Oliver Daniel

Neither too... Nightcrawler is awesome.

Seem like fantastic, unique products. Just the character I'm looking for. Need some invoices clearing first though, haha. :blink:

Never heard of Motion Six but looks very interesting. Dog Schidt Optiks products are fascinating! would love some of those. (isn't the creator a regular poster on this forum?) ;)

Those Veydra lenses look nice - I just need my lenses to cover Super 35mm (and full frame, sometimes). Have you seen the D16 Kish lenses though? Fixed aperture to keep cost down. http://www.digitalbolex.com/kish-lenses-on-sale-today/ The D16 is the "character" camera, I would get one but can't justify the financial outlay. Wide angle "macros"? Any recommendations? (wide angle with subject in focus, very close to lens - like how the SLR Magic 12mm behaves on MFT). Sirius 28mm f2.8?

The Canon 1DC looks a lot better in my opinion - although it would of been better to see the footage at 1/50 shutter, and no mention on lens used either. The latest footage of the new Sony FS7 online is on the majority - terrible, like the NX1. I'll never make camera judgements from footage online, it's only worth finding out for yourself and your style. ;)

I'm curious to see how this camera would perform in the hands of a talented filmmaker. The very little stuff online including the demo reel is rather awful and brittle - yet the same can be said of most new camera releases at the early stages, in the awful aspects. ;)

Thanks Rich and Andy, very good resource of info. My view is on Ebrahim's point - for cinematic/narrative work, I'd strongly decide against not shooting with a lens such as the Panny 12-35mm. It's ultra sharp, high contrast and so clincal - it's insane! With cameras now being so sharp out the box, HD and 4k, it certainly helps to offset that digital sharp look with a low contrast, vintage lens that can resolve an image with great detail, low contrast and able to flare nicely when you intend to. That's why I'm very interested in these types of lenses, they just FEEL better than their modern friends.

Thanks Andy.... how do they differ in sharpness? I guess the HFT ones are more clinical in that respect. Again thanks for all the info!

Thanks Andy, the "look" for me is way more important than the housings for cine. I've been recommended to look at the Rollei QBM lenses for a very organic character. Do you have any experience with these? Also really looking for a wide angle macro type vintage lens for that beautiful look you get - shooting on S35 sensor. Sirius 28mm a goer?

Canon FD glass is great.... I spent very, very little on a set of these and make a living, just proves you don't need 'luxury' lenses to wow a client. I fully recommend them, much better than the modern Canon glass for narrative/stylistic video. Has anybody used the Rokinon/Samyang cine lenses? How are these for "character"? I hear very good things about them, with cine housings and great quality for the price, but if they have that modern lens high contrast look, I'm likely not going to bother. Vintage lenses are flattering for talent ;)

I failed to point this out in my last post, which is why I asked. I do personally find most modern zoom lenses to be far too sterile, brittle and rather electronic. So wondered what was special about it? I actually only own one vintage zoom, Canon FD 35-105mm. (others I have are never used push pull). This lens is very useful, got it for £50. My goal is to build up set of various vintage primes and zooms, then mod the set I prefer. Also keeping sets for special stuff such as crazy flares and weird bokeh. I'm attracted to the Rokinon/Samyang Cine DS line because of the declicked/filters threads/gears... but having never used them, have no idea if they have the personality I crave from lenses.

I have some solid gears from Shoot35 - any recommendation on the metal hoods? So what's so good about this Nikon 'Bourne' lens? What makes it special in your eyes? Yashica ML remind me of the Zeiss but much cheaper - I have loads of Canon FD primes, guess the Yashica has more of a pop? Sorry for all the questions - I love vintage glass.

Andy, how are Yashica ML primes for character? What is the best solution to get a set of primes like this cine modded? (I have a new triggered follow focus).

Be careful of Andy Lee! He makes you spend spend spend ;) The only thing that attracts me to the Rokinon/Samyang DS lenses are how the gears are perfectly matched, declicked aperture, same filter thread size across the range (besides the 85mm)... but they seem pretty light on the "character" aspect. I have a huge interest in Contax Zeiss lenses like the Hollywood - where you can get really close to the subject and have a wide view. I'm just after lenses that can bring personality to the image - lenses like the Panasonic 12-35mm is the complete opposite (for example) The "Bourne" Nikon lens sounds interesting.... the old manual primes are very popular with filmmakers. Someone I know puts a prime set of old manuals with their Phantom Flex rental package! Andy... will be getting that Tokina, that's for sure. What's your favourite Helios? :wub:

Thanks Andy, always a great help. I love lenses that flare - Canon FD's can produce lovely flares with a bit of work and they are really cheap. Have you used the Contax Zeiss "Hollywood?" I love the look a wide angle can produce when focused on a very close subject. The SLR Magic 12mm is almost a macro in that respect!

I love lenses with character. I prefer to use vintage lenses as they come with some character, whether that be weird bokeh, lens flares, distortion or close-focusing wide lenses - a lot of this stuff you don't get on modern electronic lenses in exchange for AF and IS. I love lenses that flare like crazy such as the Helios 44-2, yellow coated Super Takumars (like the 55mm) and the strange Mir 1B 37mm - all very creamy, odd and unique looking. I absolutely love wide lenses that have a very close focusing distance, so you can get this rather intense, beautiful close-up with a massive, shallow background. The SLR Magic 12mm is a favourite and I believe (although not used) Contax Zeiss 28mm 2.8 "Hollywood" achieve this. Modern lenses such as the Samyang/Rokinon Cine DS line are fantastic for having gears, de-clicked apertures and almost the same filter thread size across the range (very useful stuff I want) - but having never used them, are they worth the punt for a guy who much prefers some personality in the glass? What lenses do you use that have some kind of "character"? Speak up!!

Don't know what all the squabbling on this thread is about. You get a lens, a camera and some very advanced features for not much money. :P

If I had to guess, I think Andrew is always slating Canon because he loves his gear and the technology - and Canon have held back when everyone else hasn't. Because his site is named EOSHD and he owns lots of Canon lenses, he is frustrated with the company who were a great influence in starting this blog (I might be so wrong). The C100 MkII seems awesome for it's purpose. Anything more and you are looking at an FS7 (much more suited to my type of work). Cameras like the A7S and the GH4 are not 'alternatives' or 'better' than the C100 MkII because they have more impressive specs. The C100 MkII is a totally different tool for a people who need it's features and nothing more. I still make a living from my GH3. Nobody ever asks what camera I'm shooting on. They comment on the ideas. Just make stuff and use the most appropriate and helpful tools you can get your hands on. :D

It's a sexy looking camera that's for sure. I expect the C300 Mark II to be 10 bit 422, with 4k and 120fps at 1080p. I would also hope that the C100 would receive a firmware update after the C300 Mk2 release to enable 4k (but at 8 bit only, HDMI out maybe). This hope is rather pointless right now - my business is saving for the new FS7 which looks to be an outstanding product, a great investment for the long term. Paired with an A7S, it's all systems go (further!). B)

Well this should be an interesting topic, but kind of got killed off by all the geeky stuff some of us don't bother to know :D I shoot with my GH3 still, and I regularly shoot my stuff on Canon FD lenses (more organic, not too sharp). Some clients are still telling me to soften up the image as the resolution is too high, too clean, "too HD." A client asked me today "the quality is too high" - and this was for a teenage pop video. Those DP's are spot on in my opinion. I personally like 4k but only as a post production tool to crop, reframe, stabilise and move images. Most of the 4k on Youtube looks awful on my monitor (very brittle, moire galore). On a TV it reminds me of The Hobbit in 48fps - hyper-real. Hyper-real is on the majority not the best way to do things. 4k is an exciting format - but dynamic range and colour beat it to shreds. :ph34r:

Apple didn't fuck up Final Cut Pro. They re-designed it from scratch and built a superior editor for the future. I understand at first it was like "WHAT THE HELL!!!!" but after a few hours, I realised they were onto something amazing. Now - with many of the features ironed out - it's a blast to edit with, loads of support, incredibly intuitive and some very nifty tools. I use it all the time for music videos - the multi-cam is outstanding. Depends what your end product is - all the editing platforms are great - the rest is up to you :)

I was gobsmacked at the quality of the fishing video with the D810, very talented stuff - but show the latest Nikons are very capable. I'm still shooting most my work on the GH3, and being very patient in upgrading to another model - clients are still happy and paying :) Still prefer the A7S from what I've seen. Nice colours on that Nikon though, would like to try it out! Vimeo videos are never enough for a buying decision :D

I don't understand what the obsession is with Canon "holding back" - sure the C300 is lacking compared to the FS7 and the 7D Mk II isn't great for video - but the C300 has been available for 2 and a half years, and the 7D II is for photographers. Canon will bring out their 4k cameras next year - so in the meantime, just use the other options and keep shooting. If a company is holding back on features, it doesn't stop anyone using another tool or shooting something interesting. :D

I was referring to the 'stills specs' debate previous to my post, so we can leave it there. My own very mini (and slightly dumb) review: The 7D Mk II is a DSLR camera aimed at stills shooters with a video mode, in which you also get the added benefit of 60p. While the camera doesn't offer much more for video shooters, photographers will find plenty to do using the wide range of EF glass available - now with dual pixel AF, making it ideal for sports and wildlife. Video shooters graduating from the original 7D will be better off looking at the other options available, such as the A7S and GH4, which offer far more features for better video capture (4k, slow motion, low light). If changing from Canon hurts too much, be prepared to stump up some major cash for the C line. Even so, you'd be best looking at the 'ticks every box' beast from Sony with the FS7. If that is still too far out your reach, be prepared for a long wait in the Canon line. Patience is compulsory. Did someone say Blackmagic? ;)

Rather than argue, can we all just say the Canon 7D Mark II is for stills shooters who need AF with EF glass and all the other cameras are for everyone else? It's whatever suits you - there is technology for everybody's taste :D