mercer

Do you have a picture of your rig with the Ninja V? Without first hand knowledge, it seems if you’re going to go with the added size and cost of a Ninja V on the X-T3, you may as well just get a P4K.

I totally agree, but transcoding has always been a touchy subject so rather than argue about it, I kept it simple... I assume somebody will disagree in 3... 2... 1...

It will be more time consuming due to the extra step of transcoding but there shouldn’t be any quality loss. In fact, some people argue that editing in ProRes, or a similar intermediary codec, will help to preserve the quality.

Interesting, I just read Tito’s Anamorphic on a budget guide and I found the topic pretty intriguing. Once I narrow down my regular lenses, I am thinking of picking up one of those Century 1.33x adapters if I can find one at a decent price. I love 2:35 so to easily have that from 16:9 in ML sounds pretty appealing. I’d love an Isco 54 but that would break my bank. I enjoy the hunt but yeah it can get tiresome. I’ve only lost money on the cheap stuff I bought when I first started messing with vintage lenses. I still have a lot of Nikkor lenses on a saved search just to see if I can find a deal. I don’t want anymore Nikkors but they are quick sellers if you get them for a good price.

Have you read the Rokkor Survival Guide on REDuser? Give that thread a read and you will be trading in your lenses for their Minolta equivalents... http://www.reduser.net/forum/showthread.php?92246-Minolta-Rokkor-Survival-Guide Oh I hear you. I went with the Rollei Zeiss because I wanted to be different than everybody else with their Contax Zeiss. It’s been pretty painless but a lot easier when my Leitax mounts arrive. And in the end, for a fraction of the cost of Contax Zeiss or Zeiss Classics, I have a nice 3 lens, single-coated set of Made in Germany Carl Zeiss lenses.

Hey, I get it. I just made a list of the lenses I “want” to keep and I’m at 15... that gives me 4 small lens sets, a couple zooms and some oddball lenses I just really like. As a hobbyist, narrative filmmaker... it is just too many. Now I have to figure out how many I “need” to keep. I’m getting a little emotional even thinking about it...??

@heart0less Also, I just did the math and to get that 85mm FOV with the G85 in 4K, you’d want between a 50mm and a 55mm. Honestly, I think you’re making things too hard. Cheap, fast 50s that easily adapt to EF are everywhere. And they’re smaller so the elements will be closer to the Anamorphic (I thought I read that was important?) With the 2.2x 4K crop of the G85 and the .72 of the SB, a 50mm lens puts you right at 80mm FOV and a 55mm puts you at 88mm FOV. You can’t ask for much better than that. IMO.

Hmm... that’s a tough one. If you’re going to go with Minolta, it almost makes sense to buy a Lens Turbo II specifically designed for Minolta, then you can have access to the whole Rokkor catalog... speedboosted with IBIS. The 28mm f/2 and 35mm 1.8 are dream lenses. Anamorphic must be fun with the G85? Nikon also made an old 58mm 1.4 that you can probably get from Japan for a decent price. And if you are looking to spend a touch more, the Voigtlander 58mm 1.4 in Nikon mount could work for you... but they’re like $400. But the 20mm and 40mm are supposed to be excellent lenses as well, so you could build a kit.

That sucks, I’m on a Mac and when I was dealing with h.265 files, from the NX500, I had to transcode to ProRes to work with them in FCPX. It wasn’t that big of a deal since I do that anyway... I prefer to use an intermediary codec to edit with. So as @jbCinC_12 reluctantly suggested, you could go that path instead of buying the studio version. It will be less taxing on your computer as well. If I had to buy the Studio version of Resolve, I think I’d just buy the P4K.

Yeah I’m going to have to agree that if a DX mirrorless is released anytime soon, it will most likely be an F Mount, or will be bundled with an F to Z adapter. So, honestly... I don’t see a mirrorless DX Camera for a couple years. The good news is the D5700 may have a lot of the goodies of a mirrorless but in a DSLR. I think the D3xxx and D5xxx series will stay as DSLRs and the D7xxx and/or the D5xx series will end up with a mirrorless version.

@heart0less I forget... what camera do you have?

Yeah I was really surprised by them. I paid considerably less for a 3 lens set than what I would have paid for The Hollywood. The 25mm 2.8 is proving to be one of my favorite lenses, which is surprising since it’s a slowish wide angle. It seems the real Zeiss gems, from the QBM Mount, are the 35mm 1.4 and 85mm 1.4 with their triangular shaped diaphragms. Some people suggest they could be a direct lineage to the 60’s Super Speeds that Scorsese used in Taxi Driver. But they’re a bit out of my price range. Maybe one day. Cool, keep us updated. If it doesn’t pan out with your friend, Leitax sells the mount for that lens for like 57 euros... http://www.leitax.com/Rokkor-lens-for-Canon-cameras.html When you add 50 USD for a good copy of the lens, I assume you’ll be under 100 euros for a good, fast 58mm. Just make sure you buy the right version of the 58mm 1.4. I believe you want the one that has the all silver mount.

That sounds like your files have different names now so Resolve can’t locate them. Can you uninstall Microsoft HEVC extension, or replace the media in the pool with the new versions?

I think what he’s saying is that you can answer your own question by going out and making films. And if you’re desperate enough to make them, you could always set your camera on a tripod and film yourself as an actor. I’m sure your local church or library has some kind of bulletin board where you can post a casting notice. Build your films around what you have... for instance... don’t write an urban film if you live in a rural community. Make One Minute films that you can put up on Instagram. To sound a little cliche... if there’s a will, there’s a way. However, it’s up to you and nobody on this site can help you build people skills. But if you are unabashedly yourself, then what more do you need? Zach, I know how much you want to make films. I remember you posting similar threads 4 or 5 years ago. And I know about priorities in life. And I know making films is insanely difficult. But ask yourself... what can you do this week or today with a half hour of time that will prepare you to make that movie during your spring break? I’m glad to hear you’re still using your t2i and FD lenses. I ended up buying a modified FD 50mm 1.4 that I adore on my 5D3. So with that being said, go back and look at what Kendy Ty did with his t2i and a single lens and a single character.

@heart0less and @Bioskop.Inc that is a great resource. I have a set of Rollei QBM Carl Zeiss lenses and that site informed me that the 50mm 1.8 can hit the mirror... so I am reticent about not having the lens at infinity when I turn on or off the camera and I haven’t had any issues. Btw, those lenses are incredible for forgotten lenses. I’ve even purchased a Leitax adapter to test out. If it works well, I’ll definitely modify the rest. Here’s a wide open sample with a B+W Vario ND from the 50mm...

Actually, the Takumar may work because I think Wild Ranger used that lens with a SB with his GH5 in that fantasy film he worked on... see the GHA thread. I have a Yashica ML 50mm and I really love the lens. If you can find one in Poland for a good price, give it a try.

Minolta 58mm 1.4 can be modified for EF by Leitax. Also don’t forget the Canon FD 50mm 1.4 which can also be modified for EF by EdMika. The cost is a little more for a mod but I actually feel the Canon FD is worth it. If you’re diiligent, you can find one that has been modified to Nikon mount. The Takumar 50mm 1.4 is a beautiful lens but that may hit your glass as well since there are issues with it hitting the mirror or Canon FF cameras. The obvious choice would be an ai-s Nikkor. They can be found used for a good price and the same lens, with the same design, can still be bought new today. But yes, the Contax Zeiss 50mm 1.4 is a nice lens... even though some people prefer the 50mm 1.7. For a cheaper option, Yashica ML lenses are rumored to have the same Zeiss glass and designs as the Contax Zeiss variant. Another option would be the newer Zeiss Classic ZF or ZF.2 50mm 1.4. Well you can have more than one node with the free version, so it should work?

I’ve never tried the Hue vs. Luminance tool for B&W but Resolve has that amazing RGB Mixer tool that works magic for B&W.

Unless you plan on being the premier sock puppet filmmaker, you may want to make A sock puppet film and not film(s). Of course, if you plan on being the Tarantino of sock puppet filmmakers and have some crazy ideas like a sock puppet robbing a bank, then maybe you have something crazy and cool in mind.

To add, with the B&W version, the small glints of light on the bridge become more prominent and add a little more meaning to the shot where they are a little lost in the color version... Hmm... I have some thinking to do. Lens

I love B&W! I could make every film in B&W, without any “reason” to do it but for this film I want the cold desaturated blues and tans of a seaside town in winter. I am also prepping for my next short that I am pretty certain will be in B&W. But to be honest, all of my “grades” are just me practicing and I won’t make any final decision until I lock the cut so in the end, B&W could be a better fit for the film. We’ll see. It definitely adds a certain level of melancholy to my shots... so it could be perfect in the end. And to not have to worry about color is definitely a bonus. Here’s a quick B&W conversion of my poster mock-up. Obviously, I still don’t like the font. And again to keep the discussion relevant to Lenses, this was shot with the Canon 28mm 1.8...

Good idea, there’s been a few posts that asked the question... “How would you grade this? Usually the OP would post a frame grab of the ungraded and graded grab as a tiff file. It was a lot of fun until some turd would inevitably post disparaging comments about people’s grades. And then the thread would die off.

Well, it’s like zoom lenses... you can stand in one spot and zoom in and out but to get good separation, you still need to use your feet. Eventually, you can quickly see how your subject reacts to the foreground and background along with whatever composition you are going for... it kinda snaps into place. I’m sure more seasoned shooters than myself can figure it out without waltzing around the set. Also, there is something to be said about using only one lens. My next film will be shot with one lens and it will probably be either a 28mm, 35mm or 50mm. I think it’s Polanski who believes that a scene should be shot with only one focal length otherwise the perspective will be too askewed and it will be harder for the audience to be pulled into the scene.

Excuse me because I think in terms of FF now but an 85mm is slowly becoming one of my favorite lenses. It’s really cool how you can get depth in the frame by having your subject between the camera and infinity. It’s a really cool effect. And the way it slightly compresses the background without feeling surreal. I guess that’s why I used to like 50mm lenses on aps-c but it wasn’t exactly the same. That’s supposed to be an incredible lens. You may actually like the Tokina 28-70mm Angènieux lens. It just oozes “cinematic...” to use a bad word. Lol.

Thanks Mr. Jones! As I’ve said a couple dozen times, what you accomplished in The Luggage with a 7D and sheer will (not to mention talent) has been very inspiring to me. But I’m actually not that close to finishing. Scheduling and finances has been way more of a problem than I anticipated. This mock-up is a one off that I am toying with. I have a final round of casting and I am putting together a teaser to help get some actors. I also don’t love the graphic design of that shot but I do appreciate that you get the SOS element as that is pretty important. I will probably end up doing some type of animated graphic for the opening title shot that appears as the water ripples out to sea and I may have the SOS stay a little longer or appear first. Good idea for the Universal Yellow. The story is pretty dark, so some sort of dark red may work better but yes, I get what you’re getting at. It’s funny you mention the 28mm FOV. Until recently, I’ve only had slow 28mm lenses and when I got that fast Canon 28, it opened up my whole world visually. Wide angle close ups denote such an interesting feeling and in FF, I can go handheld with it... which is a big plus for my run and gun style. You don’t know how many times I’ve toyed with making my film B&W... For the sake of the discussion, the top 3 were shot with the Canon 24-70mm f/4 and the last shot was with the Canon 28mm 1.8. Hahahahaha.... that is actually what the font was called. I went with it because it looked like writing and I liked that it looked aged or weathered. But yes I agree... it’s not right.