mercer

Just got the Meopta 20mm c-mount lens in the mail, so I used it in a scene on a short I'm working on. I was actually out scouting locations when I found this old, abandoned cabin in the woods. For handheld and wide open... I am digging this lens. I think stopped down a notch or two and she will really shine.

Yeah, I'm sure there are. I saved the search on my eBay page. For the time being, I just picked up the Angenieux 10mm and 15mm c mount lenses. Am having a blast with old c-mounts and the BMMCC.

Yeah, it's very captivating. I really like your music choice. It feels like the opening credit sequence to a sci-fi thriller with a visual mixture of nebulous matter and alien dna. Nice job.

I just discovered your Vimeo page the other day. It's cool to see all of your BMPCC and D16 footage on there. Btw, that's a great price on those Kern lenses. I can only assume you got a Bolex with it? I just picked up a couple Angenieux lenses... The 10mm and the 15mm. Not a bad price, but nowhere near the deals you are finding. Does the D16 need an IR cut filter? I love shooting on my BMMCC with these old lenses but I do need to get some step up rings because the IR pollution is out of control on some of them.

I am no expert, by any means, but I have never heard of adding aperture blades... With that being said, I imagine it's totally possible and very expensive.

Nice. I have been looking for one of those for awhile but I think Andy Lee inflated the market... Because they are pretty pricy... Lol. I have been looking to pick up some Angenieux c-mounts though... As you said... That Angenieux something.

A little off topic, but I am looking at a couple AT-X lenses... Which ones do you have? I'll also pick up a Turbo II as well, so this topic came up at the perfect time. I also have a few MInolta lenses. And am looking at the Turbo II. Which lenses do you use with yours and have you noticed that the turbo looks better with certain lenses?

Have you looked at the Voigtlander 10mm? Micro 4/3rds, f/0.95, cheaper than the Panasonic 12mm.

The cosmicar 12.5mm f/1.8 might cover it, the others won't. I have the older 12.5mm f/1.9 version and there was some slight vignetting in the corners on the G7, but I think the crop factor is a 2.1x with the G7... So that could be the difference. Also I assume he graded the image, so it won't look exactly like that. Are you using any IR cut with these lenses?

I like how you can switch back and forth between the media, edit, color and render pages, but I dislike the color tools and the viewer layout and the scopes and the nodes. Don't get me wrong, it's a good program and it's free, which is really saying a lot for what you get, but I think I am just spoiled by the fact that my first NLE experience was FCPX with Color Finale. It is just simple, direct and in real time.

Honestly, this is probably the biggest reason for you to go with a Mac and FCPX. The auto synching feature with FCPX is nothing short miraculous. The lightning speed and accuracy blows me away every time I use it.

Excited to hear you went back to the D16. After using the BMMCC for the past couple weeks, I have a new appreciation for cameras that shoot Raw, and ProRes, and I'm unsure if I can ever go back to an 8 bit camera again. But then again I am probably over stating because I love my new toy/tool. Anyway, I look forward to some D16 footage.

Thanks, but I also found the color options, or should I say... The way it handles color, to be a little more complicated than I am used to. Yesterday, I brought the Raw files into Resolve, tweaked some of the Raw settings, and then exported to ProRes XQ. I still think the image is better than shooting ProRes HQ natively, but I need to do a test to see how much better and if the extra steps and time is worth it. Honestly, if you ever get the chance to use FCPX with Color Finale you will see what a joy it is to color with.

I am not nearly as versed with the technical elements the other posters have displayed, but I have edited 4K ProRes files in FCPX in a 2014 MacBook Air with an i5 and 8gb Ram. It bogs down quickly, so that's why I would always convert it to 1080p before hand with EditReady. Not a perfect solution, but it works for the small projects I work on. My point being is that the iMac you're looking at should be more than powerful enough for the task... But I would still consider converting to ProRes if I were you. ClipWrap converts/rewraps avchd footage so lightning fast, and is only 30 bucks, it makes absolutely no sense not to convert it.

Thanks for the tips. I just got my micro two weeks ago and have already jumped into a short with it. When I first bought it, I was sold on ProRes, but then after testing Raw, I thought the IQ was better, now after using resolve for the past day, I may switch back to ProRes. I'm probably going to get blasted for saying this but holy shit resolve is the most convoluted piece of editing software I have ever used, especially since FCPX is so straight forward and simple in design. But that Raw image does look nice... But as I said I have to do a side by side to decide if it's that much nicer.

Will you combine raw footage and ProRes footage in the same timeline? Also, do you shoot in camera with ISO 800 with ProRes?

And that is my main issue... Having to use Resolve for the Raw processing is a burden since I am so unfamiliar with how it works. I just got used to FCPX, so I do really want to shoot in ProRes, but I can see a pretty significant bump in quality shooting Raw 3:1. I really need to do a more controlled test where I get all of the variables in line so I can see exactly how much better it is. Today I went to the trouble of tweaking a few things in Raw in Resolve and then exporting to ProRes so I could use FCPX and Color Finale to do the color work... Talk about tedious and time consuming. Or find some good tutorials for Resolve.

After using Raw 3:1 for a few days I have come to a couple conclusions... The IQ seems to be considerably better than ProRes and it seems like it handles noise better than ProRes. In fact, I have found that you don't necessarily need to ETTR to protect shadow noise. Has anyone noticed the same things?

Thanks... I'm a better writer than a cinematographer... and yes... go for it... I appreciate that you asked.

I thought you would use the same shutter speed as your desired output? So if you're shooting 60p for slow motion on a 24p timeline, you would use 1/50th shutter speed?

Thanks Jonesy, I was going for a 60s Technicolor look. I am so used to FCPX, that Resolve looks like Greek to me. I'll check out the BMDFilm option. Thanks.

So, I went out today and tried Raw 3:1 for the first time... And used Resolve for the first time as well. Resolve automatically puts into a Rec709 color space? Unsure how to change that, or if I'm supposed to? I'll have to watch some tutorials. Anyway, here's a screengrab from my very first attempt...

Question about the Tokina 11-16mm... Since that's an aps-c lens, then it terms of full frame FOV, it is a 16.5-24mm correct? If that is so, do you then multiply the crop size of the full frame FOV to get the FOV for micro 4/3, or do you just double the 11-16mm?

That looks great Jase. Am looking forward to your first video with it.

So, I recently bought a BMMCC and I have been testing out a bunch of lenses with it. I have a native mount Sigma 30mm f/2.8 lens and I must say I really dig the way it renders with the BM, but the focusing ring is so effin atrocious. Are there any Sigma lenses that have decent focus rings? I have been looking at the 28mm f/1.8 but there aren't many reviews of it online. Has anyone used this lens?