Uli Plank
Forum Replies Created
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Sure, I get great images from my Nikon too – but only if I stop down a step or two.
The poster at DVuser is not noting if they shot wide open (well, I didn’t go through all the thread), but when adapting a 1.4 lens to the AF100 my main reason is having faster glass (and a nice bokeh). The lenses I compared were both quite old, about 30 to 35 years. I’m sure Nikon will have used better coating for the rear lenses in later production.
Just wanted to give a heads up if buying really old glass. Remember, film emulsion is less reflective than sensors (or the filters in front of them), so at the time there was not that much reason to take extreme care of coating rear lenses. BTW, the diffusion I get from the old Nikons can look quite nice an romantic portraits. But I’d rather add that with a diffusor under my full control …
One more hint: depending on the adapter you use, there may be some shiny metal exposed at the back. I got quite some improvement when blackening those parts not to have so much light bounced around there.
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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Of course there are better adapters, some folks think Novoflex are the best.
But given the budget of the OP, at least I’ve not yet seen a lens coming loose from a Chinese adapter sold by Rainbowimaging (but from others).Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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I’m not that impressed by the older Nikon lenses on a AF100. I compared a Nikkor 50mm 1.4 with a Minolta Rokkor PG 50mm 1.4 and the latter had far more contrast wide open. Seems that the Rokkor had a better coating for the rear lens at the time.
But YMMV
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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And those are cheap, try Rainbowimaging in N.Y.– I got mine there and they are OK.
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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Cine primes will be far beyond your budget, but you can still get pretty good photographic primes from the non-automatic era on Ebay. I use Minolta MC/MD Rokkors on our AF101 with simple adapters and a focus ring with the right pitch to attach a cine FF, plus a matte box and a set of NDs.
Only problem: there are no fast primes with enough of a wide angle among those. Get the 20mm/1.7 from Panasonic or the Voigtlander 25/0.95 if it fit’s your budget in the end.
Plus, there’s nothing like the 7-14mm from Panasonic for very wide angle (if needed), but it’s not fast. BTW, all those photographic zooms can not really be considered video zooms, they should be regarded as ‘variable primes’ with all the negative sides Noah mentioned.
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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If you record to cards in both cases, it doesn’t really matter if your AF101 is working in 59.97 Hz. Work and edit in 24p (watch out for correct flagging as progressive in your NLE) and speed the final product up to 25p if you need it for European TV. This has been done to film for 80 years or so.
BTW, the GH2 is using it’s highest bitrate in 24p. Plus, an external recorder won’t help with this, since the stupid thing switches to 50i as soon as you connect anything to HDMI.
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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No, unfortunately the GH2 is restricted to 24p in Europe as well ( in 25 it’s interlaced).
And it’s true: the AF101 will offer 24p only when set to 59,97 system frequency (don’t know what they are smoking in Japan). But your recordings on the cards will be true 24p, no pull-down added. So, it doesn’t really matter as long as you aren’t going for external recording (like Ninja or Ki Pro).
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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Well, we don’t have the same camera, but it works fine for us with other Panasonic models. You may need to re-install your system. First try to trash your prefs ( https://www.digitalrebellion.com ).
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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What about ProRes 422?
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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50i footage needs to be de-interlaced at high-quality to be used for slo-mo. I thought you were talking about 24 fps footage. IMHO, the best de-interlacer is RS Fields Kit by revisionfx. make a test to check if it’s up to your expectations. Of course it’s not like a RED One for slo-mo 😉
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts