Matt Kieley

Thanks, man. I tried getting some shots on the EOS M but the lens wouldn't fully screw into my Fotga C-Mount adapter. I also had this problem with my Kern Paillard Yvar 16mm 2.8. And these lenses aren't being stopped due to size since they're too of the smallest c-mount lenses I own. They'll screw in only about 1-2 turns and stop. All my other c-mount lenses work fine.

Canon TV-16 25mm 1.4 (shot wide open with the bmpcc): I've just played around with it for a couple of minutes and I love it already. It's sharp, with bokeh that's not as swirly and crazy as other c-mount lenses. I'll post footage later today.

This x1000. I'm trying to put more thought into the color of clothing, sets, and lighting more. Just watch a Wes Anderson movie, or Breaking Bad for great use of color in storytelling. Of course there are a million other examples, but those two are my favorites, and probably the easiest to notice and understand. Punch-Drunk Love is another one of my favorites.

Last year I DP'd and edited two films for the 15 Second Horror challenge, and I meant to share them here, but forgot. The first is Crawlspace, written & directed by my friend Chess Maxwell: Crawlspace made it onto Lloyd Kaufman's top ten, which was exciting for us since we're all fans of The Toxic Avenger and were inspired by Troma when we were teenagers. You can see it and the rest of "Uncle Lloyd"s Top Ten here: The other film was "A Gripping Tale" written & directed by my friend Steve Sanders: Both were shot on the Panasonic G7 in CineV with Canon FD lenses. This was one of the most fun shoots I've worked on recently. Both were shot at the same location, same day, back to back, with the same cast and crew, and I'm pretty proud of our work on these.

I realized recently that most of the upgrade choices I've made were theoretical reasons for hypothetical situations and people. I wanted to pursue more narrative director of photography work outside of the media work I was doing, so I thought I needed 4k, and larger sensors, and when the Sony a6300 overheated while shooting my short film, I got a G7 because it would be more reliable, but I needed a focalal reducer to make up for the extra crop. I've bought Canon cameras to match my partners' Canon cameras. I also convinced myself that the compression of other cameras didn't matter as much since general audiences won't notice. And they really won't, but I notice it, and I want to feel good about my own work. The right choice for ME is the now 5 year old 1080p "only" bmpcc. So to get back on topic, I'm thinking of getting one or two Canon TV-16 c-mount primes (and maybe a zoom) for the pocket. Anyone here ever test them?

Oh no, what have I done? Have I gone and bought the bmpcc again? I tried 4K, it was fine, now I'm back to the land of better color and DR, and ProresHQ/Raw files and that s16 sensor. Feels good. I'd say this is still my favorite camera. Anyway, I decided to compare some of my c-mount lenses. Don't mind the quick and dirty lighting and grading, this is more about the lenses and their sharpness wide open. You can tell the 12.5mm is the sharpest because of the aliasing in my beard. I still love the camera though. Here's some bmpcc/c-mount lens footage I shot a year ago (which is what made me want to get the pocket again) with the KP 26mm, KP Yvar 16mm 2.8, and Fujinon 18-108mm 2.5 zoom:

The cheapest auction I'm seeing now is at $255 with 4 hours to go. There's a buy it now auction for $225 + shipping. I've watched these sort of auctions (Bolex and Kern Paillard lenses) for a couple years now and these prices seem to be pretty normal. Plesae tell me your secrets, Mattias. You must have some sort of underground black market Bolex connection you're not telling me about.

I went looking in this thread for my old Kern Paillard Switar 16mm bmpcc grabs and saw this reply. These lenses are still ridiculously expensive on ebay (I bid on a couple of auctions that still ended for $100+). I should just paypal you some money so you can buy some of these lenses for "peanuts" and mail them to me.

Someone on my facebook feed earlier called filmmakers who prefer film to digital "hipsters" and basically idiots for wanting to shoot on film. I don't see anything wrong with Soderbergh wanting to try something different. I love my digital cameras, but I've also shot Super 8, and I have some 16mm waiting to be shot. I'll probably shoot something with my iPhone at some point, because it seems like it could be fun. I guess I'm a fucking hipster for wanting to keep filmmaking fun for me. No one ever questions an artist for switching from water color to oil, when clearly they could just paint everything the same way because there's no NEED to use anything else.

They said at about 2:35 "we used six witness cameras synced to the timecode of the 35mm camera" which sounds like they were used for reference for the VFX. It's not totally clear but that's what I took from that. I just saw the movie tonight and I was sure it was shot digitally until I saw Kodak Film in the credits. The movie is great, by the way.

Recently we shot a commercial for our local Hockey team's "Star Wars Night" a game night where kids could meet Star Wars characters and the team wore special Star Wars jerseys and auctioned them for charity. This is a little BTS montage I shot + the finished Director's Cut of the commercial. This was maybe one of the most fun shoots I've ever been on. It was kind of a trip filming on an ice rink with Star Wars characters. BTS was shot with my EOS M + ML 3x bitrate, and the Canon FD 35-105mm 3.5 zoom. The commercial was shot on the Red Epic Dragon with Schneider Xenon FF lenses by the talented DP Adam Beck. Directed by Rickey Bird.

Here's a music video my friend and I just shot, for the song "Pity Party Cabaret" by our friend Ariel Dyer. I've had this song in my head since we shot this on Friday. She has serious pipes and songwriting chops that remind me of one of my favorite artists, Fiona Apple. We shot this on the Canon 7D with (I believe) the Canon 28mm 2.8 L MkII, and my EOS M with ML 3x bitrate, Film PS, and my Canon FD 50mm 1.4 (shot wide open). The eye level shot was mine, the low angel was the 7D.

Does the Angenieux vignette as much as the Schneider in the 3x movie crop mode? It seems like the only way I can use the Schneider is if I crop to 4:3 or shoot in a more cropped-in raw mode, so I'm wondering if the Angenieux is the same story. I'm not opposed to ever shooting in 4:3, but I'd like to be able to shoot in 16:9 too.

Thank you!

I bought a Schneider 6-66mm for my EOS M, but it vignettes too much in the 3x movie crop mode, and I have no desire to shoot in raw, so if anyone here wants the lens, pm me.

It's the only PS I use. I also have Vision Color/Tech, Cine Color/Tech, Cinebooster, Lightform, and Cinestyle, but I never use them. Here's a video I shot with the profile. Some parts have grading, but the segment from 2:41-5:28 is color from the card with grain added:

Yeah, ML with 3x bitrate, and Ive Lotus "FILM" picture style (my favorite). No grading except a very small contrast curve. http://www.filmpicturestyle.com/

I had to sell my G7, so to get the most out of my EOS M, I'm sticking to crop mode with c-mount lenses. I've added a Cosmicar 6mm 1.2 and Tokina 12.5-75mm 1.2 lenses to my c-mount lens collection. I tested all of them along with my Meteor 5-1 17-69mm 1 lens from my K3 16mm camera. All are tested wide open. I don't plan on shooting wide open all the time, but I wanted to test sharpness and DOF at wide open apertures. Tokina 12.5-75mmmm at 12.5mm Tokina at 50mm: Meteor 5-1 at 17mm: Meteor at 69mm: Cosmicar 6mm: Cosmicar 8.5mm: Cosmicar 12.5mm: Kern Paillard 26mm: Love this set-up so far.

Last month I completed a short doc/promo for MMA fighter Drake Boen, directed by Edrei McCabe, shot and edited by me. The final version utilizes archival footage of past fights and doesn't have film grain, but I prefer this version, which I've dubbed "The Editor's Cut". It was shot mostly on the Canon EOS M with ML (H.264 with 3x Bitrate) with some Panasonic G7 (with focal reducer). Lenses used: Canon FD 50mm 1.4, 28mm 2.8, 35-105mm 3.5, and the Tokna 17mm 3.5. Edited with Premiere, graded with FilmConvert.

A couple of weeks ago, I shot this punk show in a bar and made a highlight video for work. All of the slider B-Roll is shot by me on the Panasonic G7 with Cheap Focal Reducer and Canon FD 50mm 1.4 (CineV). Interviews were shot mostly on the Canon 7D with (I believe) the L Series 50mm 1.4. There was a lot of cool footage I wish I could have included. Maybe I'll make a reel of some of the stuff I've shot for work.

I got the settings from Dave Alitzer on another thread, which he apparently got somewhere from dvxuser: "THE SONY PROFILE Black Level: 0 (it's disabled in s-log2 anyway) Gamma: S-log2 Black Gamma: Range- Narrow, Level -7 Knee: auto Color Mode: sgamut3.cine Saturation: +32 Color Phase: -2 (this is for a7sII and a6300, for original a7s use -5) Color Depth: +6 (all of them) Detail: -6 Expose 1.5 to 2 stops over." I used the Sony Profile settings and graded with Lumetri in Premiere. I only used those settings and never found a need for anything else.

This is more along the lines of what we're working on musically:

Have you looked into the Panasonic FZ2500 or FZ300? The FZ2500 has a 1" sensor, built in zoom, built in NDs, shoots DCI 4K at 100mbps and 1080 at 200mbps, and 120fps slow mo for $1k. And the FZ300 shoots UHD, 1080p/60, has a smaller sensor and no NDs, but a 24x zoom with a fixed 2.8 aperture for $500. They seem similar in specs and close in price to what you're looking for.

The only thing "different" that stood out to me about the motion in the first EVA1 video were the shots that used a higher shutter speed. I have only watched a little bit of the short films that just came out but the motion looked normal to me. The 1/24 shutter speed (or 360 degree shutter angle) can also give an awful digital looking motion.