Guy Mcloughlin
Forum Replies Created
-
What type of computer are you using, and specifically what type of video card ?
-
Older Canon FD lenses have full manual aperture control, and can be found fairly cheaply on eBay. These FD lenses DO NOT WORK with the newer EOS Canon cameras, so they would only be useful for Micro 4/3 cameras with an appropriate adapter. ( like the great adapter made by cicero7 which you can find on eBay )
Newer Canon EF lenses have no manual aperture control, so they are not a great choice for Micro 4/3 cameras, at least until electronic aperture controls become common. ( still waiting for the first electronic adapter to hit the market )
Nikon AI-S lenses have full manual aperture control, and can be used on both old and many new Nikon cameras, and Micro 4/3 cameras with an appropriate adapter. ( like the MetaBones, Voightlander, Novoflex, MTF Services, Adaptimax Nikon F mount adapters )
Newer Nikon G / DX lenses have no manual aperture control so you need to buy a Micro 4/3 adapter that features aperture control. ( like Novoflex, MTF Services, Adaptimax Nikon F mount adapters )
Personally, I would choose either Nikon AI-S manual lenses or older Canon FD lenses ( just make sure you buy Canon FD lenses with S.S.C. multi-coating ), that have full manual aperture control and full manual focus control.
-
Another stabilizer to look at is the HaloRig, which is kind of a low cost version of the Manfrotto Fig. Be sure to take a look at their sample videos.
For about twice the price, the Manfrotto FigRig is great for quick’n’dirty moving shots. This stabilizer is completely made out of aluminum, so it’s very light despite it’s size.
Manfrotto 595B Fig Rig Camera Stabilizer
-
I second the monopod solution. Manfrotto makes a great one for video work that has is fluid-dampened for panning.
Manfrotto 561BHDV-1 Video Monopod
-
I have heard good things about the MetaBones Nikon F adapter available on eBay for about $90. It is supposed to be a “clone” of the more expensive Voightlander adapter.
There is one more high-end adapter company worth looking at called MtfServices.com, that produce an adapter that can control Nikon G lenses. It’s in the same price range as the Adaptimax products.
-
Using the aperture ring on the Novoflex adapter, which connects to the aperture control of the G lens.
The Adaptimax adapter has a threaded screw that controls the aperture of Nikon G lenses, which is probably slower to operate than the Novoflex ring, but it might provide finer control of the lens iris.
-
[Steve Lovelace] ” I have read many opinions as to which lens is “best” for interviewing, and we know this is a loaded question, but what is truly practical for size – in most of your experience? Keep in mind considering using f/2.8 lenses from the 35mm world with 4/3 adaptors.”
For most interviews something in the 35mm – 100mm range would do. I use a Zeiss 50mm f/1.4 ZF2 lens with a Voightlander Nikon F to Micro 4/3 adapter. A Nikon AI-S 50mm f/1.4 Manual-Focus lens would be a great choice too.
-
[Steve Lovelace] “1. In the video world, most of us are accustomed to parfocal zooms that hold focus – like the Fujinon ENG lenses.
If you want parfocal zooms, then buy a PL Mount adapter like the HotRod AF-100 Tuner Kit, and then either buy or rent Cine PL lenses.
[Steve Lovelace] “2. Since the camera is 4/3, and a lens adaptor is necessary when using 35mm lenses, what is the effective focal length conversion of any given lens?
The AF-100 sensor size is very similar to the 3-Perf 35mm Cinematography format, so if you are used to working with Cine cameras the lenses work pretty much the same way. ( Forget comparing ANYTHING to the 35mm Full Frame Still Photo format, which has no real meaning in the Cine world )
A “normal” lens for the AF-100 is in the 20mm – 25mm range. ( I use the 25mm f/0.95 Voightlander lens )
A “wide” lens for the AF-100 is in the 12mm – 17mm range. ( The only fast lenses at this focal length are Cine lenses )
A “telephoto” lens for the AF-100 is in the 35mm – 100mm range ( yes you can go much longer, but for practical shooting this is a very useful range )
[Steve Lovelace] “3. What is the resulting light loss f/stop difference when using an adaptor in above situation?”
NO LIGHT LOSS AT ALL. A 25mm f/0.95 “normal” lens, is ALWAYS f/0.95. A Nikon 50mm f/1.2 is ALWAYS a f/1.2 lens.
[Steve Lovelace] “4. Aside from the Nikon lenses, others have used 4/3 Olympus lenses, but the iris bump and non-parfocal aspect scares me.
Very few 35mm Still Photo Zoom lenses of any brand are parfocal, so I would not worry about this. If using a parfocal zoom is important to you buy a PL adapter and use Cine lenses.
Most film-makers consider 35mm Still Photo Zooms as “variable-prime” lenses, because most do not hold focus over the zoom range.
[Steve Lovelace] the super-wide Panasonic Lumix 7-14mm 4/3 lens is popular, albeit a bit slow. But in the real world, how slow is “slow”? Would it be much different from the results of using 35mm lenses hooked up via adaptors?”
This f/4.0 lens is equivalent to a 14mm – 28mm in the Full Frame 35mm Still Photo world, and the equivalent lens from Nikon or Canon is only 1 F-Stop faster / Has more distortion / Costs two times more than the Panasonic lens. I don’t see any problem here.
-
[Francisco Bech Gómez] “The F3 cost double price, besides more professional ports, is there a significant advantage in the image to pay this double price?”
The main advantages of the Sony F3 are:
1- Better low-light ( very noise free at high ISO ratings )
2- Better color ( 10-bit external output and $3,000 S-Log Upgrade Option )
3- Larger sensor ( but not that big a difference )The main disadvantage is simply cost. You could almost buy three AF-100 cameras for the price of just one F3 camera.
If your total budget allows for the cost of the Sony F3 + Lenses + External Recorder, then the F3 might be a good fit for you.
Myself, I have to live with a much small equipment budget, so the F3 is just far too expensive. If I needed it for a job I would just rent it.
I’ve seen great results achieved with the AF-100 with the right lenses and lighting, and I doubt that the AF-100 would hold you back from shooting just about anything.
-
The FS-100 does perform better in low light, but the AF-100 is still pretty good for low light work.
Adam Wilt posted some interesting test results from NAB, which doesn’t include the FS-100 but you can probably use the Sony F3 performance as a guide to how the FS-100 might perform…
Adam Wilt NAB 2011 – SCCE Charts
Philip Bloom also did a good comparison between the AF-100, FS-100, and F3.
Philip Bloom Camera Comparison
My only beef with the FS-100 is that I think Sony did a very poor job at designing the camera body for practical film-making. The camera body should have been bigger, included built-in ND filters, had both XLR audio inputs together, and allowed enough room to properly grip the camera.