mercer

I really like this. The story is compelling. It's like a little docu commercial for this fighter. I really like the 2.35 ratio, especially with the slow mo, close up shots of her weaving and bobbing. I am not familiar with this camera though, is it an interchangeable lens, if so, what lens(es) did you use? And were the flares in camera or done in post. Does it shoot in log, or is it just a flat profile you graded? I ask because I really love the 70s, gritty Serpico look of it. I assume it's clean, high bitrate 1080p?

Yeah, I guess it's dropped some but it's been holding steady, around $800, for the past 6 months. I figured it would be close to 5 now. Do Panasonic manufacture refurbs come on the market?

yeah, there really is something special about these lenses. i am really looking forward to getting that zebra pancolar. i had the 35mm 2.4 but recently sold it because i was short on funds. i am hoping to replace it with the 35mm 2.8 zebra version if a nice one pops up for the right price.

I have been looking to pick up an FZ1000 and thought that the camera would start dropping in price since it's over a year old now, but the price seems to be holding strong. Is that normal for Panasonic cameras?

So, I have been messing around with my Carl Zeiss Jena 50mm 2.8 lenses, on my NX500 and what a great combo. There is just something so cinematic about these lenses. Anyway, I have two copies, a newer all black one and an older copy that is silver and black with a rubber focusing grip. The all black one has an issue with the aperture pin, sometimes it works and sometimes it doesn't. I think I will open her up and have a look and probably declick it while I'm in there. I also just won a zebra version. I have read that the zebra copies of this lens are better than the other versions... Can anyone corroborate this? I also picked up the Pancolar for a steal, the zebra version, is the 1.8 a lot better than the 2.8, other than speed?

Looks great!!! I have been messing with black & white on the nx500 and have been getting some great results, even though I have a love/hate relationship with the camera.

I am the last person to talk about anamorphic lenses with much level of knowledge, but I did come across an adapter for small sensor cameras called VM Anamorphic that is a single focus unit that creates those beautiful anamorphic flares you're after. I would assume it could be used with the pocket cam or the Sony RX10ii.

I have no images to back up this claim, but a quick google search will show you the Mir 1B could be exactly what you're looking for. I think vintagelensesforvideo.com may have a review of it. Here's the link to the review. Scroll down to the 2nd and 3rd video to see the amazing flares this lens offers, plus the lens was designed with a declicked aperture, so it could be perfect for what you're looking for. http://www.vintagelensesforvideo.com/mir-1/

That Kodachrome LUT looks awesome, wish I had a camera that shoots log.

haha. yeah, i need to get some step up rings. for the money i spent on inexpensive variable nds, of different sizes, i could have bought that slr magic. is there a click at every stop, or just at the ends?

You use multiple step up rings to 77... Why not just a 49 to 77?

I think it's the auto focus that is making it look odd, but only really noticeable on shots with a shallow dof. I bet with a wide angle, with wide depth, it would be imperceptible. All in all, it looks pretty, damn good. I hope the NX500 gets DIS.

Yeah, a 28mm FF lens on an APS-C is what... About 42mm FOV. It's a nice focal length, because most of the distortion is gone at that wide of an angle lens, so it becomes a subtle normal range lens. I have always preferred a 24mm, or a fast 35mm. A great lens for an odd focal length is the Konica 40mm f1.8. On APS-C it's about a 60mm, relatively fast with just a cool look to it. If I was forced to have only one lens, that Konica would be in the running. Of course it would be competing against 10 other lenses.

Thanks for the info, I have used the trial of Color Finale... Great program, that will be my next purchase.

Thanks, for the info. Earlier I was messing with -8 Sharpness and didn't tell much of a difference. I also found -5 across the board, except for hue... Left that default, but it was fairly gradable with a rec709 LUT, I had to dial the opacity down in the LUT to about 25%, but the results are promising. What program did you grade with?

I am curious what the Minoltas look like, that 50 1.4 and 35 1.8 I have are practically 3D on an aps-c, I wondered if it might look even cooler with a speedbooster.

The video looks great. The images between the two cameras are seamless. Where was the NX500 implemented? Also, what settings are you using with the NX500. My learning curve with it was the saturation. One click down and bright orange turns to deep yellow, but red, green and blue look better. For a straight from camera image, I found -2 Saturation, -10 Sharpness and -5 Contrast yields the best results. It seems with the saturation at 0, there is an odd sheen to the image that doesn't completely go away until -4, -5, but if I pushed it any further the colors start to fall apart.

I think you have some of the same lenses I have, was it for the Minoltas or the FDs?

Great info there, thanks. I was thinking about picking up one of those cheapo Roxsen ones, for my a5100, to see if I like the look before I shell out the big money for a Kipon or metabones.

Not sure, but I'll definitely check. Thanks. I'm a big horror, thriller fan and obviously sound mixes are so important, but I find myself lowering the volume because I think someone is gonna call the cops on me, thinking I'm murdering my gf.

Looks great!!! Not sure how I missed this, but I'm glad I found it. The last shot is breathtaking. Although short, the entire piece reminds me of the best summer day I never had. It's hopeful and sad with every passing shot. Like summer, it was over too quick.

Does the speedbooster, on an aps-c, add any other aesthetic to the image, other than FOV? Does it affect the bokeh or depth? I assume, since you aren't only using the center of the lens, that the original edge to edge sharpness, and other quirks, comes into play more when you use a speedbooster?

Speaking of displays, I have an off topic question... I have a 36" JVC, and the sound is either blaring loud or whisper quiet at the same volume. For instance, action scenes or screaming is off the charts loud and then dialogue is really quiet. I have messed with the settings and I just can't figure out how to balance it. Someone told me it was actually due to the broadcaster... Be it streaming Netflix or Amazon or specific channels like HBO or showtime. Any ideas?

24p wasn't solely chosen for practical reasons... It was a combination of the least amount of frames that still had an aesthetically pleasing motion cadence. But I get your point.

I preferred it. I noticed no difference downscaling before I brought the footage into fcpx, as opposed to editing 4k prores and then rendering out to 1080p. I will say it is faster to do the downscaling before hand, but that may just be due to my hardware limitations.