This video makes me miss my set of Contax Zeiss. There are definitely compromises and workarounds when you use them for cinema, but the kind of images you can get from them are so special. The 50mm 1.4 is such a unicorn and I'm considering picking one back up.
@@dukecha I agree that there’s definitely some compromises. Not the greatest focus throw distance and has been kind of hard on AC’s while pulling focus. And then so much damn highlight blooming opened up. Even on the 28mm it can get bad. But for the price they are definitely top tier.
I absolutely love watching well filmed footage on vintage glass when I can't be arsed filming anything myself, and I gotta say your content has a very good look, and nice grading. Your editing is also nice with the freeze frame closeup for closer inspection, and I'm ultra grateful you don't spend all the video on the talking head shot (not that you aren't handsome it's just that I'd rather see footage with a voiceover). Love your stuff, keep going c: For lens suggestions: vintage projection anamorphics. You'll need rails, lens supports and adapters from RafCamera or Redstan. I suggest vintage projection anamorphics because they're made from thick glass with oldey timey coatings that have absolutely gorgeous, three-dimensional streak flares that the modern anamorphics very rarely match (unless we get up to Atlas lenses) It's a good rabbit hole and it gets good once you're like 5 scopes deep I swear!
@@satan5259 thank you so much! I agree on the talking head part, I too love when I can see as much sample footage when I’m watching videos about gear. And I’ll look into some vintage projection glass!
@@FilmByKyle Kowa 8Z, 16H and B&H are very popular with multiple options for flare colours, if you want sharper with less flares, Isco Ultrastar and Schneider Cinelux, are phenomenal. If you want less than 2x squeeze and more compact, Bolex Moller would be one. These will require a variable diopter for focus such as Vazen Variable Diopter or Rapido FVD-16A. A single focus option that doesn't require a variable diopter would be Iscorama 36 although it's quite pricey at 1-2k USD on eBay still. Prices are going down a bit now that everyone is buying Atlas Mercury and Blazar Remus/Cato modern lenses though, so the vintage anamorphic market is definitely going to get interesting. Sorry for the infodump if it's too much, it's just a very nice little corner in the esoteric lens world that is slowly dying off now that there's modern production anamorphics in every price bracket :3
@@satan5259 I’ve heard of some of these but they’ve always seemed like a lot of work to get them adapted and working properly haha. But that’s good news about some of the prices dropping, I’ll look into all those.
@@skyisthelimitcinematograph9852 in terms of image quality, It’s much, much better than the fx3. That’s because of multiple reasons, the bm doesn’t internally add noise reduction, so you don’t get all of the weird edges and muddiness you get from the fx3. Another reason is 6k vs 4k which makes the bm footage much sharper. There’s plenty of things that the fx3 has that the bm doesn’t though, like image stabilization and a higher second base iso (which imo doesn’t look good enough on the fx3 to use in many professional scenarios). So it’s not to say the bm is a better camera, it just has the capability to get a much better image.
I had 50 1.4 contax zeiss. Amazing lens. And even. Wide open it is crazy sharp
Such a sick intro! Fun watch man
This video makes me miss my set of Contax Zeiss. There are definitely compromises and workarounds when you use them for cinema, but the kind of images you can get from them are so special. The 50mm 1.4 is such a unicorn and I'm considering picking one back up.
@@dukecha I agree that there’s definitely some compromises. Not the greatest focus throw distance and has been kind of hard on AC’s while pulling focus. And then so much damn highlight blooming opened up. Even on the 28mm it can get bad. But for the price they are definitely top tier.
Thank you, I already did
Great information. Question: duo you sell the LUT you used here?
I don’t currently. But am looking to put some out eventually!
I’d suggest subscribing to the channel to look out for when that happens 😁
I absolutely love watching well filmed footage on vintage glass when I can't be arsed filming anything myself, and I gotta say your content has a very good look, and nice grading. Your editing is also nice with the freeze frame closeup for closer inspection, and I'm ultra grateful you don't spend all the video on the talking head shot (not that you aren't handsome it's just that I'd rather see footage with a voiceover). Love your stuff, keep going c:
For lens suggestions: vintage projection anamorphics. You'll need rails, lens supports and adapters from RafCamera or Redstan. I suggest vintage projection anamorphics because they're made from thick glass with oldey timey coatings that have absolutely gorgeous, three-dimensional streak flares that the modern anamorphics very rarely match (unless we get up to Atlas lenses)
It's a good rabbit hole and it gets good once you're like 5 scopes deep I swear!
@@satan5259 thank you so much! I agree on the talking head part, I too love when I can see as much sample footage when I’m watching videos about gear.
And I’ll look into some vintage projection glass!
@@FilmByKyle Kowa 8Z, 16H and B&H are very popular with multiple options for flare colours, if you want sharper with less flares, Isco Ultrastar and Schneider Cinelux, are phenomenal. If you want less than 2x squeeze and more compact, Bolex Moller would be one. These will require a variable diopter for focus such as Vazen Variable Diopter or Rapido FVD-16A. A single focus option that doesn't require a variable diopter would be Iscorama 36 although it's quite pricey at 1-2k USD on eBay still. Prices are going down a bit now that everyone is buying Atlas Mercury and Blazar Remus/Cato modern lenses though, so the vintage anamorphic market is definitely going to get interesting. Sorry for the infodump if it's too much, it's just a very nice little corner in the esoteric lens world that is slowly dying off now that there's modern production anamorphics in every price bracket :3
@@satan5259 I’ve heard of some of these but they’ve always seemed like a lot of work to get them adapted and working properly haha. But that’s good news about some of the prices dropping, I’ll look into all those.
Great job on this 👏🏻
Would love to see a video on the Atlas Orion Anamorphics!
@@ScenicoStudio I would LOVE to get my hands on some Atlas glass.
hi! curious about what do you believe makes the blackmagic 6k ff better than fx3?
@@skyisthelimitcinematograph9852 in terms of image quality, It’s much, much better than the fx3. That’s because of multiple reasons, the bm doesn’t internally add noise reduction, so you don’t get all of the weird edges and muddiness you get from the fx3. Another reason is 6k vs 4k which makes the bm footage much sharper.
There’s plenty of things that the fx3 has that the bm doesn’t though, like image stabilization and a higher second base iso (which imo doesn’t look good enough on the fx3 to use in many professional scenarios).
So it’s not to say the bm is a better camera, it just has the capability to get a much better image.
What camera do you use on contax lens in this video? thanks!
@@bennychan2356 I used the Blackmagic Cinema Camera 6k FF for most of the video except the Sony test lens comparison, for that I used the Sony FX3
@@FilmByKyle Thank you very much for your reply! contax
And he sinks the putt 🏌️♂️