Peter Saintmartin thank you so much! That is an interesting shot that I love as well. And technically speaking, it’s incorrect. Most would say have the actor on opposite side of the frame so he doesn’t get lost in the shadow, but I feel the opposite if you look at it poetic. He is lost in grief so if he is mixed with shadows I think it says something more interesting. Not that I want to go all artsy on you. It just felt right to shoot it that way. Thank you again, I really appreciate it!
@@JeffSandersFilms Very interesting thought provoking composition. I had to rewatch this movie more than 4 times. Whenever I watch it, I get to learn something new. You sure made a great decision to shoot the talent in the shadows, shows he's emotionally struggling, the more he approaches his home. Thanks for the many lessons in this movie.
Love these lenses! Excellent work! You have done a great job in showcasing this vintage glass with super 35.....I am shooting with a set of super takumar (35mm f3.5, 28mm f3.5, 50mm f1.4, 55mm f2 , 50mm f1.4 macro, 135mm f3.5)) with ZCam s6 ..images are real nice!
This is awesome thank you so much. I have the BMPCC4K with 0.64XL metabones booster and an adapter to M42. Mainly for helios, but I was looking into the 28mm, and wondering how bad the focus might be or how it might look with extra adapter space. Didn’t want to have to buy extra speedbooster! Thanks a lot. The 28mm looks usable, as don’t intend to do many huge landscape shots. Mostly inside. How is night shots with the 28mm?
Brandon Schleter thank you. The 28 definitely goes soft at infinity. If you stop it down it helps, but there is definitely issues if you go there. Inside shots it should do fine. I’d say anything 20 feet and under was fine if memory serves. The camera does great on low light and the 3.5 turns into a 2.8 on the Speedbooster, so you should be fine.
Thank you, Mohamed. I did use a speedbooster on this one. I remember because the 35mm and the 28mm couldn’t reach infinite with it. Mine is the Metabones .64, btw. I used either the Schneider or Tiffen IRND 1.2 if memory serves. Hope that helps! Thanks again!
Just stunning! Are you based in the U.S? I am working on a documentary which will be partly filmed in the U.S next year and I am looking for another Pocket 4K user who uses vintage glass. How can I contact you?
Pierre Cabanon thank you so much! There is very little for something like this. These settings are more or less for vfx work. I just used them for testing purposes. Hope that helps! Thank you again.
KARLIE MORRISMUSIC I agree. I wanted to pull those blue skies and green foreground together and make it look more like a painting. We were shooting on a very nice day and luck was in our favor. Thank you so much for the nice words! All the best!
Wow Awesome image as always Jeff. All of them are incredible, though I really love image from the 135mm. I like how you went with a more natural grade and still these lenses give a cinematic image.
Alexandru Moraras thank you so much! I agree about the 135. It just ate up that landscape. I kind of like keeping my grades simple. To be fair, I am simple and bland :-) Thank you again!
Jeff Sanders Well I think if you grade an image long enough, in the end it will look almost cinematic. But the less you grade an image, and if it still looks cinematic, then that is because of the camera, lens and how it was shot. I’m a fan of a lot more in camera, and a lot less in grading. If you look at making of movies that won Best Cinematography, you can clearly see that it almost looks the same as the movie, because of lighting, atmosphere, production design and that sort of stuff. So yeah, keep grading like this Jeff! Its awesome 🤣
Alexandru Moraras yep I agree. Not to sound like “that guy” but Roger Deakins says he just shoots with a basic LUT that is tweaked a little and just tries to nail it all in camera. I do the same thing kind of. Not because I am making a statement, but because I am not a great colorist and it is way easier for me that way. If I know it looks fine on location, it will look fine in post. And if it is in BRAW, I can still do a bunch of adjustments if need be.
Jeff Sanders yes totally! And really before Forest Gump, more or less, they didn’t even do color grading. They just used the film that had their needs and end of story. We are spoiled nowadays, really. I’m really glad that there are still DPs out there who understand cinematography is more than grading and slow mo shots! Or well, a lot of so called DPs on youtube, are actually not. Hope to see more stuff from you Jeff.
super cool ,i think i will shift to the super takumar primes instead of the sigma 18-35 with the speedbooster as it will break my pocket,, but i just searched on amazon and found that all is used ! ,, where can i get a new ones ?
shady magdy well unfortunately they don’t make the Takumars anymore. These lenses are all from the 70s-80s. That’s why they are cheap. I would check eBay and thrift stores. They are on a lot of Pentax 35mm bodies from that time. Also, I have the Sigma and Speedbooster. I would recommend that setup if you are doing paid work. Even the version 1 Panasonic 12-35 looks pretty good on the Pocket 4K and can be purchased around $400 used. Those are a little easier to deal with and look great. These vintage lenses are great, but more for narrative, personal work. You can do professional gigs with them for sure, but the quirks may give you some grief. Just my opinion though. Different tools for different jobs.
Ian Campbell M42 is an old mount that was on a variety of lenses, like the Takumars or Helios. It is a screw mount. They make adapters for them that can go to almost any new mount (canon, Nikon, Fuji, Sony). They are full frame for old 35mm film so they will work on pretty much any cinema camera if adapted. If you are interested in adapting old vintage lenses they are a good mount to start with because you can change them easily. Hope that helps. For this video I just used a M42 to EF adapter, then went through my Metabones EF to M4/3 Speedbooster XL.
Bro, the Takumar's are fantastic! I got the SMC's though... they're a bit faster. And they're amazing with the metabones bmpcc4k combo! That footage was gorgeous! Keep up the good work!!!
Bobby D'Buze thank you for the kindness. Those lenses of yours look amazing! I would love to have a set some day. Feel free to share any footage you shoot!
Emmnauel Alexander González the rear element of the lens gets too close the the element of the Speedbooster so the focusing distance is thrown off a little. You can make adjustments to fix it but I haven’t attempted yet.
Stunning, really lovely grading. This may sound like a daft question, but is it ok to convert an m42 to ef for Metabones? This was something I was wondering before if it was something folks had done
Justin Gooch it works with most lenses. One thing I have noticed is some of the wider angle lenses (28, 35, etc) don’t quite hit infinity focus. You can see some of that in this video. I hear there are back focus adjustments and such that help that. So far I haven’t had any big issues using m42 to EF adapters though. Thank you for asking! I appreciate all the kind words as well.
Beautiful looking shots, fantastic landscape. Love the atmospheric shot at 5:50. Keep up the good work really enjoying your videos.
Peter Saintmartin thank you so much! That is an interesting shot that I love as well. And technically speaking, it’s incorrect. Most would say have the actor on opposite side of the frame so he doesn’t get lost in the shadow, but I feel the opposite if you look at it poetic. He is lost in grief so if he is mixed with shadows I think it says something more interesting. Not that I want to go all artsy on you. It just felt right to shoot it that way. Thank you again, I really appreciate it!
@@JeffSandersFilms Totally agree, sometimes you go with your eye and gut feeling. Rules are meant to be broken.
@@PeterSaintmartin I agree. It's good to know, but it's also good to trust your instinct and eye. Thank you again!
@@JeffSandersFilms Very interesting thought provoking composition. I had to rewatch this movie more than 4 times. Whenever I watch it, I get to learn something new. You sure made a great decision to shoot the talent in the shadows, shows he's emotionally struggling, the more he approaches his home. Thanks for the many lessons in this movie.
@@kamishimoproductions8587 ahh thank you very much. Those words just make my day. I have been wanting to go out and film with Caleb and Jose again.
Wow, amazing shots! I love Takumars and your footage shows why I love them. Really great shots
Thank you. Yeah, they really surprise me every time I take them out for a shoot. In a good way.
Jeff, wow what great footage you captured with this lens dude! You showcased this perfectly!
Mark Holtze dude! I watch your channel all the time! I love it. What a very kind thing for you to say. Much, much appreciated. Thanks again - Jeff
Very nice! You've found some lovely angles there and as has already been said there's some beautiful colouring going on too.
Thank you very much! I was quite happy with how this all turned out. Hope to shoot out there again soon.
Finally someone who can coloring BMPCC4K !
amazing!
That is so nice of you to say. I am always trying to get better. Thank you for the encouragement!
Love these lenses! Excellent work! You have done a great job in showcasing this vintage glass with super 35.....I am shooting with a set of super takumar (35mm f3.5, 28mm f3.5, 50mm f1.4, 55mm f2 , 50mm f1.4 macro, 135mm f3.5)) with ZCam s6 ..images are real nice!
Oh cool. I actually have an zCam F6 I need to take out. Thanks for the comment!
@@JeffSandersFilms awesome ! I’ll be looking out
Might be my favorite video so far!
A. Sanders I think so too!
The 135mm close ups were breathtaking. Thank you for sharing!
Yeah I was blown away by that lens. $40. What the heck?
@@JeffSandersFilms i got one for $60 but haven't used it yet
JOSEPH I had to wait and I made an offer to a guy on eBay. It’s totally worth the $60 though. You will love it! Thank you again!
Awesome work! Nice mood.
Wojciech Szuster thank you!
Lovely work!
Alex López that’s very nice of you to say! Much appreciated!
AWESOME! Luv it. Amazing image quality. Great work Boss.
DARRYL SMITH thank you again! I appreciate the kind words you give!
As always you are amazing my friend... called to check on you a couple of times... hope you are doing GREAT... Always In Your Corner,
Blackhawk
Blackhawk Walters thank you my friend! I truly appreciate it! I will get back to you. Sorry about that. Been all over the place.
This is awesome thank you so much.
I have the BMPCC4K with 0.64XL metabones booster and an adapter to M42. Mainly for helios, but I was looking into the 28mm, and wondering how bad the focus might be or how it might look with extra adapter space. Didn’t want to have to buy extra speedbooster!
Thanks a lot. The 28mm looks usable, as don’t intend to do many huge landscape shots. Mostly inside.
How is night shots with the 28mm?
Brandon Schleter thank you. The 28 definitely goes soft at infinity. If you stop it down it helps, but there is definitely issues if you go there. Inside shots it should do fine. I’d say anything 20 feet and under was fine if memory serves.
The camera does great on low light and the 3.5 turns into a 2.8 on the Speedbooster, so you should be fine.
this so nice keep up the great work.
Remixbarbershoptv you are awesome! Thank you for that!
Just lovely. Fresh air. Cant believe its a 60$ lens. Haha. May i ask if u used a speedbooster. Also any filters? Thank you.
Thank you, Mohamed. I did use a speedbooster on this one. I remember because the 35mm and the 28mm couldn’t reach infinite with it. Mine is the Metabones .64, btw. I used either the Schneider or Tiffen IRND 1.2 if memory serves. Hope that helps! Thanks again!
Yo man, you got some really great shots. Do you have any links to your sample footage that we can download to try our hand in color grading????
Just stunning! Are you based in the U.S? I am working on a documentary which will be partly filmed in the U.S next year and I am looking for another Pocket 4K user who uses vintage glass. How can I contact you?
Thank you. That’s very nice of you to say. I am out of Utah. I have an email contact on my page that is probably the best way to contact.
Hi mate, gorgeous images. Do you see a different when you color grade with BRAW Q0 vs Q5 or other bitrates? Thanks
Pierre Cabanon thank you so much! There is very little for something like this. These settings are more or less for vfx work. I just used them for testing purposes. Hope that helps! Thank you again.
I love how the lense compression on longer lenses
Give more of a cinematic feel to footage
KARLIE MORRISMUSIC I agree. I wanted to pull those blue skies and green foreground together and make it look more like a painting. We were shooting on a very nice day and luck was in our favor. Thank you so much for the nice words! All the best!
Wow Awesome image as always Jeff. All of them are incredible, though I really love image from the 135mm. I like how you went with a more natural grade and still these lenses give a cinematic image.
Alexandru Moraras thank you so much! I agree about the 135. It just ate up that landscape.
I kind of like keeping my grades simple. To be fair, I am simple and bland :-)
Thank you again!
Jeff Sanders Well I think if you grade an image long enough, in the end it will look almost cinematic. But the less you grade an image, and if it still looks cinematic, then that is because of the camera, lens and how it was shot. I’m a fan of a lot more in camera, and a lot less in grading. If you look at making of movies that won Best Cinematography, you can clearly see that it almost looks the same as the movie, because of lighting, atmosphere, production design and that sort of stuff. So yeah, keep grading like this Jeff! Its awesome 🤣
Alexandru Moraras yep I agree. Not to sound like “that guy” but Roger Deakins says he just shoots with a basic LUT that is tweaked a little and just tries to nail it all in camera. I do the same thing kind of. Not because I am making a statement, but because I am not a great colorist and it is way easier for me that way. If I know it looks fine on location, it will look fine in post. And if it is in BRAW, I can still do a bunch of adjustments if need be.
Jeff Sanders yes totally! And really before Forest Gump, more or less, they didn’t even do color grading. They just used the film that had their needs and end of story. We are spoiled nowadays, really. I’m really glad that there are still DPs out there who understand cinematography is more than grading and slow mo shots! Or well, a lot of so called DPs on youtube, are actually not. Hope to see more stuff from you Jeff.
super cool ,i think i will shift to the super takumar primes instead of the sigma 18-35 with the speedbooster as it will break my pocket,, but i just searched on amazon and found that all is used ! ,, where can i get a new ones ?
shady magdy well unfortunately they don’t make the Takumars anymore. These lenses are all from the 70s-80s. That’s why they are cheap. I would check eBay and thrift stores. They are on a lot of Pentax 35mm bodies from that time.
Also, I have the Sigma and Speedbooster. I would recommend that setup if you are doing paid work. Even the version 1 Panasonic 12-35 looks pretty good on the Pocket 4K and can be purchased around $400 used. Those are a little easier to deal with and look great. These vintage lenses are great, but more for narrative, personal work. You can do professional gigs with them for sure, but the quirks may give you some grief. Just my opinion though. Different tools for different jobs.
Did you add any image detail sharpening at all?.
Just a tiny amount of midtone sharpening in Davinci. Hardly any.
Not familiar with M42 mount. Can you explain how it works with metabones?
Ian Campbell M42 is an old mount that was on a variety of lenses, like the Takumars or Helios. It is a screw mount. They make adapters for them that can go to almost any new mount (canon, Nikon, Fuji, Sony). They are full frame for old 35mm film so they will work on pretty much any cinema camera if adapted. If you are interested in adapting old vintage lenses they are a good mount to start with because you can change them easily. Hope that helps.
For this video I just used a M42 to EF adapter, then went through my Metabones EF to M4/3 Speedbooster XL.
Bro, the Takumar's are fantastic! I got the SMC's though... they're a bit faster. And they're amazing with the metabones bmpcc4k combo! That footage was gorgeous! Keep up the good work!!!
Bobby D'Buze thank you for the kindness. Those lenses of yours look amazing! I would love to have a set some day. Feel free to share any footage you shoot!
@@JeffSandersFilms So far only done one shoot, but with the Ursa Mini Pro, lemme know what you think! ruclips.net/video/2fausfqF5bo/видео.html
Очень красиво !
Awesome footage! I have a question. Why can't you focus to infinity?
Emmnauel Alexander González the rear element of the lens gets too close the the element of the Speedbooster so the focusing distance is thrown off a little. You can make adjustments to fix it but I haven’t attempted yet.
@@JeffSandersFilms i see! Thanks for the fast response! And keep it up man grate stuff!
Do you think that this could help?
ruclips.net/video/CQ_PFMLonpU/видео.html
Stunning, really lovely grading. This may sound like a daft question, but is it ok to convert an m42 to ef for Metabones? This was something I was wondering before if it was something folks had done
Justin Gooch it works with most lenses. One thing I have noticed is some of the wider angle lenses (28, 35, etc) don’t quite hit infinity focus. You can see some of that in this video. I hear there are back focus adjustments and such that help that. So far I haven’t had any big issues using m42 to EF adapters though. Thank you for asking! I appreciate all the kind words as well.
This is really nice, but nowhere near shot film...Great job
Mike Westt thank you so much!
Thanks. Good work. But this sensor has lifeless color sience. Try URSA Mini Pro.