bytes as highest quality as possible other than VFX? Lossless cDNG in-camera acquisition + Lossy 5:1 as for instance? Or some other compression ratio? -- What else then? 4:1 or 3:1 cDNG (any of both obviously lossy modes) in-camera recording + slimraw later on towards to archive / post? -- If so, what setting route? Lossless (slimraw)? What additional compression ratio? Let's put big screen and intense color correcting / grading without the need of VFX as only paradigm now.

This is most likely uncompressed source to losslessly compressed output. It also looks like a rather old version of slimraw. But if you want to know more about the various types of compression in the dng format, here is an overview: http://www.slimraw.com/article-cdngmodes.html (@Emanuel I am around, just not following the discussion closely )

Yes. No idea how it goes with 4:1, even though, the idea is to keep the original 4:1 quality. So, is there more space to save on disk? Maybe Mihail @cpc may drop a word here. I've called him on here but he seems to be offline so far though : -)

What about the 6.1 firmware version + saving 63.3%? source: http://www.cineticstudios.com/blog/2015/7/slimraw-an-easy-method-to-save-space-with-cinemadng-footage.html According to my math you get 134 minutes of 4:1 into a 500GB SSD which is more space in disk than .braw 5:1 offers... Not bad if you have a capable machine to handle post, I guess, even though, slimraw promises a way faster workflow.

Beware of the Sammy 24 mm - there is a big copy variation. Some of them are stellar, some - not so much. If you get a good copy, it's an exquisite lens.

very impressive RS numbers on the G2 thanks to about double readout speed : 4.6k - 7.59ms 4k crop - 6.32ms 2k crop - 3.16ms