canonlyme

Well here is a trick question to you guys, because I think not everything that has been stated here from the beginning is true. When talking about final aperture on a lense, you have to include the fact of which format the lens was originally made for. Does a full frame lense of 35mm 2.8 change its aperture when you adapt it with a simple adapter (no speedbooster) to m43? No it doesn't, it will still act like a like 35mm 2.8 lens. And there is proof for that! If you adapt manual lenses the IBIS of the Panasonic m43 lenses only works smoothly when you set it to 35mm. Applying the crop factor is not as simple as stated in this article and by most of people. Watch this video as proof.

Took the lenses for a walk... and I must say so far I am not really happy with the 24-35, at least not wide open. Maybe it is lacking sharpness? The 35-70macro delivers much better in my opinion. Here I have some footage: 1. 24-35 Picture 2. 35-70 Macro Function Here are some AVCHD Full HD Framegrabs: 1. 24-35 2. 35-70 macro 3. 50mm 1.4 .4

@@mercer The lens turbo as well as all lenses arrived. No problems of interference with 24-35, 35-70 macro and md 50mm 1.4.

@mercer. I got the 24-35! Yes I have installed the hack, however I am not sure if I will really use it. I used something similar on the sony6000 and didn't get all the color back. To be honest I don't trust a small codec to capture all the informations when they are compressed. Still it is a nice hack! But natural seems pretty nice too. My picture was shot with the sigma 17-35 1.8 and an old canon 500d.

@mercer you mean 35 1.8 over the zoom? I like the zoom because 24mm speedboosted is the least wide that I am okay with and also the 24mm is much more expensive than the 24-35 zoom. I'll give my feedback about which lenses fit with the zhongyi speedbooster once it is there

@mercer Thanks for your answer. I'm going to downsample too. Well I chose this name when I first learned english as for can only me, which doesn't translate to anything :D ... and I have shot canon. This one I shot with the Sigma 17-35 that I still own.+ my 500D I gave to a friend. And sure, canon colors are really nice. But for video I would have just had to already pay too much for a heavy camera with bad codecs. But once I'd be able to afford one that shoots raw or a nice codec and gives me some versatility (maybe with the canons of the future), I'd think about it again. You shoot raw, right? Also if it turns out that my gx80 will not allow me too shoot events nicely with my minolta tele lenses I'll probably get a cheap canon-DSLR for 200 bucks with a nice sensor to use with my Sigma + I own a 50mm sigma macro. About sharpness and a suiting lens. I am be able to get hold of a 24-35 for 70 Euros until tomorrow. Should I do it? I would than sell my 35mm for the same price, and while travelling be able to use the 24-35mm with zhongyi speedbooster for a 17-24mm panasonic-wise (does the zhongyi one work with it by your knowledge or might it hit the glass?), switch to a 35-70 3.5macro with a plain adapter (because it hits the glass) and also bring my 50mm 1.4 for bad lighting conditions. On the very end I would decide between the heavy 70-200 f4 and the lightweight 70-200 that wasn't that bad in comparison. Cheers Picture shot in norway

How did you manage this amount of grain with such speed? Colors would be nice too. Looks nice for doing zooms like in the graduate, haha Mhm... I actually like it and would go for the same amount. The scenery is kind of wes anderson style (moonrise kindom) so in that case there would be room for even more. :D Looks quite cinematic. Colors are very important for me (and filmmaking) and because of those colors I am happy to go for the same look (not for sony)! It's like: Why should I paint on a bigger picture, If my colors are not as nice? Also the highlights are at a very good spot, it seems like you caught a lot of dynamic range... Did you use/ can you recommend a filter? The moonrise kingdom idea also just reminded me of something else, which is sharpness that is used very subtle in that movie. I feel like many lenses are judged by their sharpness, even in minoltas line-up, and therefore the 28mm's don't get far too good ratings. But if you remember that digital cameras tend to give us too much ratings, in your video you can see the sharpness is more than enough (and nobody is looking at the corners). For product videography and model shootings it could be different, but that's not where I am headed.

Up for sale right now? Can you show me where?

Yes, they are photographs I will do 4k screengrabs once I get the speedbooster. I have got the MD50mm 1.4 version. So about your guesses: 1. Picture one and two are the cheap 5 Euro minolta 70-210 f4.5-5.6 3. Is 5 Euro Soligor which I am going to sell. 4. Is manual minolta 70-210 f.4 (is it the beercan, even if it is manual?) 5. Is minolta 135 2.8 which should deliver similar/slightly better results two 4, but the picture is a bit unfair. Apart from sharpness, which is better with the heavier lenses, the 70-210 f.4.5 still allows to blow out of focus easily. So I guess it is fair two say that for run and gun it won't the picture quality won't make a huge difference. I was going to sell the cheap minolta but than realized that it only weighs like 200gram, so one third of the other two minolta lenses. Because of that, I am thinking I should maybe keep it for the next travel film, because for run and gun it might be handy if I get sick of heavy lenses. I still might keep the 135 2.8 because its speed is handy for paid gis like indoor events. The f4 70-210 allows for great zoom flexibility while travelling with the same quality though. Last but not least I am looking for the best wide lense. It would be really nice to have that option of a range of 20mm without hurting my tight budget too much. I have the 35mm and a 28mm with a bit of fungus so far. You can recommend the 24-35mm right? The prime 24mm might be to dear. At the end of my shopping rally I have to look in the mirror and say: It's not about the gear :D

Not quite correct, but pretty good guessing ! Will explain if nobody else is giving his guess anymore. By the way, I am already quite happy with the way the minolta 35mm 2.8 and 50mm 1.4 render colors. I just did a quick edit. First pic is 50mm second pic 35mm. The 35mm made the already nice scenery 20 mins ago when the sun was going down even more beautiful. Incredible sharpness too.

Hey guys, this one is for you to guess. I am currently completing my minolta vintage lense set for gx80 and as it seems it's an endless road. Anyway, I will just let you decide without saying something about the lense. These are pictures from a minolta 135mm 2.8 (60Euros) minolta beercan 70-210 f.4 (80 Euros), minolta 70-210 4.5-5.6 (6 Euros) and a cheap soligor macro zoom. Which one do you like most and can you see the difference? I know the conditions change a fair bit...

@mercer thanks. To be honest, I think the same angle with the same grading would look awesome with a lot of cameras. The light was really beautiful. But it directly hit the lens so I had to crank the contrast all the way up. There are a few reasons I considered just now: 1: It was my moms camera (she didn't like me taking it to the desert, haha), so I was deciding between a new sony 6000 and gx80, at the moment, both cameras are at the same price in germany. 2: For pictures with heavy grading as well as 50mbit fhd the sonys are great, but I think the panasonics have better color space, which is important in compressed video. 3. The lenses for sony are overpriced, so I chose to go for a cheap camera and invest more in the stuff around it (like lenses, speedboosters, microphones and stuff) 4. The sony overheats, so it is not futureproof if I work for serious clients :D 5. The gx80 has IS. I think that could be really great when using old glass and tele lenses. 6. The gh2 sundance winner and Andy Lee got me sold on panasonic, even though I don't think that Andy Lee's movie was finished :D To be honest, if I happen to prefer the sony, I can just sell my gx80 used and buy the sony6000 so that is a maximum loss of 100 dollars Also I shoot everything manual, so I don't care about any kind of autofocus tracking. I will try to shoot events with the gx80 (pictures) and see if anyone notices that I am using a tiny camera with vintage class. Thanks for your tipps: I am really bothered right now because the lens turbo md to m43 is out of stock. Also I don't know if there will be problems with the lenses hitting the glass of the lens turbo, so I don't wanna ship it all the way from USA and then have to return it. How did you solve that problem with the minoltas? I am looking at the 28mm 2.8, 50mm 1.4, 35-70 3.5 md (4 glasses) and the 135mm 2.8. Fun Fact: My gx80 is already kind of famous. I already have a dump adapter and took my minolta lense to a movie festival. A television team from german 1st. programm was there that wanted to finish their scene but ran out of time. I was like: I have a 4k camera, I can finish it, so I did. German actor Götz otto was there. I asked him to sit down on a sofa on the event, and gave him directions from 5 different angles. He was like: Man, you are giving a lot of orders for a director, and started laughing, but he really gave me all his acting skills. In case you didn't know, he was the bad guy in james bond, tomorrow never dies. I guess that makes me one of the few people in the forum that already directed a hollywood actor, haha. Will post a short clip if anyone is interested. (sorry for writing so much) Cheers

I think this shot looks grade (budumm). No really I like that shot. What gear do you use? Do you still use minoltas? I followed your posts for a while.

Hi Mercer, since I don't have my laptop right now (it's being fixed) I will just tell you what I think from a storytelling perspective. I guess your shortfilm is not just a thriller or action movie. But your actor already has this fierce look on him. For that reason, i would really go for a warm look in his face to make your storytelling more ambivalent. The warm gradings by the other commenters I like the best. Do you have raw or compressed footage? In this background I can see blue and yellow kind of houses. If I used that for grading, I would try go for a light blue-to yellow complementary contrast. Don't make his face too yellow, do it subtle. For grading in premiere I sometimes use a trick that I haven't seen anyone else using (it also works in lightroom). Put on close to full saturation, than do the color grading, go for a light blue in the background and a yellow (with a bit of orange) look on his face, than saturate all the way back until it is just subtle. Use RGB curves and your eyes, there is more learning in that than real "grading", if you don't have a calibrated screen anyway. Since everyone is about calibrated monitors at the moment: I guess if something on your screen looks really nice, there is a 98 percent chance that it will look good on my screen too. If we studied statistics, that would be more than enough :D Cheers

Thanks anonim. I guess zeiss are really nice because they are so sharp. But I guess from what I have seen I like them rather for photos than for video. I guess for film I don't mind a look with character little chromatic aberations and vignetting as well as softness. A tip with zeiss: if you don't go for the popular ones, you make real bargains. There are old tessar ones from the 50's that go for 5-10 dollars on the fitting vintage cameras, while the new contax zeiss go for 5-10 times the price. I will buy the minolta set and then let you guys inspire me for the next, maybe more expensive set. Am getting the minolta 35-70 3.5 md and am deciding between the minolta md (4lenses) 135 2.8 for 45 dollars and the 70-210 f4 for 35 dollars. However I could really cry right now: The zhongyi lens turbo ii for minolta md to m43 is sold out! I can't use my set until they are back in stock. By the way, here is a picture I shot with the sony 6000 and a mediocre sony zooom. It's an officer on the way to a temple in india, I shot this as part of an hyperlapse, if anyone is interested in seeing that. Heavy grading. Hope the 16mp gx80 with minolta lenses will deliver just as much.

Hey Guys, this is my first post after some private messages and tons of reading. So even though I know most of your faces, I haven't written something myself. I am a german film student trying to get more professionell with my video work (on a budget). I have bought the gx80 used. Now I am looking for a cheap way to finish up my gear, probably with vintage lenses, so that I can concentrate on storytelling again. Because I am taking more and more time than I would have liked to take in the beginning and am starting to turn in circles, I now want to ask for your help with a decision about a lense set. Here is what my goal is. -A full set of conforming glass, character and vintage is appreciated and meets my budget -Infinity focus, using only one lens turbo adapter for all the lenses -Using little budget. -I always shoot manual, both video and photos (only events, no fast movements) I just bought a minolta 28mm 2.8 and 50mm 1.4 and got them cheap, I really like the 50mm, the 28mm has a bit of fungus. Also I have the sigma 18-35 1.8 (my most expensive peace of gear ever) and recently I found an old sigma af macro 50mm 2.8 in my moms old photo box. Now what should I do for a full set of lenses? Minolta: Should I buy one minolta tele and use a full set of minoltas with character? I am looking at the minolta 35-70 3.5 but don't know if that is really good as a main lense, or if I should use a tokina atx pro 28-70 2.6-2.8? Sigma: Should I try to get another tele vintage sigma lense and built a full sigma set with a more modern look? Is it possible to use the analoge sigma af macro 50mm 2.8 with an ef to m43 speedbooster, or does it not work because it is analoge? Nikkor: Using nikkor afs glass was recommended to me, but I think I only want to go there when my freelance work can actually cover the coast of a bourne lense. Looking forward to all of your feedback. If this belongs in another thread, I am happy to move it there.