mercer

I’ve been interested in those lenses for a while. Right after I sold my last Micro 4/3 camera, I stumbled upon a lightly used 25mm for less than $400... I thought about buying another camera to use it with.

In theatre, actors are trained to project their voice and emote to the back of the theatre. As you know Film is more subtle. The camera is in your face, it will pick up the smallest of gestures and hear the lightest of whispers... if possible for the scene or just as an exercise, have them whisper their lines... it’s almost impossible to overact with a whisper. Also direct the speed of their delivery... say faster, or slower to break up their preconceived delivery. Or in between a take, read the line back to them the way you want it delivered. Actors usually want notes... good and bad... they want to be directed. Also as Kye suggested, explain to your actors what you’re doing and why. Ask what their interpretation of the scene, or line, is. Show them how your shots are going to help to express that visually. As you know, movies are jigsaw puzzles put together one piece or shot at a time, so the blocking they’re used to in theatre isn’t the same as blocking... or hitting their marks in film. So just make sure they know their marks and obviously have a bunch of gaffers or painters tape to mark it. But probably most important is to show passion for your project. If you have passion, they’ll have passion and they will follow your lead.

Please share what you end up buying. I love a good lens quest story.

I 2nd that!

Holy 73 Cows that looks good!!! Great job @Ollywood88 !!!!!

It’s definitely great that there are alternatives for those invested in Micro 4/3rds or even those that use adapters and appreciate the many benefits that Panasonic or Olympus affords. But there really is something special about full frame that isn’t quite the same as a super speed lens alternative on M4/3.

Interesting article and great job matching the focal lengths and depths of field, but the cost associated with getting the full frame look with the GH5 will put you at $2500-$3000. With an a7iii and a Nikkor 35mm f/2, you can be well on your way for less than $2200, plus you’ll have the option to go with f/1.4 and 1.2 lenses and higher ISOs. The Voigts are a great cheat though and the 25mm is one of the best lenses I’ve ever used.

I quite like the conservative exposure. With a simple s-curve and saturation boost, the image looks quite nice. With a simple tint filter, different “looks” can be easily achieved. That Nikkor looks great. Have you ever used the 55mm f/2.8? I am finding it difficult to build a good set of fast Nikkors, so I was contemplating putting together an f/2.8 set that can be shot wide open. I love the 35mm focal length on full frame, but for my shooting style, a 50mm is just a little too close to 35 and the 55mm 1.2 is more than I want to spend right now. I figure a 20, 35, 55 and 85 could be a nice little set. Any info you have on the ai-s f/2.8 versions of those lenses would be appreciated.

Note to self: I think I went a little heavy handed with the vignette.

A couple more shots from the Canon 28mm 1.8. I got this lens for an insanely low price and it's quickly becoming one of my favorite lenses. Even without IS, I am able to go handheld on FF, which will make this lens indispensable going forward.

It really looks nice. Your color skills probably help but it lacks that video look prevalent in a lot of cameras. I guess it would have also been interesting to see a side by side between the JVC and the D500 in 1080p. I’d like to see how the Flat Profile looks next to the JLog... is JLog very flat or is it more like Canon Log?

Yeah I think the Nikkor wins. Was this 4K or 1080p?

Nice color. And IDK, I like the character of that lens. Good combo.

?? “Yep it sucks” hahahahaha. Good stuff.

Haha, seriously?! Sometimes I really think all of the talk about this camera or that camera, is a bunch of nonsense... I visit this site and watch most online videos on my phone, like 95% of the rest of the world and since I knew you shot ML Raw, I just assumed that scene was shot Raw as well. Crazy. Either way it looks awesome, man! All of it does. Those screengrabs are epic. I love the choice of making some of your lighting practical... SMART!!! Did you use the same Leica Rs with the Raw shots as you did with the h.264? Hmm, that’s pretty cool. I’ll have to give it a try when I upgrade to 15. But to be honest, I’m shooting 2:35 at 1920x810, and I’m still blown away by the detail with the right lens, so I don’t even know if taxing my MacBook Air with the higher resolution is worth it to me... it would just fall on deaf ears I think.

I’m not comparing the 5D3 to BMCC, I was referring to your statement about it compared to the GH5/GH5s. Everything I’ve read states that 5D3 is between 11.5-12... which is better than the GH5 and close to the GH5s. But really I don’t care, I think I just found your comment interesting that the 5D3 looks better but isn’t?

So even though it looks better, it isn’t? Okay... but I’m pretty sure it has about the same DR as both of those cameras... so it looks better and has the same DR. It also has no internal noise reduction or sharpening. It’s also 14bit vs 10bit. It also looks better in only 1080p compared to 4K. So, yeah you’re right it really isn’t better... it just looks “better.”

Because it probably does.

What lens did you use?

Thanks, what’s the advantage to upscaling them? Does it take long to process the render to ProRes when you do that?

@kidzrevil what is the super scale feature? And what program do you use for Chroma Noise? I can usually fight it with ETTR but as I am starting exterior night shots in my film, I’m afraid of that blotchy chroma noise in the shadows. @squig in that scene you shot for your film where the guy was tied to the chair, did you have a lot of shadow noise? I assume you lit that scene but I remember the scene was designed to have pockets of light and shafts of shadow, were there any issues, or did your lighting design compensate for ETTR and chroma shadow noise?

That’s actually perfect. I’m pretty sure they’re all the same lenses but when I had the SLR Magic 26mm, I wanted to believe it was better than the Fujian. Either way, there is something interesting about the silliness.

Thanks, do you have any C-Mounts? Hell even one of the Fujian c-mounts could be fun. Also 1080p is fine.

Yeah that is pretty odd. Have you done any tests with weird lenses on it? How’s the JLog? I assume it’s kinda like Canon Log?

Watch the LS-300 get a Raw export. It would be the camera that just keeps on giving.