Widest option for BMPCC with Nikon Speedbooster? (+anamorphot)

[Turboguard]

I'm shooting a short in November and looking to buy a new lens.

 

I'm looking for WIDE and FAST! I have some omni-lights to my disposal but will shoot dogme mostly.

 

I have the Sigma 18-35 ART lens so am looking for something WIDER than this. 

 

I have the speedboster with Nikon mount. 

 

Any suggestions?

 

I am also looking at the new SLR magic Anamorphot 1.33X - 50 attachment and it says on the site that for a S35mm Sensor (which basically the BMPCC becomes with the Speedbooster) you shouldn't go wider than 35. According to the crop factor with speedbooster my Sigma should be 31.5mm so it should work great with it correct? I should be able to use the 20mm to 35mm width without a problem no?

 

Thanks for your replies!

 

 

[Guest]

Tokina 11-16 2.8 is the obvious and probably most favoured option. I've seen a lot of nice stuff shot with the 11-16/BMPCC combo.

[Turboguard]

Will def look it up! Thanks

 

So is there a big difference between the DX and DX-II? 

 

I can only see a small change in degree of FoV and then of course the cost.

 

http://www.bhphotovideo.com/c/product/882236-REG/Tokina_atx116prodxn_ii_AT_X_116_PRO_DX_II.html

[kazkioken]

I'm assuming you don't want to use a C Mount?  The Tokina as mentioned is your only bet other than the Kowa 6mm f1.8 which will give you ~16mm in full frame equiv - I don't know whats wider than that.  You might want to look on keh.com and see if there is some exotic Nikkor that is wider than the Tokina.

[kazkioken]

oh and to your question about the anamorphot and the Sigma, it does work but if I recall not at the wide end with speedbooster.  I think it vignettes a bit just dont remember how far out you have to go, but it does work - the anamorphot likes smaller outer lens diameters

[Turboguard]

Thanks Kaz!

 

I was worried about the anomorphot not working, I'll prob pick up a longer lens and play some with it. 

 

And yeah, I want to keep it simple. I will prob change from the BMPCC soon so I won't put down too much money on lenses at the moment.

 

The Tokina sounds great for my project coming up.

[IronFilm]

I'll vote for the Tokina 11-16mm f/2.8 too, I use it on a RJ Lens Turbo on my BMPCC. 

[Nick Hughes]

Rokinon 10mm 2.8

I haven't read any reviews of it yet, but it's wide!

[JazzBox]

Yes, Rokinon 10 and 12 would be nice!

Or, if you have the m43 mount there is the Olympus 12 f/2, which I love.

[Guest]

Will def look it up! Thanks

 

So is there a big difference between the DX and DX-II? 

 

I can only see a small change in degree of FoV and then of course the cost.

 

http://www.bhphotovideo.com/c/product/882236-REG/Tokina_atx116prodxn_ii_AT_X_116_PRO_DX_II.html

 

I chose the DX version. It's a little sharper in the centre, whereas the DXII is more uniform but less sharp in the centre. I think the main difference is just that the DXII will autofocus on cheaper nikon bodies, while the DX doesn't. I only use manual focus anyway (especially with such a wide lens it's not really a problem) so I went for the cheaper DX. I use it on my BMPCC with Nikon to MFT MB speed booster and it's great.

[maxotics]

Hi Turboguard, do you have any of your videos on vimeo or youtube we could watch.  Why do you want to go so wide?  

 

On thing to keep in mind about shopping for lenses is they are rated on their quality at their intended use, which is either APS-C or full-frame.  Putting these lenses on the BMPCC crops the lens image by 2.6 as you know.  And if you use a speedbooster you're putting other optics in there. I can't see much of a difference between native 4rd glass as nice Nikon glass (in my casual tests).  So, all things being equal, I'd rather have some autofocus and aperture control of a MFT lens.  Or I'd go the older version like Matt does which is probably optically the same.

 

You might consider buying the 7-14 panny used, on Amazon, and then resale on Amazon.  It would probably end up not more than a $150 "rental" cost for a couple of months of use.

[Turboguard]

Maxotics;

 

I have some stuff here vimeo.com/chrisengdahl

 

Also, I might just go with the Tokina DX because it does have a small zoom option.

 

I'd be covered in good range, and then just a longer one to finish a basic range.

 

Reason why I want to go wide is that I have 2 scenes taking place in a car. And even though I already have a good wide, I want even wider. Esthetic reason.

 

Thanks again y'all!

[Axel]

On the Rokinon(s): 

Actually I was very interested in the 14 mm. 11 mm (let alone 10 mm) will inevitably look like video, and 14 mm is still waaay wider than 18 mm. Unfortunately, the protruding front lens prevent the use of filters, and I'd never use the BMPCC without IR-cut, and most of the time I use an ND fader as well.

 

I wasn't aware of the DX and DX II distinction. I do have a Nikon D3300 as a still camera now (it shoots quite decent video as well), and I like the Sigma very much on it. This camera has a fantastic AF for stills, and it could be worth the higher price.

 

How bad are the potential problems of the BMPCC-MB-SB-Tokina combo, as reported by Andrew (in his initial SB review): 

> soft vignetting

 

Others found

> CA in the corners, or

> couldn't focus on infinity or

> not at all

 

???

[Guest]

I haven't had any problems with vignetting on the Tokina but I have the 0.71x Nikon to MFT speed booster (not the BMPCC version), so I'm using less glass from the edge of the 11-16. Personally I'm not usually bothered by a small amount of vignetting or edge softness for video.

 

Axel, I know you use a BMPCC and G6 too, and I'm really finding the combination of those two with the Nikon D5300 (which has the same image as the D3300) to be really very effective. The three cameras cover most scenarios and resolution is quite close on all three, so they can be matched well. I hardly ever use the D5300 outdoors in good daylight (too soft and the colours, though pleasant, can be a bit thin I think in daylight) or for wide shots. But indoors with ambient lighting, and/or with long/fast lenses in grey weather the Nikon is beautiful (the colours really come alive). In poor light it shines where the G6 and BMPCC do not.

 

Can you load the Flaat profiles onto the D3300? I use Flaat_11 all the time now, as I don't think it causes any problems with grading and the colours and dynamic range end up looking much more filmic than the standard profiles (though Neutral with contrast and saturation right down is fine too). Though I really like the Nikon colours, I do think that with the other standard profiles they can look quite smooth/unreal/plasticky (sorry, can't describe it better). 

[Axel]

Axel, I know you use a BMPCC and G6 too ...

 

G6 was stolen, together with 14-42 kit lens. Have to make stills for the homepage of my restaurant (it now contains photos from 450D, GH2, G6, iPhone 4, D3300 as well as a Lizard panorama shot with the 5D), so I had to buy a cheap substitute. 

 

Can you load the Flaat profiles onto the D3300? I use Flaat_11 all the time now, as I don't think it causes any problems with grading and the colours and dynamic range end up looking much more filmic than the standard profiles (though Neutral with contrast and saturation right down is fine too). Though I really like the Nikon colours, I do think that with the other standard profiles they can look quite smooth/unreal/plasticky (sorry, can't describe it better). 

 

I can't follow you. I didn't look into this too deep yet. I found the default colors (chose 'portrait' for no specific reason) to be very vivid. I filmed with 'S' fixed to 1/50, left aperture, WB  and ISO to the program and thought it looked fine.

 

Should I need to make a slomo, I will use it for video, otherwise the Pocket needs my attention more.

[DevonChris]

 

 

I hardly ever use the D5300 outdoors in good daylight (too soft and the colours, though pleasant, can be a bit thin I think in daylight) or for wide shots. But indoors with ambient lighting, and/or with long/fast lenses in grey weather the Nikon is beautiful (the colours really come alive). In poor light it shines where the G6 and BMPCC do not.

 

Interesting. Like Axel, I find the Nikon colours vivid compared to the Panasonic GM1. I haven't got a G6 or BMPCC.

 

In fact I was testing this out only this morning as I want to mix footage shot with the GM1 and D5200. I had found the GM1 (using Neutral and then standard picture settings) colours a bit washed out compared to the D5200 with the neutral profile.

 

I have tested both cameras indoors with daylight balanced continuous lighting and in overcast outdoor conditions this morning. I used the 85mm F2 AiS on both cameras and used the same ISO and aperture settings.

 

The GM1 looked a bit washed out. The Nikon looked a bit too vivid, compared to the colours seen with the naked eye. Exposure was bang on with both cameras (tested with external light meter), and each was set to ISO 200.

[Guest]

G6 was stolen, together with 14-42 kit lens. Have to make stills for the homepage of my restaurant (it now contains photos from 450D, GH2, G6, iPhone 4, D3300 as well as a Lizard panorama shot with the 5D), so I had to buy a cheap substitute. 

 

 

I can't follow you. I didn't look into this too deep yet. I found the default colors (chose 'portrait' for no specific reason) to be very vivid. I filmed with 'S' fixed to 1/50, left aperture, WB  and ISO to the program and thought it looked fine.

 

Should I need to make a slomo, I will use it for video, otherwise the Pocket needs my attention more.

 

Oh man that's a shame. However the D3300 can produce stellar stills - much better than the G6. I hate using my manual Nikkors on my D5300 for stills though. It's almost imosible. I've considered buying a couple of Nikon AF lenses just for stills (e.g.. 35 1.8)

 

Regarding the colours in video mode in daylight, of course it's just my personal preference. But now I have the pocket, it's hard to get excited about any 8bit camera's colours! If I wasn't using these cameras for work, I'd probably only ever shoot with the Pocket. I love it.

 

I'm thinking of buying the Lumix 12-32 3.5-5.6 to have a small, wide zoom with IS for the times I don't want to carry my hefty primes and a rig and Z-finder around with me. It's sharp and cheap and tiny, though it's a bit slow and has no manual focus.

[Guest]

Good to see your restaurant by the way Axel. It looks really nice! I've never been to Dusseldorf but would love to go. The city has quite a legendary status amongst us art-school types (mainly because of photographers like the Bechers, Gursky, Struth, etc).

 

I lived in Munich for a short time years ago to attend the Kunst Academie there, and got very in to German culture. I've spent a little time in Berlin too, but want to see more ...

[Guest]

Chris - it's hard to talk about colour (well I find it hard)! As I said to Axel, it's just a personal thing really. Using flat/neutral profiles of course gives a washed out look, but I am talking about after grading the footage. Even then, with saturation and contrast put back into the image I sometimes find something a little pastel/plastic about the colours in bright sunshine. I can't properly explain it and it's totally subjective of course, and I only remark on it because in other conditions I love the colours of the D52/5300 and find them more pleasing than most hybrid cameras...

[DevonChris]

 

 

Chris - it's hard to talk about colour (well I find it hard)! As I said to Axel, it's just a personal thing really.

Hi Matt

 

Am I correct in thinking that you have a PhD in creative art? I imagine that you have a superb appreciation of colour :) 

 

I was actually surprised how over saturated the Nikon colours were this morning, compared to the GM1.  I am a big fan of the 5200, but the scenery colours did not look as accurate as I would have thought.