andy lee

thats a massive price drop on what I saw as a premium camera , they must be having stiff competion to have to drop that much 315

another look that is used alot in movies is green/blue highlights and shadows , I see this all the time in Hollywood movies now and its easy to replicate in Premiere Alot of people on this forum are trying to get the prefect look 'in camera' - I see alot of posts about skin colours etc , I dont ever bother with the look in camera , I shoot it all as flat as possible ..my files have hardly any contrast in them and not much color saturation at all , then the whole look gets created in Premiere , by layering up preocesses to get the modern contemporoary looks we all see in big films . The camera and lenses are just caputure devices , the look is done all in post . 283

there is broadcast colours in Premiere

on your gh4 dial put all the contrast and all the saturation on a custom color profile and shoot with that then add the look in Magic Bullet .

its low contrasty and a bit desat and nice skin blooms- there are alot of cuts in this from multiple locations and light sources !! - I know you can get this look very easliy with Magic Bullet - there are some presets very similar I would use as a starting point to the tweek to your taste ..its all achievable !

Speedboosters are the secret weapon for Micro 4/3 uses as they IMPROVE your image so much ! sharper wider and faster and give you an APSC / SUPER 35MM equivilent crop instead of the 2x crop of micro 4/3 So I use them all the time on all 3 micro 4/3 camera I use . Ive used this set up for over a year commercially on loads of jobs and I will not work with out them now . If you stop right down and shoot at a very bright light source you can under certain circumstances induce a blue/purple flare spot , but just be aware of that and alter your position or stop so it goes I shoot all my narative stuff at around f2 or f2.8 and you dont get any spots when fully wide open . this was all shot with Mitakon Zhyongji Lens Turbo speedbooster with Nikon Bourne 28-70mm f2.8 IF ED fully wide open

various Panasonics depending on the job ....so all micro 4/3 with speedboosters

Super 35/APS-C will be here for along time - Panavision has a warehouse full of Super 35/APS-C lenses as it supplies Hollywood with cinema glass. I dont think they will be changing soon at all! Super 35/APS-C is the look we all know as 'cinema' ---full frame is not! I really dont like the look of full frame I stopped using my Canon 5 years ago

​step rings work just fine and they are cheap on ebay - it works

New Lens recomended to try out as you all know I do like the Tokina/Angenieux 28-70mm and the Nikon 28-70mm 'Bourne Lens' and I'm pleased alot of you have bought them and found them to be superb lenses. I was shooting a pop video for Rozalla last month using the Nikons and as I was shoooting with 3 cameras I wanted total glass parity so it all matched up look wise in the edit. So 2 cameras had the Nikon 28-70mm F2.8 IF EDs on them and I bought a Nikon 35-70mm F3.5 AI for the 3rd camera..... WHAT A LENS ! it matches the bigger Nikons exactly , colours blacks etc and it is very very good and cheap on ebay. I used it on a speedbooster so its f2.8 and looks great It has clicks on the apperture at f3.5 and f4 f3.5 is a midges softer fully wide open but a f4 it tightens up alot , so I used it at f4 on the speedbooster = f2.8 This is a late 1970s early 1980s lens and is built like a tank all metal , fully internal zoom and the focus only moves the end of the lens about 1cm forward 72mm front end for filters But the glass is stunning ! the full Nikon 'Bourne ' look we all love and it edits in exactly with your bigger Nikon Bourne lenses the 28-70mm and the 80-200mm Its smaller and lighter than its big brothers but packs the same punch .......I highly recomend this great lens Andy

​glad you like it , with the speedbooster it is a f2 monster! the look full wide open is superb - thats how I use mine , stack your NDs to keep fully wide open outside

just get one off ebay and save your money - we all use them

there is the Sigma 10-20mm in EF mount - its a nice lens sharp and good contrast I use it quite abit .....and its cheap on ebay

love the Simmons drums on that ..... come back the 80s all is forgiven...........

I would like to see a David Fincher grade on it - yellow and black tones............like Dragon Tattoo

I really would not worry about this at all its right at the edge of the lens and not used in forming an image Its a manufacturing mark where the lens glass in bonded to the metal rim it does not look like fungus as that looks like thin spider like veins your lens is fine and will take great images

I noticed that too its EOSHD wierd odd forum coding that puts numbers at the end of all my posts ......cool eh!! haha 407

​one of my Bourne lenses I got cheap as it had dust and the zoom was stuck ...so I sent it off to Bob Rigby Cameras in the UK - it came back like new ! clean glass and zoom works fine now .....so DONT TRY do it yourself - I one took apart a Stuck Nikon 18- 105 zoom ....took me all day to get it working again and at one point I thought I had lost all hope of ever putting it back together again......they luckily I remembered how one stage went back together ...phew !! ....it now works fine but not worth the stress!! get your lens professionally looked at - it will last a life time then ........ 250

make sure you turn off i-dynamic in the menu as that will auto brighten the screen - its very annoying

its an f2.8 lens so just like any f2.8 lens in low light .....or stick it on a speedbooster and gain 1 stop making it f2....that how I use this lens.... fully wide open ...where the mojo is in it.

very interesting !! they have a great history making anamorphics - nice to see a new modern version

​ yes I have been championing both these lenses on this forum for many years now They are both full frame lenses - so no issues at all when projecting onto big screens . I have seen my work with both lenses in cinemas and it looks great The Bourne lenses are optically identical to the lens you can buy from Nikon they just rehoused them for PL mount. so no different The Nikon is very similar in looks to Zeiss Master Primes - modern sharp great blacks and colours and it pops off the screen at f2.8 (or f2 on a speedbooster how I use it) I shot this on 3 Bourne lenses last week all at f2. 3 cameras two with Nikon 28-70mms and one with a 80-200mm the Tokina is really an Angenieux type cinema lens - just as good but alot cheaper It has the classic Angenieux look - low contrast - and a bit softer at f2.6 than the Nikon - this lens is very very cinematic - it has a cool mojo to it both lenses are very very good

P+S Thechnik 35-70mm Anamorphic Zoomlooks like the guts of this are a Leica 35-70mm zoom... very nice glass - and 35-70mm is a great range to play with .....a serious piece of kit! http://www.pstechnik.de/tpl/download/Brochure_PS-Zoom35-70cs_1504_web.pdf?utm_source=CleverReach&utm_medium=email&utm_campaign=10-04-2015+NAB+2015+teaser+-+en&utm_content=Mailing_6180595 We are proud to present the first P+S Technik zoom lens at this year’s NAB Show in Las Vegas: the front anamorphic PS-Zoom 35-70 CS. Anamorphic Zoom for CinemaScope on 16:9 or VistaVision The PS-Zoom 35-70 CS is a front anamorphic zoom lens ideal for CinemaScope productions using a 16:9 and Vista Vision sensor format. It’s a powerful tool for creative people. HighlightsCinemaScope for 16:9Front anamorphic lensNo breathingVistaVision format covered

we are entering the new camera 'silly season ' as NAB dawns upon us ....Im looking forward to seeing whats new this year this new BM looks interesting...wonder on the price? $$$£££

its time to tone it down guys !! you will never all agree on this topic , as we dont know the facts ....lets move on ....