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aapo lettinen

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aapo lettinen last won the day on March 23

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  1. bmpcc speed booster probably does not work with the GH series. the GH5s has for example v-log already enabled in factory and dual iso capabilities. the original GH5 is not as versatile due to the older sensor. the price difference is not that much when starting to calculate it further. purchasing a separate recorder (for example atomos) complicates the choices further because the memory card costs and internal bitrates don't matter then that much anymore. The lens mount thing is very challenging because most of the adapters lack full electronic controls (for example there is no EF to NikonZ adapter which enable electronic aperture adjustments even when normal fully muchanical EF to NZ adapters are common and very affordable) which is why it is easiest to switch camera bodies when you have fully mechanical lenses with aperture rings and mechanical focusing. For example Nikon AI-S lenses are pretty versatile, you can use them with almost any camera with adapters so that you never need to purchase new lenses unless needing certain wide angles or PL mount ones. Sadly the metabones ef boosters with full lens control are pretty expensive and it may make economically more sense to sell the EF lenses and purchase completely new lenses than to spend lots of money to the booster to adapt the old ones. The Chinese speed booster copies may be actually pretty OK for normal uses but they don't have electronics and are thus worthless with electronic EF lenses
  2. That may be relatively easy to solve because you have lots of potentially incompatible lenses. 1. Sell the incompatible lenses you currently have and use the money to buy the camera body or if the shop allows you can directly trade them in for the new camera body 2. Purchase the new lenses with financing, you can surely find a shop which allows that 3. The end result the same but easier to manage the financing options
  3. It DOES NOT output raw video yet. that is under development. there is a great difference between a promised feature and a delivered one. Occasionally camera manufacturers may not even deliver ever or only apply the promised feature only to the next camera model and not the current one
  4. Yes I was referring the very slow response of that lens's electronic focusing which is very annoying and makes working it pretty slow even if you just shoot some plates. It is better than no glass at all but I would go for some better glass (or any other glass) if possible
  5. I would not use the kit zoom lens for any cine use because of its horrible latency. You will have hard time focusing with it. As for the look difference, I am sure the colorist can match the footages from the two sensors very well so there is only minor differences. The codecs is not a particular problem if you expose the fs7 well. They tend to have more noisy sensors than f5 so the codec will catch the blue specking etc quicker
  6. Because the OP already has a collection of EF lenses (I assume the electric ones like canon L) then the best solution could be the GH5s with metabones ef booster so that the existing lenses can be used and the setup would be as versatile as possible. As I mentioned the Z6 works best as a special purpose camera. Our crew uses one for cityscapes night shooting with long tele lenses and low light gimbal stuff. It is excellent for both of those as long as the dynamic range is not needed and you can live with the other limitations. I mean, it is a nice little camera with great colours and image quality for what it is if you use it with the atomos. But the 9+ stops and lack of uhd/4k high speed is just not good enough for daytime shooting nowadays if you plan to use it as a main camera and for most uses the 4000-5000 usd for the camera+recorder and accessories without lenses is too much for a camera setup with that kind of limitations. As a night low light b-camera it is wonderful though if you need that kind of system for your projects and can arrange good lenses for it
  7. I think the Z6 is best for uses where you need a documentary camera for very low light shooting (iso 6400, 12000 and 25600) and have possibility to use the external 10bit prores recorder with it. For general indie use the GH5s with a cheaper speed booster would be more practical and versatile and much cheaper. Or the Pocket 4k if you can wait the camera for half a year
  8. I havent used those other camera models but have some experience of the Z6. The menu system is not simple with these cameras either, you will want to test one in the shop. The Z6 also lacks video scopes other than zebra so you really want to have an external display with it, for example the Ninja V which also has recording capabilities and has really nice scopes. The atomos raw update is not out yet so you are stuck with 10bit nlog even with an external recorder. Also the dynamic range is pretty modest in video shooting, something like 9 or 10 stops of really usable range which you actually can see (remember that camera manufacturers and articles always exaggerate the dynamic range of a camera and the real practical range is always at least one or two stops lower so they would list this camera as 12 stops probably even if it really has the 9 or 10 of usable range currently) but its not super bad. The camera is pretty sensitive and the low pass filter is really nice to have so no difficult aliasing problems to worry about. There is lens adapters available for EF lenses (no electric controls, only a mechanical adapter) and PL mount (the ciecio adapter is very nice quality) so it is pretty versatile
  9. Partially gelling a light for making two different colour temperatures and spreads/hardnesses from single light (in this case making a "sunset light" from a small window on an indie shoot with single 650w tungsten fresnel)
  10. if doing moonlight you might want to control the daylight ambience with flags and frames to make it more directional and single source looking. for warm sunset look it is possible in some cases to create both the warm "sunlight" and cooler "sky ambience" with the single source by using partial gelling and diffusion on a frame or light. For example, one can take a large piece of diffusion media and cut a hole to the center where one would attach a piece of clear CTO... then one would have a hard center light with lower colour temperature and cooler, dimmer and softer ambience light coming from the other parts of the frame. ND gels or CTB could added if needed to adjust the balance between the two. one could also just partially cover a frame with CTO and partially with diffusion, for example 251, and add some 1/2ctb or ND or more diffusion over the 251 if needed. OR use two or more frames side by side if that is easier.
  11. Lomo OCT18 lenses with an PL adapter can be very lightweight and it is possible to attach a focus gear to one easily and you can clean+lubricate the focus gears by yourself so they are easy to service. for handheld the newer black versions of the 50/2, 35/2 or 28/2 and the newer Rafcamera adapter which enables smooth focusing. It could be possible to get two or three lenses with adapters and gears for about 1000 euros if you can find ones which are in great optical condition (not scratched and cracked to hell like most of the ebay stuff seems to be at the moment) I am not sure though how they would clear the shutter of the 235, never tried them with that adapter on film cameras though used them on Konvas a lot
  12. there is affordable PL to C-mount adapters available on ebay and other places, would those work instead of having a hard PL conversion? you would probably like to have separate support system anyway unless doing very heavy modifications to the camera (especially if it's a turret model) so a separate adapter would probably work nearly as well as a hard conversion and would be much cheaper and easier to arrange
  13. it may work on special situations but if you use white background you will very easily generate spill/contamination problems from other lights you use. so the green itself will be fine but as soon as you try to light your subject the other normal lights will spill to the white background and contaminate your green with white light causing extreme saturation problems and making a clean key difficult. That is the reason why it's rarely done, even if it sounds tempting at first to just use ANY white background instead of having a proper green screen and just "color it with green light because it's easier" . the thing is, IT'S NOT even remotely as easy as using a truly green background from the start and will become exponentially more difficult when your subject light levels rise. I would maybe use the technique on special occasions depending on the subject lighting but for any normal greenscreen stuff it is much easier to just have a truly green background to begin with. You can of course enhance the background green with super green light if needed :)
  14. one of my friends does lots of nature documentary shooting with Varicam35 and the Canon 50-1000 lens. it is very useful combination and sensitive if you need S35 sensor
  15. Blackmagic products would be very nice purchases if one just likes to walk by a shop window and sees a nice camera there which they even happen to have in stock and then just goes and buys it right away, "here's my Visa, wrap it up with couple of Vlocks and a tripod and those lenses" :rolleyes: When you have to order them and they are promised to deliver and then there is none for half a year it just does not work at all :blink:
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