Nikkor

"Lenses. Heh, when I picked up Jarred's camera I thought immediately about which glass I was going to use. I ended up slapping all sorts of lenses on the camera that evening during prep. I went rogue and went with EF glass. Mostly Zeiss Otus and a few Milvus shots in there. The Otus primes look fantastic on this camera FYI. I also used 30-40 year old Olympus OM lenses I had Duclos Lenses Cine-Mod which have a bit of history in the world of VistaVision filming. The major macro shots for instance were the Olys. There was a 200mm f/2.8 Canon prime used as well. Overall I shot mostly at f/2, though there's a fair amount of f/1.4 and f/2.8 in there with a couple f/5 shots. I had the camera in very precarious situations. Literally on a grinder belt or having 2000 degree bits of steel being shot on the camera. As you can see from some of the images I used the Bright Tangerine Misfit Atom with optical clear filters to protect the lens and camera. Though I can't say the optical clear filters survived. They were pitted with metal bits as was my skin."

Imho, if you want a sony, get the A7sii, slog 3 really looks good to me, slog 2 from the A7s is either horrible or I don't know of any good workflow (plus shogun sucks)

The dualpixel AF is a strong point, you can have the best image in the world but if it's out of focus it's worthless. I've seen the 70D as background camera on many places where they have real cameras.

And @Brian Caldwell made a speedbooster for it, I keep insisting

I have no idea, but when editing you can tell premiere to sample 1/4,etc... so it's not that bad. 8K won't be needed anytime soon for anything, I would even say nobody needs 8K screens for movie consumption. But 8K downsampled to 4K is interesting because of the bayer array.

And for framing you add one of these

details: http://www.reduser.net/forum/showthread.php?141427-FORGED-Shot-on-RED-Weapon-8K

Longitudinal CA is not the same as lateral CA, it will happen all across the frame and is tipical for fast teles. Unless the filter stack on the A7Xs is thicker than on canon/nikons, I don't see why it should be any different. http://www.lensrentals.com/blog/2014/06/the-glass-in-the-path-sensor-stacks-and-adapted-lenses maybe @Brian Caldwell could help us out here.

But that's not the case with the 85 1.2, its CA.

I'm so tempted by this little thing... but after adding grips, screens,etc... you will probably have spend 2000$

They might go up in price when the new pentax fullframe is released ^^¡

Good luck, that actually sounds like a nice story. I still don't see how piracy affected your movie, specially when paramount passes these kind of movies on their free or flatrate channels. But even if piracy really were a big problem for indie film makers, there is no way to stop piracy unless you implement some draconian measures that are way worse then loosing some entertainment.

Oh thanks for the info man.

It's pretty clear what you wanted my intent to be. The thing was that this one guy says that unless every internet access is strictly monitored internationally for copyright infrigement with ugly laws (I guess this is what he meant by privacy) there will be no more films except super heroe movies. Fact is, as you are saying, that a lowbudget, kickstarter funded, 27% RT audience score movie, has made "high five figures or low six figures internationally so far". Currently your movie has zero seeds on kickasstorrents, and a youtube upload with 87 views. Then there are movies with larger budgets "positioned to tell more unique stories from more diverse points of view" /no action movies nor superproductions, like "Beasts of the Southern Wild", "Whiplash" o "Nightcrawler", the first two made more than 10x their budget. These obviously have many torrents up to date. The opening post has a link to youtube video where a guy states that piracy ruined his carrer, I can't find his "marianne" film anywhere. So, what's my point? You will have a hard time finding a movie with good audience scores that was not profitable due to piracy, piracy is directly proportional to the sucess of the film. Some guy will come and tell me that back in the day you could make a living out of B movies, yeah well, I'm sorry for you, but cheap Netflix,etc... with 100 years of good easy accesible movies isn't going to go away, and piracy has nothing to do with that.

You can make them both double gauss, or whatever you want to invent, the larger 50 2.8 will be about the same size as the 25 1.4, but the quality will be better on the first. http://www.bhphotovideo.com/c/product/768816-REG/Panasonic_H_X025_Leica_DG_Summilux_25.html this one even has aspherical lenses, should make it tiny. http://www.kenrockwell.com/leica/50mm-f28-m.htm ("tessar") Which one is smaller? What about these 50 2, and 50 1.4? http://www.kenrockwell.com/leica/50mm-f2-m.htm http://www.kenrockwell.com/leica/50mm-f14-asph.htm

That's way too complicated, I don't understand that, it must be a lie.

Haha, Good night, genious.

And home many seeds did your movie have? 22? How many plays did those youtube videos have, 50? If you tell someone in Turkey that he has to pay 20cts to see your movie, he will go and do something better with those 20cts, If turkish television would be interested in your film, how much would they pay you, 3000$?, the fact that it got uploaded to youtube wouldn't change the Television interest at all. But let's add to it, have turkish, or thai television contacted you?

I don't want to sacrifce anything, it's this guy who is saying I have to sacrifice privacy so that some people in the US can make a living making movies. If you look at piracy websites, try to find some of those "unique stories from more diverse points of view",good luck. What you will find is all the Avengers crap.

But remember that when you put the wideangle in front, you get more fov, so in the end you end up with almost the same magnification. I have a schneider wideangle adapter, and it only works fine on wideangle lenses 35mm downwards, at 35mm it's still noticeably soft wideopen, with 28mm it's not that big of a deal. Unusable on 50mm unless you stop down to f5.6-f8. But with leica-m lenses it might be a problem to use the 35mm because it's simmetrical, and depending on the design of the wideangle adapter, it might be as worthless as using the schneider on a 50mm.

Wideangle adapters let you focus very close and you don't loose infinity, but I wouldn't call it "macro".

I really hope so, because it would mean that you stop overwhelming the world market with your products.

A 25mm 1.4 m43 lens is equivalent to a 50mm 2.8 lens on fullframe, both will give the same image and boh are tiny lenses. If you think otherwise I can't/want help you.

I just want to point out that if you made equivalent lenses to those they sell for m43 for a mirrorless fullframe camera, they would be just as small.

I don't give a fuck about your jobs, I want to keep my privacy.