meudig

@Matt Kieley I haven't used that kind of follow focus with the FDn lenses, but I did use one of those that use a timing belt (pic related): I used it with the 28, 35 and 50 mm FDn and never had a problem. I even think my 50mm might've had a tad bit more resistance in the focus ring and the only slipping problem I had was if I didn't tighten the actual follow focus down on the rod enough. The timing belt would fit perfectly onto the already existing rubber grips on the FDn lenses. I've also seen arguments about the older breach lock FD lenses being more fit for video but to be honest I think that just comes down to the asphericals being closely related to the K35's. Perhaps the metal build of the older lenses could play a role but to be honest I prefer the quality plastic of the FDn lenses any day (if you drop a FDn on the ground it will survive, but if you drop the old versions you will never be able to fit a lens filter on it again).

@mercer fun fun fun! I took analog photography in highschool and have enjoyed the process ever since. I started on the Olympus Trip 35 and still mostly use that one even though I've got more advanced SLRs today. These old selenium light metered point-and-shoots are just too much fun. I just use the 4 focus zones; one guy, two guys, three guys and mountain. I guess the technical terms are; headshot (1m/3'), twoshot (1.5m/5'), group shot (3m/10') and infinity. 🤷‍♂️ If I need to, I snap out of automatic iris and shoot aperture priority. As far as I know, the camera choses either a 1/40 or 1/200 shutter. Limiting, but fun and simple. I almost exclusively shoot B&W, that is enough colors for me. I've been mostly using Kodak TMAX 400, although I prefer Tri-X. Ilford Delta or HP5 are solid, cheaper options. All readily available, at least where I am at. And if u ever use filmstock emulations on your digital footage, why not try out your favorite on analog? 🙂 I develop at home, with a Paterson Changing Bag and Developer Tank. I either use Kodak D-76 or Cinestill DF96 Monobath, the latter which is one bath for both developing and fix, although because of the grain structure, TMAX film needs double the bath time in that chemical. I use an Epson V600 flatbed scanner. If I had the space for a dark room I'd probably enlarge as well. I'll provide some samples from Kodak TMAX 400 in the Olympus Trip 35. Scratches and dust included.

Also just got the FP, decided between it and the Fuji x-t3. Been trying to replace my bmpccOG for quite a while and didn't like any of the "stills body"-cameras I tested, also having a hard time justifying keeping several cameras. The FP seemed like a no-brainer. Payed about 1070 GBP body only, looks unused. Still undecided as for what lenses to get for it, vintage for sure. Maybe Minoltas? The metabones MD to L mount adapter seems nice.

Great interview! Very cool of them to participate. Although I am confused by the answer to the question about a cine range of the f/1.4 primes... Mr. Takuma must have been refering to PL-mount? Sigma is doing great things.

Yes! I was interested in this same thing as well. I've recently started looking at the FDs again after not owning any for a few years, and I am surprised by the price. Seems like even the FDn 50 f/1.4 or the wider f/2.8 lenses are more expensive now than when I bought and sold them. Weird!

Media Division released another video, I bet many of you already watched it. This time they are examining the Canon FDs and their similarity to the legendary Canon K35s. It's one hour and 24 minutes long, and holds the same quality as their video on the C/Y Carl Zeiss video. By the way, there's a segment on removing yellow tint on thorium coated lenses with a cheap Ikea lamp @ 1h15m. I thought you might be interested @mercer

Could be quite an interesting anthology! Some Night on Earth type thing.

Mir-1B, Helios 44-2 (black, white markings), Jupiter-8. The front preset ring on all of these are super tight, but the second aperture ring is a tiny bit too loose, making fine adjustment difficult. The jupiter-8 is still pretty tight, and I do like the 85 mm, but as I don't shoot full frame it rarely gets any use.

I hope you get decent copies! I hear they can differ alot from copy to copy (maybe because of prior usage, maybe because of manufacturing?). I bought the 37, 58 and 85 last year but don't like them at all! The way that the iris work just doesn't do it for me. Although they give an interesting look to say the least.

Internal ProRes. Please 🙃

I use the Roxsen/Pixco FD-m4/3 Focal Reducer. I've heard people saying it has had some play/sloppiness on the body mount as well as not mounting the old FDs properly. I've only used it with FDn glass and it's been a treat!

I found the Schneider 16mm f/1.9 in stellar condition locally at an auction at the beginning of the year. I had already sold my pocket but that time though. However, I've recently bought another pocket v1 and I am about to order an Arri-s adapter. I'll let you know how I like it! That's a gorgeous short by the way, thanks for the link. That makes a lot of sense. I don't know if I've ever thought about it that way.

I agree 100%. B-but still!

I was on a study visit at a tv station while in film school, where in the basement they still had two old Arriflex 16S sitting. They were the 3-lens turret kind. If my memory serves me correct they were equipped with 16, 25 and 50mm Schneider-Kreuznach Arri-s lenses, and that is what they used to shoot reportages and the like with. I've tried to adopt this simple 3-lens setup a couple of times. For my BMPCC I only have the 16mm so far, but I am aiming to complete the same set as on the arri at some point. For super35/APS-C I aimed for 28, 50 and 85 or 100 mm. Obviously Both longer and wider lenses would prove to be useful, but the idea is that these 3 focal lengths would suffice MOST of the time. One big problem, especially when shopping for old vintange stills lenses is the matching of aperture while still keeping the price down. I was shooting quite a bit with the canon FDn 28mm f/2.8, 50mm f/1.4 and 100mm f/2.8, and with a cheap chinese speed booster I could match everything at f/2.8 (effectively f/2.0). That brings me to my next problem, which I don't see many talking about - Aperture blades. The 28mm 2.8 has 5 blades, the 100mm 2.8 has 6 blades and the 50mm 1.4 has 8 blades. And it would show! When shooting everything at f/2.8 (2.0), thinking it would match pretty well, the background blur would have - in my eyes - wildly different characteristics. Long story short; if the FDn 50mm 1.4 is the center piece of the set, the 28mm f/2 and 100mm f/2 would be better matches as they all have 8 aperture blades. (don't get me started on weight and size)

I still watch some of my old physical DVD's on a 36" CRT TV. I would probably watch VHS' too if the player still worked. They are however in my opinion unwatchable on a bigger, say 50" 1080p TV. I'd reckon I could enjoy 480p streaming if codec/bit rate were up to par.

Generally I dislike changes in aspect ratio. It makes me think of youtubers who go from vlog-style to some "cinematic montage", even if the Kraig Addams example posted by @kye is pretty cool. Talking about narrative function - I watched the latest season of 13 Reasons Why (season 3) last week, and they frequently swap between two aspect ratios along with color changes (some scenes are even black and white). It is seemingly used to distinguish between timelines. Present day is represented by cool color and 2.22:1 aspect ratio while flashbacks are 1.77:1 and warm tones. The aspect ratio change bothered me to no end in the first couple of episodes, but I barely noticed it at the end of the series.

@kaylee

I get that ML Raw would be too good, how about the Ptool hacks for the panasonic cameras? As they technically fails the "unmodified stock video mode" rule. If the ptool stuff is allowed, surely using ML just for the bitrate mod as long as you're not shooting raw should be allowed aswell? I didn't mean to complicate things ?

@KnightsFan Thank you, I'll check them out further. I've never heard of Reaper before.

@Avenger 2.0 @Ivko Pivko Any suggestions on replacements for AE and Audition?

I contemplated getting it back when I had the bmpcc, never bit the bullet tho. Can't help but think it makes a lot of sense for the pocket cam, this video kinda gives that 16mm home video feel.

I've heard of people losing the ability to use external monitoring through electrical damage too, from using questionable power solutions. (source needed) My bmpcc that I got rid of last summer (oh boy do I regret it), I bought second hand and while it did not have any obvious physical damage to the hdmi-port, I could never get hdmi signal from it.

@Brian Williams I very rarely get stretched preview, and when I do it's (seemingly) when the module doesn't load properly. If I reboot the camera/ML and reload the module it usually fixes it. The off-center liveview seems more like a constant problem.

@Emanuel My experience coincide with what @Alpicat has mentioned above, with an addition to me having had similar problems with the crop mode as well, albeit perhaps in an older version of ML. The problem of a stretched preview is easy to notice and all you have to do at that point is to reboot the camera and hope for it to be properly initialized. The crop and decentering can be harder to notice, but what you can do is to frame up your shots in regular video mode, before enabling ML - a method that works to combat decentering, but is a lot trickier regarding crop.

Sorry, no clue. And I would like to know too.