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Lucas Murray-Reynolds

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  1. Thanks for the response too, Robert! I've examined my adapter's mount and it does indeed have the chamfered edge you're describing, so I think I'm good on that front. My doubt are with the lens as after having to get a replacement body from Blackmagic because of previous similar issues everything seems to be lining up as it should with lenses I own. Until I own this lens however, it sounds like there's little I can do to perfect the setup.
  2. Thanks for the detailed reply Dom! I had a similar experience not too long ago when trying to adapt an old Kinoptic S16 lens to this camera body - the result was that the body had to be sent back to Blackmagic for testing and it came back that the sensor had been incorrectly positioned so they sent me a new body. My adapter came from MTF Services here in the UK and I payed a pretty penny for it after speaking to them in length about the issue so it has my confidence. As you say, it's very difficult to get to the bottom of without a technician and the appropriate equipment. The thing the got me was that at the wide end it appeared that everything was a bit soft and that I couldn't find any sharp spot, whereas with the Kinoptic 9.8mm I tried I could clearly see that the sensor was too far back as the focus was macro. By the sounds of what you're saying, for the purpose of this shoot my only option will to be experimenting with the shims I have. I hope to one day own one of these lenses and get them properly collimated together but until the bank account allows for it il have to wait. Many thanks for the response! Always eager to learn more about these topics.
  3. Hi all, I recently did some minor tests with a handful of Super 16 zoom lenses on my BMPCC4K in the 2.6K S16 crop mode. I was finding that whilst sharping up at the longer focal lengths is no problem, when I pulled out to the wider end everything became a bit soft and I couldn't find the focus. At first I thought that it was just that the focus was so deep at the softness was part of the look of the lens but in hindsight I tested mostly at T5.6 so I'm starting to think the flange distance was just off. I have shims for my PL-MFT adapter but I didn't get the chance to try them out. Any lens specialists that know a bit more on this subject - from what I'm describing, does this just sound like a flange distance issue? And if so - how do you know if the lens needs to be closer or further away from the sensor? Obviously my shims will allow me to make minor extensions of the flange distance but I have no way of bring the back element closer. If you've made it this far, thanks for taking the time to read! Any feedback is appreciated.
  4. I’m going to be creating the famous step printing effect similar to what Christopher Doyle achieved in Fallen Angels and plenty other Won Kar Wai Films. What I am concerned about it choosing a frame rate - my base frame rate for all of my other coverage is 25fps. Does this mean I should stick to 5 or 10fps or will it matter if I shoot at an odd number like 8 or 6fps? I don’t want to stitch up the edit so trying to find out if there will be an issues in post! Any advice is appreciated. Thanks!
  5. Im currently in prep for a music video I’m shooting in a blacked out infinity cove studio. The look is to be very high contrast with lots of shadow so there will be neg all over the place. Although it will be majority digital there will be a few rolls of 16mm - I want to bridge the gap between this and the digital by using diffusion filters and roughing up the digital in post a bit with some added grain. My only worry with this is that I will lost contrast with diffusion filters and so im wondering out of all the options (pro mist, glimmer glass, black satin etc) which would you recommend to keep the blacks rich?
  6. Hi all, I recently started shooting film - I shoot Super16 on a Bolex H16 non-reflex and Super8 on a Nizo S800. I have been getting by exposing with a sekonic L-358 Flash Master but struggle when I come to wider landscapes and can't physically be where I need to expose for. I'd also love the benefits of being able to account for various filters and shutter angles when I eventually progress to shooting with more advances film cameras. My question is - which light meter would be most suitable? I see there's the L-608, L-558 but there aren't a great deal of comparisons and overviews of the different models and how they differ from the non cine versions. Any advice would be greatly appreciated! Thanks, Lucas
  7. Hi all, I have a question for the Kinoptik 5.7mm users out there. As many of you will know, this lens does not have a focus ring - it is set, some being set up to work better at closer focus and some infinity but as I understand people will use shims depending on where they want their focus to lie. The version of the lens I have been testing has been adapted to PL from Arri-S and the owner has had no issues using it on the PL mount of an Aaton 16mm camera. I suspect this was originally collimated to the Aaton. I am trying to use this lens on my BMPCC4K using a PL-MFT adapter but I'm finding that it is not getting close enough to the sensor and so my focal plane is extremely close - I'm talking less than 0.05m to 0.25m sharp when stopped down to f11. With some experimentation with S16 super speeds I am also finding focus issues on the wider end (12mm, 9.5mm) like not achieving infinity and so I think I need a good PL adapter that is shimmable so that I can adjust it depending on the lens. I have been looking at MTF and Wooden Camera for this. Does anyone have experience adapting this lens to this body? Any information is appreciated, even just your experience with this Kinoptik and the quirks you found. I'm trying to explore all possibilities before investing in this shimmable adapter as it is not cheap. I am desperately trying to find a solution as this is the only rentable one I've found in London, with good buying options online being few and far between - if there are any sellers on here I am listening 😉 Thanks!
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