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@@omegaidol you mean better than the average video of kids playing?

@@bryanhiltner3552 ??? better than average 0.7 speedboosted F3.5 lens on such a small sensor. I mean the shallow Deepth of view

@@omegaidol ahhhh gotcha. Yeah it’s tough to get a shallow depth of field with these sensors, and especially with these not super fast lenses. I use variable ND to keep it wide open, and somehow these Takumar lenses seem to provide some depth to the image even at f/3.5

@@bryanhiltner3552 Variable ND have often a X when it is set too dense. So your filter musb be really high quality. and the senor is really small but high quality. I know someone who has one of these cameras

@@omegaidol it’s a fairly inexpensive ND but doesn’t have the X issue… however, I’m pretty sure I get some IR pollution when I use the higher ND levels. I kept iso at 400 for this shoot so didn’t have to max out the ND

@@simonc4764 plan on snagging that cam soon! I’ve tried it on the BMPCC OG extensively, love the look

@@bryanhiltner3552 I just bought this lens will be trying it on my BMCC2.5K micro 4/3 mount with Metabones x64 Speedbooster.

@@northwoodstudios-dd4zw yes, the OG has a micro four-thirds sensor - even smaller actually - so that what would be a 50mm lens on a full frame camera has the field of view of something like a 100mm lens on three OG. So harder to get a shallow depth of field with this camera

@@aaronw8525 thanks for watching Aaron! Sometimes the only spare time i have is spent watching my girls, so I follow them around with my OG quite a bit. I have 2 accessories I use when going handheld: the LCDVF Kinotehnik LCD Viewfinder, and the JJC Pistol Grip Handle. The viewfinder makes it so much easier to see the screen and provides an extra contact point, and combined with a wide angle lens it makes handheld fairly smooth. Really makes it feel like you’re shooting with a super8 camera with that setup. I do still have to stabilize in Resolve from time to time though. Another option I go with is the camera stripped down completely, but with the LUMIX 14-42 pancake zoom attached. It’s a pretty good lens, and the stabilization works wonders. I’m anxious to try some sharper lenses though! Really need to try out that Zeiss Jena you’re using 👀

@@bryanhiltner3552 The Zeiss Jena is nice, but I over paid to get one from ebay that was already machined and included the c-mount to M43 adapter. I just didn't want to take the chance and have back focus issues. I'm glad I did since the lens works perfectly with the included adapter but does not correctly focus on my other m43 to c-mount adapters that I have. I also went with the pistol grip with a viewfinder - an old Zacuto one from my canon. But later I changed it to a cage with top handle and rails for balance, so I could run and keep it smooth. I also have a Canon R6 that ends up getting used most just due to the "easy" factor. It looks really nice with Contax Zeiss vintage lenses, which make the modern glass look super sterile. I just don't enjoy the motion cadence and extra sharpness of the R6 videos in comparison to the Bmpcc.

@@aaronw8525 yes… the OG already softens things a bit, and I’ve been using mostly vintage glass so far, but I think I can try some sharper lenses without making the image look too “clinically” digital. I also just bought a Micro G1 and some of my c-mount glass was t focusing right… the Fotodios adapter was like $12 and solved all my issues

I’ve got to try it out on my OG before I’m sure… haven’t had a problem with that adapter with other C mount lenses on the OG or the Micro, so not sure. I think I’ve been using the fotodios, but I’ll double-check

I just ordered the fotodios version… I’ll keep you posted! Still need to try on the og

Hey guess what? You were 100% right! The fotodios adapter solved the problem. What’s weird is the lens worked correctly with any adapter on the OG, but needed the fotodios to work correctly on the Micro. 🤷‍♂️

@@bryanhiltner3552 glad for you. I have both fotodiox and non brand. I need both of them so keep the other one because you never know ;)

You’re very right in calling this song “derivative” - it’s the opening credits song to HOUSE OF THE DEVIL, a movie made in the 2000s but set in the early 80s, shot on 16mm, has great period production design… and I’m sure they were aping The Cars with this track

Cool, I'll have to check it out sometime especially since it was shot on 16mm.

@@chrisratchford8153 if I could afford i’d shoot 16mm all the time… but it’s about $140 to shoot, process, & digitize a 100 ft reel, so I’m doing it less and less these days

The 16mm footage on your channel is really great. I have never shot 16 but I like shooting on Super 8 sometimes. I have one remaining Super 8 cartridge of Ektachrome in the fridge that I need to shoot sometime this summer. My dad is selling his 1968 Pontiac Catalina that he's had since 1967 so I think I may use that cartridge to get some footage of that car before it sells.

It took a few tries to figure it out! It looked like these Fujian lenses did not have threading on the ends… but they do. The 25mm has a 30mm filter size, so I used a 30mm-37mm step-up ring and then the 37mm variable ND that I use with my Lumix pancake zoom. The 35mm and 50mm have 35mm filter threading, so I used 35mm-37mm step up rings for those

@@bryanhiltner3552 thanks! Will try the 35mm!

Thanks for watching! I shot all the outdoor stuff at iso400 with a variable ND… but I’m pretty sure all the indoor stuff was shot at 1600, so yeah cranked to the max. I also added some 65mm film grain to everything using Resolve’s new Film Look Convert or whatever it’s called

Thank you!!! I think the iso was at 800 for the moon shot… but I should’ve gone even lower, could’ve got detail in the moon instead of it just being a glowing orb. After editing I upscale all the clips 4x, change project to 4K and export in 4K with sharpening set to low. I can’t decide which is worse to pull focus with, the little tab on this pancake zoom or the tiny wheel up against the lens mount on the Fujian 25mm 😵‍💫😵‍💫

@@bryanhiltner3552 i have the same pancake and didn't want to read description and was trying to guess which lens you used. This 14-42 is crazy sharp. I know the focus is Bad but they are other c mount option with bigger manual focus. I started to shoot a comparaison video between TVzoom and super8 zoom but i lack time (cause of life and work) but hopefully will drop a video in a month.

@@bryanhiltner3552 PS : did you export proress or h264

(can't drop comments on you ''april moments')

@@hugomalpeyrewhoops just fixed that… dunno why that keeps happening

Thanks for watching! Yeah I gotta get over my fear of taking apart lenses. Since this one was so cheap it’s definitely worth a shot. I’m a little more nervous about messing with the mount, but again I should be able to get over that. This one’s kind of just a for-fun lens given its lack of a focus wheel, so I’ll probably stick with the vignette

Thanks for watching! I have an m42 mount K3 and use a lot of Takumar lenses on it, including the Fisheye 17mm. If you have an m42 mount and the lens is m42, it should work

@@bryanhiltner3552 are you super 16 converted by chance?

@@jiving0078 my K3 was converted to Ultra16 by the famous Max aka K3Super16 in Russia

Thank you! Those shots were on the Sirui 50mm 1.6x anamorphic. I did a quick color grade based on a tutorial video by Oliver Keys. Not sure it’s the same grade I’ll use on the final film, but it puts everything into an Arri color space and gives it a more “cinematic” vibe methinks

Thank you for watching!!! I use the Pixco 0.7x m42 speedbooster. So much cheaper than the Metabones… I’m sure the metabones is superior, but this one works just fine as far as I can tell. Love those vintage m42 lenses. www.amazon.com/gp/aw/d/B00HPPHRQ8?psc=1&ref=ppx_pop_mob_b_asin_title

Right at :30 is a shot from a short film we filmed entirely on a Sirui 50mm 1.6x anamorphic… love how those lenses can stretch the open gate. It was weird shooting a full short on a single 50mm lens, but I didn’t want to rent more than just the one, and it worked pretty well for everything

I think it renders beautiful, good choice!

I’ve been lying in wait 😏

I should have! I didn’t have much of a chance to experiment though, was shooting narrative projects the day after the camera arrived up until the day I sent it back. Shot open gate for everything except one of the short films (shot that one in 6K DCI), but I never went over 36fps

@@bryanhiltner3552 curious on how much the crop is if you want to do anything 60fps

Thank you for watching! No slider, just panning with the tripod. Finally using a follow-focus, it’s helping me smooth out all the rack-focuses.

Looks awesome!

Thank you so much! Just found your OG overview on your channel =)

Yes I have a follow focus at last! Haven’t made too many videos with it yet though. And yeah, I think the difference between the Helios and most of my Takumars is probably similar to the difference between my Takumar 50mm and the other Takumars. Just some tint shifting would probably make it work. Thank you so much for watching! Means a lot to have talented filmmakers giving feedback. ❤️‍🔥❤️‍🔥❤️‍🔥

I have the SMC 24mm and the Super 28mm… and perhaps I should be pairing the 28mm with the 50mm instead, since they’re both Super Taks and not SMC, and it’s probably more complicated to match up the SMC with a Super. But on that OG sensor it’s nice to have that extra bit of wideness.

​@@bryanhiltner3552do you shoot the takumar wide open ? (Tricky) ; lots of bokeh but the tak is at his full potential at 4.5/5.6 (but not 100% sure on that OG sensor). I have a lot of Pentax but not the 24mm (but i need to stop to collect and shoot more) which seems really nice, shot wide open too ?

@@hugomalpeyre I do shoot wide open with it… always in search of shallow depth of field with this sensor, which is hard to get. But I should experiment more with it, I’m sure stopped down it’s a lot sharper. Love softening digital images with dreamy vintage glass though.

@@hugomalpeyre the 24mm I usually shoot wide open since 3.5 isn’t super fast anyway… but I also don’t mind stepping it down, since it can’t really get a massive depth of field difference anyway. I feel like the 28mm is better at separating depth of field

@@bryanhiltner3552 i like what you do with that 24mm

I’ve been color-correcting using this technique by Oliver Keys ( th-cam.com/video/Pe3-fdoUgBA/w-d-xo.htmlfeature=shared ). He says to use 6 nodes, but the raw controls for the BMPCC OG negate the use for one or two of them. Getting everything into the Arri color space really makes a difference. The first shot was with a much higher-contrast SMC Takumar 24mm… but it only required lowering the lift and a little tint-altering to somewhat match up the lenses.

@@bryanhiltner3552 thx for your reply Bryan ;) and your help and infos ;)

@@hugomalpeyrethank you for watching! It’s so encouraging to have people engage with these videos and bounce ideas back and forth ❤️‍🔥

I brought 5 100ft reels with me… 1 of the Tri-X black & white for outside the park, then 2 50D reels for inside during the day and 2 500T at night. So yeah, used about every second of footage that I shot. Expensive to buy 5 reels and have them processed & digitized, but a little splurge once a year or so doesn’t hurt if the funds can be saved up. Now the 11 reels I shot in Hawaii the next year… that was 🤑🤑🤑