andy lee

this is the RJ Canon FD to micro 4/3 focal reducer Im using http://www.ebay.com/itm/Canon-FD-speed-booster-turbo-adapter-to-m4-3-mft-GH3-GF6-GX1-EM5-EM1-GH4-BMPCC-/360845797671?pt=US_Lens_Adapters_Mounts_Tubes&hash=item540415e927 its also looks exactly like this one which is most likely exactly the same just a different reseller and its cheaper http://www.ebay.co.uk/itm/Optical-Focal-Reducer-Speed-Booster-adapter-Canon-FD-Lens-to-Micro-4-3-M4-3-/271381867830?pt=UK_Photography_CameraLenses_Lens_caps_hoods_adaptors_ET&hash=item3f2f9ead36

probably the finest projection anamorphic lens ever made - this is the pinacle of anamorphic optics by Schneider for 35mm film projection its all switched over to DCP projection now which is why there has been a flood of Scchneiders worldwide on the second hand market as cinemas across the globe have now ripped out their 35mm projection systems and switched to DCP. These lenses new cost over $3500 - they are that good! I've been harping on about how good these Schneider lenses are on this forum for years now, I even designed and sold special Tecnoir 15mm rod holders for them as there was no way for me to mount them properly!! ....everyone was slow to listen ......

sounds like a good idea! we are all in the middle of a massive Digital Film making revoltion right now - film is dying - it's almost gone for good (Christoper Nolan will have to start hording film stock soon!!) - the Alexa has now made such in an inroad in mainstream Hollywood films this past 3 years that its accepted as the main camera now. The thing that has not changed is glass! and getting the right focal lengths for the right shot in your film is still exactly the same for Digital or Film. What has changed is that Indie film making on Canon and Panasonic cameras it is now possible to make a finished product that is almost 95% as good as the big boys in Hollywood - the difference is not that great if you know what you are doing and if you learn to exploit the 'pros' of what ever camera you are using and mask the 'cons '. The right lenses help you get the 'movie look' and it is all very acheivable very cheaply if you look around for lenses that have a certain 'look' similar to expensive movie lenses.

yes I might make you spend ..but Im getting you to spend on the right stuff , instead of just buying the latest flyby wire lens with no apperture ! haha! and all my lens recomendations are cheap and very usable ....not insanely expensive brand new and apperture less!! my fave Helios is the 1979 version I have 3 of them I use one on a dumb adapter = 58mm one on a speedbooster - so its wider =40mm and one on a speedbooster with a Century Optics x0.65 wide angle adapter on the front = 27mm 3 very usable focal lengths all with the same glass and 'Helios' look you could shoot 90% of a movie on those 3 focal lengths!! edit - this does make a very very good cheap lens 'set' with a consistant glass 'look' throught the focal lengths used - which is the trick really - glass parity is essential when you edit in my book - thats why when they shoot big budget movies they use a 'set' of lenses all by the same maker and same series usually so they have a uniform 'look' to the film. ie a set of all Cooke S4's or all Arri Ziess Master Primes or all Leica Summilux etc etc They tend not to mix up sets too much as it messes with the 'look' Start thinking in terms of 'sets' of lens that look good together across a range of focal lengths.

its all basic cinematography stuff I learnt while shooting film all those years ago - I worked with some great DP's like Tony Coldwell who I learnt alot from when I first started Directing - all those lens focal length choises carry forward onto digital cameras - its all still very releveant in todays world for keeping that filmic look we all are used to from when we used to shoot film stock .

yes thats the way to think now speedboosters are so good and so cheap - you dont need to spend £800 on just one Zeiss lens anymore!

I prefer short throw focus lenses to work with so its not an issue I do like only having to rack a small amount rather than rack a full 300 degrees etc so you just get use to it - I personally find it alot quicker and useful to use short throw lenses especially on a hand held shoulder rig where you are moving and shooting quick. Long throw lenses need to locked off with the camera on legs and a heavy duty rig plate tso there is no movement as you turn the follow focus - also you need to have your lenses fully supported underneath and on rods so there is no lens movent up and down , I actually cable tie the lens to the rods to eliminate any up/ down movement as you turn the follow focus......which is really annoying problem with DSLR follow focus set ups. Many times I do end up removing the follow focus and hand racking to stop movement.

oh yes

this the main trick with speedboosters it has opens up a whole new way of getting this great fast Hollywood lens looks BUT with cheaper f2.8 lenses used in conjunction with the speedbooster to get the look . Also all those older f4 constant apperture zooms no one wants on ebay are now very very good f2.8 zooms with a speedbooster -

the whole Carl Zeiss Distagon 'Hollywood' look is all referanced to Super 35mm film field of view (in dslr terms thats APSC or micro 4/3 WITH a speedbooster to give a Super 35mm Field of view) The Carl Zeiss Distagon f2 28mm lens has this reputation and the nick name 'Hollywood' in referance to it giving a similar look to a 27mm Carl Zeiss Master Prime Cinema Lens or a Zeiss Ultra prime 28mm The Zeiss Master Primes is in fact a 27mm lens not a 28mm like the Distagon. It's is David Fincher's favourite lens and used alot on all of his films plus DOPs like Roger Deakins use Zeiss Master Primes alot and large postions of the James Bond film Skyfall where shot on a Zeiss 27mm Master Prime. To get the 'Hollywood' look with the Carl Zeiss Distagon 28mm f2 you need to shoot with it WIDE OPEN at f2 Its a very good expensive lens because it is sharp wide open at f2 - it is very very usable there! If you shoot with this lens at f5.6 it just looks like any other 28mm lens - BUT VERY SHARP! The 'look' is wide open at f2. The other month I was fliming with a 2 camera set up and I wanted the same lens on both cameras. I only have one Zeiss 28mm lens I was using on camera 1 on a Lens Turbo speesbooster on a g6 so I came up with a very good alternative for camera 2 that looks practically the same as the Zeiss. Here is how I did it- poor mans Distagon 28mm f2 you take a Canon new FD (nFD) 28mm f2.8 and put it on an RJ canon fd - micro 4/3 speed booster - this gives you the Super 35mm field of view like you need and makes the lens f2 which gives you that look - the speed booster also sharpens the lens so its now of similar sharpness to the Zeiss . When I cut between camera 1 and camera 2 in the edit it worked great both looked the same! The Canon fd lens has the same warm look and great blacks like the Zeiss and its now f2!! So there you have it Hollywood 28mm f2 lens look on the cheap !! If you are serious about getting a Hollywood look on all your footage the three focal lengths you need to be using they are 28mm , 40mm and 70mm all shot at f2 all the time in a Suoer 35mm field of view (so APSC or Micro 4/3 on a speedbooster) 28mm for the wides 70mm for all the close up head shots and 40mm for all the rest the coverage shots (use a 50mm lens if you don't have a 40mm lens and take 3 steps backwards!! haha that ususally gives the same look) and for all of you that read about me harping on about the Nikon 28-70mm f2.8 'Bourne' zoom lens will see it covers all those focal lengths I have mentioned above in just one lens - instant Hollywood in one lens !! stick it on a speed booster and that makes it the all magic f2 you need to get the 'look'

you want a 100mm then the Olympus OM Zuiko 100mm f2.8 is the lens for you Comurit! for full frame cameras for micro4/3 the Canon FD 100mm is very nice too

Tokina RMC 28-85mm f4 - low contrast lens that flares like crazy - loads of filmic character. The 'Helios' of zoom lenses!! '' target='_blank'>> '' target='_blank'>> the other 2 zooms that are part of the RMC range also have alot of character the TOKINA RMC 28-70MM f4 and the Tokina RMC 25-50mm f4 stick them on speedboosters and they are very usable f2.8 zooms!

I don't use it everyday just for setups that need that low contrast look - it also works well with a strong back light to wash it out even more and cause internal bounce inside the lens. BTW - dont forget to dial out all the contrast and saturation in your camera colour profile too! as its no good using this lens on a vivid setting!

I shot a set up last week with the Tokina RMC 28-85MM f4 low contrast lens : we wanted to go for that 1940's Pinup Girl on low contrast film stock look for this set up. frame grab of Tokina RMC 28-85MM f4 on Lens Turbo speedbooster Panasonic GX7 no processing image is straight out the camera low contrast lens 1/50 sec 400 iso f4 wide open '' target='_blank'>> '' target='_blank'>> it gives you a similar look to the Tiffen filter discussed here but its all done in the lens and as its a 28-85mm zoom its very useful as you can do the whole set up on just one lens , 28mm for the wides 40mm for the coverage and 85mm for the close ups

glad you've got one they are very good , these 1990's made Angenieux lenses are superb on modern digital cameras , they have a look to the glass that takes off the harsh aspheric crushed blacks look you get with modern glass , they are slightly softer and the blacks are a bit more grey so they hold the shadow detail better than modern lenses - I do really like these Angenieux lenses , they are as near as damn it parfocal too . The 28-70mm is stunning - especially on faces and skin - this is my main lens for shooting girls. '' target='_blank'>>

they do have a very nice warm look to them Maxotics! good for getting rid of that harsh digital look and give a more film like feel to the image. when they where made they where top end lenses more expensive than Nikons !! I have never seen these lenses used before so its a nice test thanks for doing it .....Im tempted to find some now!!

Ive never had a sucessful way of doing this , they all seem to be slighly different depending on who makes them , I use alot of Chinese LED tubes and they dont really correspond to anything to referance to. So I just get used to what Im using with LEDs

this sounds very useful ! nice one!

yep no Panny GH4s for hire .....that would be a popular camera now !! maybe soon!!

yep its all mad!! this is all ebays bid for glodal domination by now taking a huge slice of the postage market that comes from ebay sales - they have gone we are making money for 3rd party couriers off all these ebay sales - lets take a slice

items get sent to a central ebay depot buy the seller - then that depot posts it to you the buyer - hence the ebay tape on the package

just announced today this new service has some very nice lenses on the list for hire and most of the new camera bodies too http://www.jessops.com/online.store/categories/Current%20Offers/services/rental/Show.html?partner=ukemail&utm_medium=email&utm_source=uknewsletter&utm_content=email&utm_campaign=eNewsletter%2005.11.2014%20FULL%20Rental a nice way of trying that expensive lens before you buy - or that extra piece of kit needed for a job.

I find on talking heads you need a decent depth of field or it looks too arty farty if its a really shallow dof so you need to be f4 at least - so to get f4 you need a good amount of light so you are not having to use high iso (I dont like going over 400 iso unless I really have to) So red heads have the light power you will need. to get that stop .....yes they get hot but they are very good!!

Im guessing with one led soft box as the sole lighting source you will be about around f2.8 @ 1/50 sec at 800iso I shot something similar 2 days ago with Andrew Roachford for a commercial using kinoflos and I was at f4 1/50 400iso , but Kinos are abit brighter than a soft box

the famous low light scene from Barry Lyndon. was shot with candles ! I don't recomend you try that for your talking head job! haha! I still would use red heads with Lee diffusion on the front of the barn doors that big LED soft box you your ebay link looks very nice , Im sure it will do the job too and its cheap ..try it stick it right behind the camera and away you go!!