andy lee

get a carl zeiss 80mm f2.8 biometar in pentacon 6 mount to go with your Yashicas or get the Volna 80mm f2.8 Russian KMZ lens its cheaper and just as good( its a biometar copy ) keiv 60 /pentacon 6 mount The Yashica 42-75 is good just a but slower - worth having if you get a cheap one 24mm - well get a Miranda 24mm f2.8 , it goes well with the Yashicas (its made by Cosina) and its just as good but soooooo much cheaper than the Yasshica 24mm -(which is an Ok lens but not worth £240 they go for on ebay for that money you can get a Zeiss Distagon C/Y 24mm !!

I would recomend g6 and nikon primes and the amazing nikon 28-70mm f2.8 IF ED

yes vlc is always more saturated and punchy - I referance it all off premiere

then try watching it on VLC Media player and the colours are different again!! .....vlc is very vibrant

yep 50mm 1.7 Carl Zeiss in C/Y is a killer lens - may fave 50mm

warm saturated colours and high contrast ----- get the best get Carl Zeiss Distagons in C/Y Mount - exacty what you are looking for ... or if they are a bit pricey get the Yashica ML range - practically identical optically (made in the same factory) Ive posted alot about the Yashica ML prines so do a seach for the thread on them

thanks for that info , very useful , as Im trying to find a set of lenses that replicate that look - economically !! as they are now very expensive sets of glass !!

Ive just spent 2 months filming web videos for Zoom Corp , H5 , H6 and the new IQ6 for iphone which is superb. I do like the H5 , Ive been using it alot recently , the audio is superb and the IQ6 is very useful just clip it on your iphone and it turns it into ahard disc recorder! - amazing and small to keep in your pocket with your phone.

40mm lens s35mm apsc 2.40 aspect ratio spherical lenses (non anamorphic)

Exactly ! most of the people are on this forum to learn how to extract evey last drop of value out of their dslr or mirrorless camera. You are an exception to that as you are shooting on hi end cameras and lenses 95% of people on here are not . Alot of people on here dont own lights either...... Its not the Reduser forum this , its more about how to get your DSLR ticked out and working to the max with some nice lenses.

as you say the Sony is alot better than a Canon in low light so its the exception to the rule , Its all about what ever you are used to working with I came from Super16 for along time, Super 35 then DigiBeta Cam and B4 lenses , then 5D , then Panasonic because of your work on the GH2 . So I'm used to small gate/ frame size . And this past year now there are so many good speedboosters for Panasonic cameras it has transformed Panasonics into very serious workable cameras that have a Super 35mm field of view - you can use all those focal lengths exactly as you can on Super 35. Also don't forget Directors like David Fincher de noise everything they shoot on Red Cameras in post, so its all cleaned up - Red Epic is noisy in the blacks too its not super clean.

yes exactly if you read American Cinematographer each month you will see most features shoot in the f2- f2.8 for night stuff and f2.8 - f4 - f5.6 for day stuff....in general roughly speaking , every cinematographer has their own style , some set a stop and shoot the whole film to that stop ..like Darius Khondji shot Alien Resurestion at f2.8 for almost the entire film so it kept a uniform look . I can't to that kind of stuff on full frame so I stopped using my Canons...... When Shane Hurlbut shot Act Of Valor on Canon 5ds and Full Frame Zeiss primes he had to shoot at around or below f4 or f5.6 to get the look they wanted anything faster was just tooooo narrow dof on full frame . proper modern cinema lenses are designed to work sharp fully wide open.

I mainly buy f2 or f2.8 lenes as thats the dof Im looking for and I can use them wide open ; like the Nikon 28-70mm f2.8 - great wide open good fully usable sharpness at f2.8 or the Tokina/Angenieux 28-70mm f2.6-2.8 now that has an artistic sweet spot at fully wide open and f4 thats where the magic is looks wise .

great interview a must watch !

yes they are the same - its the same item they are all good nex and m4/3 same optical makers so glass is good

lt's keep this nice and friendly guys! in answer to your innital question - this is one of the reasons I don't like full frame as you do end up having to stop down to f4 - f5.6 range in general to make it match the dof of apsc / 4 perf 35mm film cameras etc . I prefer to push a lens into its sweet spot of artistic look ....full wide open or just one stop down from there thats where I find the magic of a lens is looks wise...not at clinically perfect f5.6 - at which all lens are pretty good. So stopped down to f5.6 in a low light situation is not so good as you either add more lights to the scene/ location (if you artistically can do that without altering the look too much ) or you increase the iso , I dont ever like to go over 800 iso on my Panasonics , I shoot f2 in low light as thats just enough dof without it getting silly narrow . Thats why my Canons are only used for stills every now and then and I shoot everything on micro 4/3 with speedboosters. I prefer a smaller sensor not full frame.

2 years ago these where very expensive now the price has dropped alot - they are all good ...its making it work on your system thats the trick - making it stable - so yes for the money its a bargin!!

Angenieux was THE lens of choise of all THE FRENCH NEW WAVE directors Jean Luc Godard , Francois Truffaut etc also Sergio Leone shot all the Clint Eastwood 'Dollar' Films on Angenieux too the 25-250mm T3.5 was the single lens used for 95% of these films.

save the money and get some lights , lighting is the key thing! .....all the rest in number crunching pixel peeping -

I would go the opposite ...... as an Arri MFF2 will cost you more than you paid for the Sony A7 get a Kamerar folow focus http://www.ebay.co.uk/itm/Kamerar-V-Shoulder-V2-Follow-Focus-Unit-for-15mm-rail-rod-support-5D-MkIII-3-2-/351215611501?pt=UK_Tripods_Heads_Stablisers&hash=item51c614ee6d its good it does the job and save you a ton of money - its a big knob that helps you focus - it doen't make you a better cinematographer so no need to spend a fortune on it as its for a dslr not an Arri Alexa . also you do need to be aware that plastic lenses like the modern fly by wire kits lenses flex when used with a follow focus - you are imparting an up - down force on the lens it was not designed to take as its a dslr lens not a fully metal cased cimema PL mount lens So just beware it does happen .also you can get mount flex too on dslrs . Cable tie your lens to the rods to try help prevent this. Follow focus is great on an Angenieux 28-76 Optimo on an Arri Alexa - it was designed to be used with it Not not so great on DSLR lenses you need to work a bit harder to make it stable.

in day time outside in bright light the gx7 and g6 are very similar iq wise at night in low light the gx7 is maybe 10% better - cleaner than the g6 - less noise in the blacks

g6 is your best choise then , the EVF and peaking are essential - I can not work without them .

g6 is a superb camera and will do the job for you very very well , but - gx7 is the best panasonic 1080p camera they have made to date - it has the same sensor as the gh4 its is very very clean , produces a superb image .so if you can get one its a better camera longterm

Jeff Cronenweth is one of the best ......his dad was a legend. I liked 'Hitchcock' film Jeff did too its was more brighter and more vibrant and a different look to his work with Fincher.