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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

DSLR Arguement=funny

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Is the installation of the mount easy to do or does it require a tech? I know Paul Cameron did it himself on set...


GoPro - There's seems to be a lot of distortion and the lens is WIDE... Nice back up solution though and I will probably pick up as it is only $300!!
 
Yeah, GoPros make foreground look very fishy. They look much better further away.

It seems that is a snap-on PL, meaning one that mounts like any Canon lens would.
Try comparing the rears of the Ultras to some of those zooms listed. Looks promising.

If you tape everything but the scales on the UPs it will help tone them down.
 
Nothing yet... But I have a shot of Honolulu I want to get and was going to shoot it with a fisheye as well as the 12mm UP... What would you like to see?

I'll be shooting on a subway train and in a subway station... I'm not sure the GoPro is the way to go. There's also a fight scene in a bathroom. This DSLR route may prove amazing... More options available for camera placement, especially the moments that take place within a stall...

I like the PLt2i with UP's... I might just have to purchase this camera and mount (about same $$$ as just the 7D right?)... And I've got a few more options thanks to fellow REDUSERs...
I'm okay with pulling focus on the barrel and being handheld, existing light only (I have a few Roscoe panels with battery adaptors though if needed.)...

Casting though... this will be the difficult part.

Thanks everyone for the help. So appreciated.
 
Shawn Booth said:
Nothing yet... But I have a shot of Honolulu I want to get and was going to shoot it with a fisheye as well as the 12mm UP... What would you like to see?
Click to expand...

Anything wide open on the 16mm or 14mm would be great. The 12mm sounds pretty sweet too.

Just wondering about vignetting, sharpness, CA, and how they look with the bigger sensor area.

They sound like a great trio for interiors at 4.5k, and hopefully 5k!

Shawn Booth said:
There's also a fight scene in a bathroom.
Click to expand...

Consider adding to your idea a 5D rental for this location only. For the same reasons I was thinking of above. Much wider FOV with less distortion. And you can pick from several still lenses for it: Don't ignore the Tokina, which covers the 5D at 16mm, a complete steal, short but nice focus action, great IQ. There is also the Canon 15-35L zoom, and the Canon 14mm L prime, lots more like ZFs which are slower but that shouldn't be an issue.
 
Roberto Lequeux said:
Anything wide open on the 16mm or 14mm would be great. The 12mm sounds pretty sweet too.

Just wondering about vignetting, sharpness, CA, and how they look with the bigger sensor area.

They sound like a great trio for interiors at 4.5k, and hopefully 5k!
Click to expand...

I'll see what I can do...

Consider adding to your idea a 5D rental for this location only. For the same reasons I was thinking of above. Much wider FOV with less distortion. And you can pick from several still lenses for it: Don't ignore the Tokina, which covers the 5D at 16mm, a complete steal, short but nice focus action, great IQ. There is also the Canon 15-35L zoom, and the Canon 14mm L prime, lots more like ZFs which are slower but that shouldn't be an issue.
Click to expand...

I'm only using the DSLR method for the train and station scenes of the short. (Thinking about it, I'm excited for the difference in style/mediums as they exist in the short. It too works for the story.) Before those is a scene in our hero's apt that will be shot on R1 with UP's. The ending too.
I'm sticking with the UP's come hell or high water...
 
Another side note, I just got a 16mm zenitar for the t2i and it rocks. that combination is priceless. Shawn, did you work with SMFB on lost?

Nick
 
It's difficult to shoot free in a public even on 7D, 5D, GH-1,...even on iPhone 4G,etc,...

Today all that sort of free public HD DSLR acquisition is getting almost impossible

if you do not have any kind of official crew and guards with you together with all those location shooting permissions, etc,...

Otherwise you must become a real guerilla filmmaker and mostly fight to get your desired shots in a public.

Btw, I was trying that last winter in Vienna and have got kicked out from some of night bars

and even almost beaten on the street by night club hooligans to get some shots at the center of Vienna.

Here below are some of two different examples that I shot on 7D last winter and it shows what can happen and what you would be able to shoot but...

No_shooting_inAustria.jpg

"Don't shoot me in the bar where I'm working" said the girl and showed those fingers to me... :laugh:

clooney_02.jpg

You could get even some of Hollywood stars in your movie for free but only if you are shooting advertising bildboards
and probably you'll get in the copyright issue troubles with those stars and their brands later...:cryin:
 
I put this together 2 months ago for a globetrotting job, it's pretty fun to use, but I would never make an argument that the image quality is in the same league as the red. But I would not have been able to take the red some of the places I took this.

550d.jpg


It's all black anodized now and looks pretty. The PL mount ( from ebay ) took a day of shimming to get correct.

Matt Uhry
www.mattuhry.com
 
This is example of only safe shooting with DSLRs...

This is example of only safe shooting with DSLRs...

No need of PL glass atall especially when you would need super telephoto lenses.

Here below is one pretty lightweight telephoto on 7D: Carl Zeiss Jena Fernobjektiv 500mm f/8 (vintage M42 lens):

Zeiss_Fernobjektiv500mm_01.jpg

Greetings from Ibiza, July 31, 2010.

giorgio_armani_yacht_MAIN.jpg

Shot on 7D with Carl Zeiss Jena Fernobjektiv 500mm f/8 (vintage M42 lens) from the same balcony/terrace place on July 29, 2010 at the distance about 3 km from Ibiza harbor.

Tomorrow this lightweight telephoto lens will work also perfect on Epic or Scarlet.
 
Sanjin - Why do you assume I would need ANY kind of long lens? And to say there's no need of PL glass... I'm shooting a cinematic story. (IMO) There's absolutely no need to consider stills glass to do so.

For what it's worth, I'm only using the 24, 32, 50 Ultra Primes. For the scenes I'm shooting DLSR... I like wider lenses. Very fond of their uses during the 60's & 70's...

I have no need of the longer lenses for this particular story. I don't feel the distance created by a longer lens will help... I want the audience to be there and feel what the main character is going through. IMO, the longer lens simply shows a nice close up without bringing the audience in...
 
Shawn,

sorry but it was related with my particular shooting situation.

For your story probably 24,32,50mm focal lengths that are also my often choice for drama probably fit perfect.

At the moment I'm more in a sort of cinéma vérité or paparazzi documentary kind of style shooting to get a real life 100% as it is.

Epic and Scarlet will be perfect tools for that sort of FUTURE cinematography...
 
Two days ago I got a client who wanted to put my 15 pounds Lomo 20-120 on his 7D.
It was quite fun to even think about it... I warned him, about the 7D could be damaged... he still wanted to try without my 19mm rods, but his 15mm 20cm long dslr type plastic rods...

We tried, it didn't work anyway. The PL mount was too big (it has square ends) to enter the HotRod adapter...

I always assumed, like you Shawn, most people used 5-7D to be discreet or on small set as I do... but no. Let's put a big zooms on it :blink:
 
SJ, you are making me laugh so flippin' hard with that picture of the girl. :)

Shawn, that Zacuto EVF snaps on and off a square frame that can be glued to the outer rim of the screen, or can be mounted using a plate. It magnifies the screen by either 2.5x or 3x but the 2.5x might be the best way to go. It makes judging focus waay easier giving you the most out of the screen. There are obvious downsides for you. It limits camera placement and movement even more, draws more attention, and makes it evident that you are filming.

The Panasonic GH1 (or whatever the latest iteration may be called if there is a new one) might be worth a very close look for you. It is very similar in size to the T2i, with the very significant difference that it has a SWIVEL SCREEN which -for what you are talking about- is a match made in operator's heaven. Hip shooting, high over your head, right down to the floor, against the wall, under a chair, around the subway poles, pulled back through the doors at the very last possible second before they cut off your hands... limitless, and tiny.

Also, with Panasonic's 4/3" sensor's flange distance you can use practically any PL lens out there, even some of the fastest top shelf wides with massively protruding rear elements if I am not mistaken. I haven't looked that much into it but I know that finding one with a HotRod PL for rent should be easy as pie. You don't get to own a T2i with a PL adapter once the project is over, but I think you might want to consider going this route.

The only down-side would be the cropping, but it isn't that much when compared to APS-C or S35, especially if you have access to a full set of UPs.

http://www.hotrodcameras.com/products/lens-mount-kits/pl-mount-and-mods/hot-rod-pl-basic/?nggpage=2

GH1_hotrod_UP.jpg




Unfortunately, like the 7D if not worse, the codec sucks, DR is limited, resolution is
barely enough to inter-cut with RED on a 1080 project, etc, etc, etc, etc, etc...
...but you know all of this. And you have special requirements for this scene.
 
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