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Shawn Convey

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About Shawn Convey

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    Director
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    Chicago

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  1. Canon 8-64mm T/2.4 Super 16 Zoom PL Mount 8-64 - HURT LOCKER - USA ship + Extras Fantastic condition, Item located in Chicago (would prefer local meet up but will ship in USA) Asking $4700 + PayPal fees + Shipping (FedEx w/ Direct Signature) Photos can be found: https://markofman.dropmark.com/687465/19513630 If you are viewing this you likely already know all of this but here is some info on the lens: CHECK OUT THIS AMAZING REVIEW with SAMPLE FOOTAGE from this model of lens (footage was not shot with this exact lens but one just like it) https://www.vintagelensesforvideo.co...8-64mm_review Item Listing Info: Included in this Listing -- Lens, With Chrosziel bracket and front tripod mount, original caps, grip, flight case, ST/BL mount with Zeiss cap, compendium/matte box with 2 filter inserts. Working condition -- 100% Perfect Condition of optical elements (lens glass) -- very fine lenses, only the smallest amount dust inside, normal and no effect whatever to image quality. Condition cosmetically (outer condition) -- Only light marks of use - Light to normal marks of use / see pictures!! <><><><><><><><><><><><><><> Lens General Info: CF 22" // OD 95mm // Weight 4.25lbs There is a good reason Barry Ackroyd chose the Canon 8-64mm T2.4 as his primary lens on HURT LOCKER - it does everything right. Not only is it sharp, has one of the most useful zoom ranges of any lens and has an amazing close-focus, but it also has almost NO FOCUS BREATHING at any focal length. Super-16 zooms are known for their bad focus breathing, and this lens has none at the wide end and almost none at the long end. With a field of view that is roughly equivalent to a 14.5-115mm in Super-35 terms and a close focus that nearly touches the front of the lens, this is the ultimate documentary lens. There is rarely a moment where you feel like you can't get the shot you need or feel like you have to change lenses. Perfect documentary shooting. This lens was designed to cover the Super 16mm format. If you are shooting on a camera with a super-35mm or APS-C sensor like a Canon C300 MKII, Sony FS7 or ARRI Amira, this lens will give you roughly the same field of view of as a 16-128mm lens would give you, which is really useful range. The 8-64mm gives you a field of view range that’s a bit wider and a bit longer than the popular Canon 17-120mm T2.95, and it’s lighter, cheaper, and almost a stop faster. The 8-64mm is a compact, lightweight, 8X cinema zoom lens, with a fast, constant T2.4 maximum aperture over the entire zoom range, with no ramping. This lens seems to have been developed with the documentary shooter in mind. It covers the most commonly used focal lengths, it’s got a fast maximum aperture, it’s extremely light-weight, and it has relatively short focus and zoom rotation, which is ideal for when you are zooming and pulling focus directly off the barrel. That being said, this lens delivers a very desirable look, making it well suited for scripted work as well. <><><><><><><><><><><><><><>
  2. Hey all, Can anyone recommend a reasonably priced service tech that can CLA (clean lubricate adjust) a pair of SLR Angénieux Zooms (35-70 & 70-210)? The outer body / glass looks nearly like brand new but I would love a specialists opinion on any internal dust buildup (which I suspect is normal and acceptable) and would love maybe some lubrication on the focus and zoom rings. I doubt they need much if any work but before I invest in Mod'ing them for Cine use I would like a pro's opinion. Also if they could De-click while they are in there that would be perfect (assuming they know what they are doing with de-clicking) Any suggestions / advice would be greatly appreciated!
  3. As camera's keep coming out with higher and higher resolution models (far beyond what our eye can resolve) and with company/studios like Netflix trying to force content creators to film their content in 4k (claiming to want to "future-proof" their investment).... Do any of you have any strong opinions on this and/or have you heard of anyone or you yourself not been able to sell your film BECASE it wasn't UHD or 4k (obviously SD has some hurdles)... I am considering filming some doc stuff while abroad for a year in Sri Lanka (a feature included) using a Super-16 lens (Canon 8-64) in a windowed 2.5k cropped sensor (from a 4k BMP4k) as I think the focal range, the character, sharpness and speed will be the "perfect" lens while abroad... However I am nervous about the workflow (that is unless BMD decides to offer a S16 Windowed mode which they really should) and or having a hard time selling it once it is completed realistically 3+ years down the road. Any thoughts?
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