mercer

Idk, I predict Mr. Reid will have a new post about the RP that begins with... “The RP is total crap... but...”

That’s true, something is better than nothing but you can get 5-axis with those lenses on a Sony. So if the a7s iii has the goods, then why even mess around with a Nikon camera for my Nikon lenses...?

Well Panasonic has Dual IS which is a combination of 5-axis IBIS and OIS from their lenses. I think Olympus may have something similar but since they were/are on the forefront of IBIS, most of their lenses do not have any OIS. With both Panasonic and Olympus you get 5-axis IBIS with any adapted lens. I am really intrigued by the Z6 and the potential Raw output but I am one possible customer that is kinda annoyed by the Z Mount when Nikon already has such a plethora of legendary lenses in their catalog. With that being said, times change as does technology, so if they felt the Z-Mount was a better option going forward, who am I to say but as a potential Z6 customer, the fact that I can only get 3-axis stabilization with my Nikkor 35mm 1.4 and 85mm 1.4 ai-s lenses makes the entire purchase a little less desirable. I guess it’s better than nothing but 3-axis on a fast 85mm relegates it to monopod use instead of the handheld possibility of 5-axis.

I do sometimes. With some wide shots you have to let your highlights blow out a little bit and a vignette can be a subtle way to help reign them back in.

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...