mercer

But his original T2i films felt like an extension of his arm. As you said, organic. And never once while watching his films, or ever since, have I ever felt or thought... that film would have been so good if only it was shot at a higher resolution. But he was also very smart to use a notoriously sharp lens and a lot of medium to close up shots.

@heart0less yeah you have to scroll down a ways to see the stuff he shot. Most of his work is done with crews that he directs but he has about a half dozen videos in there that are great. And I could not agree more about Kendy Ty. At least once a year I watch his stuff and get inspired. I consider selling off almost every lens I own... I gotta keep a couple... and just shooting with a medium wide handheld and only worrying about the story and the composition. And yes... his a6300 work looks great but it’s amazing how quickly it changed. If I was him, I’d buy a 5D4... or M50... or whatever and get back to his basics. Don’t get me wrong, his newer stuff is better than anything I’ve ever done.

I just spent the past hour looking at this guy’s work... wow. From the comments section of his videos, it seems he mostly directs now but if you go back through his work, he has about a half dozen videos he shot. It seems he started with the 7D and then eventually moved onto the GH4. To keep it lens related, he usually shot with one lens... the Sigma 30mm 1.4. No fancy grading techniques either... just sliders and color wheels. I think I have way too many lenses and am overthinking filmmaking way too much.... Of course, I wish I realized this last night before I ordered that lens...

I know what you mean. I love my Nikkors but there is just something different about the Zeiss. Out of curiosity, I just did a search to see what the Zeiss 50mm 1.8 looks like on other cameras and I found an older video of it on the GH3 and it just didn’t have that Zeiss POP that I am seeing with it on my 5D3... maybe Zeiss and ML are the perfect marriage... good observation.

Other than my Canon lenses and a few oddballs, I have a very small set of Nikkor ai-s lenses and the Zeiss. I particularly like the cooler rendering of the Zeiss glass with ML Raw and can see that Arri look you’re referring to. I just bought them a couple of weeks ago, so I’m looking forward to messing with them more. Which 2x Anamorphic did you use in those shots... that’s a wicked image. I know very little about anamorphics but I always thought a Yashicascope could be an interesting pairing with the eos-m in crop mode... but they seem hard to come by.

Although fungus can be contained and cleaned from lens elements, the main issue to consider is what damage has the fungus already done to the lens coatings? I’ve recently purchased a couple lenses that could use a CLA but I’d rather have them professionally done. But if you find some lenses at a cheap price, no harm at giving it a go. Just be very meticulous when you take the lenses apart, these lenses aren’t as simple as they look and the springs alone can cause you a major headache when trying to reassemble. With that being said, I look forward to your hearing about your progress. Have you come across and good storage solutions for lenses... dry boxes?

If you search on eBay, you can find good prices on Helios lenses that were already modified to the Nikon mount. I would look for one of those if you intend to use it with your speedbooster. Using adapters to Nikon F mount can be tricky, a lot of them need glass adapters or won’t hit infinity focus. So I would search for someone that already modified the lens mount and guarantees infinity focus and obviously check the sellers feedback. Good luck.

I just bought a few old Carl Zeiss lenses for Rollei QBM mount that I am obsessed with on my 5D3. Even the f/2.8 lenses have that creamy Zeiss bokeh. I didn’t realize the 6D ML was that good... do you think it would be a good B-Cam for a 5D3?

Yeah, I am pretty sure it is the only hybrid that does 14bit. But to be fair, ML is the only option for any hybrid photo/video Raw... especially internal. Otherwise, you’re looking at the Alexa for 14bit. And I think ProRes Raw from Zenmuse X7 may be 14bit but not lossless.

All Raw looks pretty good to me but there is just something special about 14bit FF Raw with that little punch from Canon’s color filter array.

Yup, on occasion I think about buying another camera until I look at my footage. As far as the eos-m and @Brian Williams video... I totally agree. It looks great. In some ways, the camera seems like a fun experiment in impromptu filmmaking.

Although, this is an interesting topic for discussion, I wonder if a lot of folks overthink this stuff? This isn’t binary. It’s intuitive. And individualistic. Every single moment in a person’s life creates a chain reaction in their style or artistic choices. Other than Oliver’s statement earlier in the thread, I think this is the most honest statement...

You are free to disagree as much as you want. I am just explaining my experiences with the cameras using the exact same lenses. Also I don’t believe the amount of stops the IBIS can correct for is even given for either camera. Perhaps the heavier weight of the G85 and ergonomics made the difference. Either way, your experiences and mine are equally anecdotal. So whatever...

Idk about Dual IS Two but I do know the IBIS on the GX85 required me to use the digital IS to get the same level of steadiness that I was getting with just sensor IBIS with the G85. I guess one could argue that I’ve been shooting more handheld between the two tests so I have a steadier hand now? I suppose that’s possible but I also suppose that with the next generation of Dual IS, sensor IBIS also improved... it truly seems like the latter to me since I was thoroughly unimpressed with the IBIS from the GX85 and the G85 felt more like Olympus IBIS.

Not all of the Takumars have Thorium glass. The 50mm 1.4 and 35mm f/2 both have it but the 55mm 1.8/f2 and the 35mm 3.5 don’t. I’ve used a few FD lenses with my favorite being the 50mm 1.4... I even sought out one that was modified so I could use it with an EF camera... it matches nicely with my EF 28mm 1.8 and 85mm 1.8 and I find it to be a better lens than the EF 50mm 1.4. If you can, it’s nice to have a small set of lenses from the same manufacturer... it saves some time in post and gives you a good starting point for delivering a look for your film. IMO... YMMV.

I think a lot of people love the yellowed glass of Takumars for B&W because they don’t need the filter.

I bought it this morning. At the time, in the features it said that you could get a free upgrade to RX 7. After I bought it, I went back and that was removed from the listing. Oh well, it’s still a steal and I hear it works nicely with Reaper.

Good to know, thanks! How accurate is the WB? With some cameras, specifically the G7, even the Kelvin settings felt a little off. Ever since I started shooting Raw, I’ve become spoiled with my post WB options. I just watched one of that Caleb guy’s videos where he rigged out a GH5s. With a battery grip, a cage, a top and side handle, it really added some heft to the camera seemingly making handheld more smooth.

Ehh... who needs B-Raw when you can shoot ProRes LT.

Thanks for sharing this. And yeah, this is amazing! The filmmaker really made great choices in that film. And I cannot believe he shot that in ProRes LT onto SD cards. He may have just single handedly restored my faith in this camera.

Yeah that’s actually what’s interesting about the SMC “K” versions... they’re the same lenses as the Takumars but in a K mount and they didn’t use Thorium glass, so the glass won’t yellow. The 28mm f/2 and your Takumar should match nicely. Two legendary lenses. If you pick up the Tak 85mm 1.8 or 1.9 or the 105mm... you’ll have a nice little set. The Fotodiox Pro M42 to EF adapters are really solid. So you can stack on your Viltrox.

Thanks @kye !!! I am going for this “look” due to the film I’m working on. Great tips for Resolve... of course some of it was Greek to me, but I will look into this. The JM method required a lot of nodes and transfers from Linear to Log. Since ML Raw is linear, IDK if that method helped with that shot or not. Prepare yourself for a PM, if you don’t mind?

Yeah, I have like two tricks so I can make most footage look either way with any NLE... skillz. But seriously, I am just trying some different things. I prefer coloring in FCPX, I think the curves are smoother but I think I prefer processing the footage through Resolve better than MLV App. MLV App is just too slow. I wish I could get the LogC curve in Resolve. My next test is to use the CST that Juan Melara uses in Resolve. I tested it once a while back and with just a simple LogC to Rec709 LUT and an S-Curve I came up with this... That was shot with either the Canon 24-70mm f/4 or the 35mm f/2... I forget.

That is pretty cool but according to their spec sheet, it only does ProRes at UHD 50p, 60p... weird.

Did you get the Pentax-M or just plain old SMC Pentax?