mercer

To be honest, I just love Pentax lenses. I am really surprised more filmmakers don't use the M, A or my personal favorite the K version... Which was there model they put out in between the Taks and the M version. Supposedly they are optically identical to the Taks, without the radiation, and with a K mount. Beautiful, beefy lenses with great IQ.

Not off topic at all. Discussions are supposed to evolve. It looks wicked, would love to see some footage. I didn't know they made an adapter with an aperture. When I bought mine a couple years ago, people were doing diy apertures. Although, I am a mechanical type of person, I have no interest in making apertures or homemade adapting. Not my thing.

Of course every time I think, or say I am done, I go and buy another lens. The other night I picked up my first Canon FD... The 50mm 1.4 newest version. It came with a FD to eos-m adapter, so I think minus the adapter it cost about 50 bucks. I have some of the older FL lenses, the rubber ring 35mm 3.5 is one of my favorite lenses... It's right up there with the Konica 40mm.

Yeah, we sound awfully similar. I started with the t2i, so I was a couple years behind you, if you don't count the dozen or so cartridges of Super 8 film and the couple dozen mini dv tapes from a consumer Canon. I knew a little about cinematography from my hapless attempts to load 16mm film into an old bolex in the dark. All I knew was I hated everything about that kit lens that came with the t2i. The first and only time I used it, I wanted to kick it against a tree. Instead, I bought a Vivitar 28mm. I didn't love it, but it was miles better than the 18-55mm. From there I tried some cheapo m42s and some series e lenses and some Olympus and some Rikenon m42 lenses and then I found my first real lens that I loved... a Pentax-M 28mm 2.8. I couldn't have been happier until I found a mint 50mm 1.7 for 25 bucks... Long story short, it took me awhile to find decent lenses and know what decent lenses even were. For the most part, I have been able to sell every stinker without a loss and have been able to get a half dozen, or so, keeper sets. Btw, I also have a complete set of the Pentax 110 lenses. I love the 20-40 zoom, the 18mm and the 50mm. Have you put together an aperture for them? I just use step up rings and fader nd filters. What a cool image they make though. How are they on the pocket?

Nah, nobody has been off topic here. I am interested in knowing what other filmmakers have or use. I like selection. I like to be able to use my Nikkors when I am looking for a more warmer, almost clinical feel to a piece. If I want something a little more vintage, I'll throw on my Minolta MCs. If I'm rushed, but looking for a nice flat image I can play with in post, I'll use my set of Tokina AT-X manual zooms. Of course, this is all theory based on lens tests because I haven't shot too much narrative work yet.

Yeah I read that same article about 4K output. Hopefully BH is correct. I just want the smallest run and gun setup I can find. When you output to live HDMI, does the camera's LCD show what is going out? If it does, then the Ninja Star is more than enough for me.

Thanks Andy, that looks amazing. The grade looks great.

Another question about speedboosters... I have read a little about the blue spot when you shoot at a light source. Do you know if that is more prevalent with specific brands, or just a byproduct of using focal reducers?

I really hope they offer the body only. I have never purchased a camera right when it's released...is that something they sometimes offer at release?

I've never used a speedbooster, are there any drawbacks with them? Infinity focus? Softer image? Which I don't necessarily mind... for narrative work.

Yeah, that would be great, has there been any info on this? I guess the bmAssist would be a better option than the ninja star due to the added lcd?

Yeah the G7 and the Ninja Star sounds like a nice little set up.

I am very interested in the G7 but I have only ever owned APS-C cameras, the crop factor frightens me a little. It seems like the only way to go is with speedboosters.

Oh yeah, I was referring to one lens for multiple projects. As you know, there are so many different lenses, each with their own quirks and character. To use only one lens, I must assume that jase enjoys tweaking his image a lot in post. I have found that lens selection can get you almost halfway there.

Only one lens, you must be a fan of post?

Will the proud owners of the G6 upgrade to the G7? Other than the obvious, are there any other upgrades that are enticing?

Do you have the angenieux 28-70 or the RMC?

I understand that, I'm just afraid that I will put all of this work into a project and they will only accept 4K material, but logic dictates that if the project is any good and they can make money... Why would they turn it down.

I think I may have you beat, but I use different sets of lenses for different projects. Of course I have been searching for excuses to use my Minolta MCs

I tend to agree with your theory. My plan was to shoot in 4K and then downres to 1080p for the edit. I know there is an ongoing debate that you gain nothing by doing that but I think the footage looks weightier, more cinematic ... To my eye anyway. Would it be smarter to edit in 4K prores and then downres, so I have a master in 4K and then do my grading on the 1080p? Or do the whole process in 4K before I downres?

I'm a relative beginner with my only objective being narrative filmmaking. I have only ever used one camera but I have worked in sets where multiple cameras are used. I see the benefit in both.

For some reason the embed stopped working. I'll repost the video, in case anyone is curious about this cheapo, but very cool little lens. Once again, sorry for the finger in the shot... The lens is just so tiny.

This is what I have been thinking about lately. Sure 1080p is fine now, but if I start a project today, and it's good enough to go to market, you're still looking at a couple to a few years before release. I wonder if distributors will want 4K in 2 or 3 years.

I don't think it was off topic at all but thanks for the sentiment. Part of the discussion, for me is, when are too many, too many? Of course, that opens the discussion to any type of equipment. Other filmmaker's decisions and workflow can be very enlightening. For instance, I have been toying with the notion of picking up a B cam. I only shoot narrative material, and a lot of impromptu lens tests, so I have only ever had the need, and budget, for single cam. But since the G7 was announced, I am contemplating picking one up plus an FZ1000.

I have noticed that a lot of filmmakers mix and match lenses from different manufacturers. I have always liked to use lenses from the same company in any given project. Do you guys find it difficult matching color and iq in post?