Good set of lenses. I have a mini collection too, but due to time and budget and my full frame DSLR, I keep the set small, cheap and practical. I have a 28 f2.8 (which many people tend to overlook because it doesn't have the 'Hollywood' nickname, but is actually sharper and just as pleasant as the F2 version), the 50 f1.7, which is rumoured to be T rated at f1.5 and is the sharpest lens I own and the f135 f2.8, which is a great great lens.
I like the 2.35-2.66:1 Anamorphic look. That's the look I grew up watching and nothing else looks quite like it. I'm currently working on my anamorphic lens line up. Because they're cumbersome I'm just trying to get two identical rigs with two different focal lengths. That way I can swap between them from shot to show. Lens swapping takes too much time and it has to be scheduled. I too prefer to shoot wide too with my favorite being a 40mm 2x anamorphic. So 40mm compression/bokeh and 20mm equivalent wide. Well not quite 20mm with the BMPCC4k and the SB XL crop.
Thanks for the specific details regarding lens choice and how you put these lenses to work in the feature. Awesome to see some of the footage. Great update Justin!
Hello! I just started to get into cinematography, I always loved it; having only an old Nikon D7000 I decided to buy the BM4K. I build it up very well. A nice efficient rig, a gimbal, but the only problem I see is whether I should go with EF lenses or stick with MFT. Having no such lenses, at all, I see myself at a crossroad. My objective is to shoot and create documentaries and reportages; my question for you is: should I invest in a metabones and build the camera with EF lenses, or stick with the native sensor? Thank you for your videos. They are helping me, along side everything else I can catch, to become what I aspire to and would love to do.
@@JustinPhillip what adapter and Metabone you use on Contax lens for the Bmpcc4k? I just brought contax lens I’m trying find information about them so please let me know?
Speaking of the 18mm, combined with the Metabones Ultra, the f/4 I don't think is too much of a deal breaker because the MB gives an extra stop of light, bringing it to f/2.8, which I think is fairly reasonable. I aim to pick it up for my wide when I have the chance.
In S-35 u can start with mini set of 3 lenses : 28 mm - 35 mm - 50 mm. But for some shoots or entire project, u will like to grab whether a wide angle, whether a tele, that's understandable. 28 mm has a special relationship with S-35 : the strange story is that photographic FF equivalent (almost) doesn't exist. Ever seen ur dad grabbing a 42 mm ? By the way, I encourage u to look at a 1928 masterpiece called : The Man Who Laughs. The main character is the ancestor of the Joker, I mean, mainly the DC Comics & C. Nolan legacy. I think the entire film is shoot with only one focal length. Justin might tell us which one he thinks it is.
I love the 30mm and 50mm plus really wide like 16-24mm. But overall I think the 30mm wins with the 50mm literally right there behind it. But this is on the bmpcc 4k the the metabones ultra so it's more like a super 35. I went nikon with the speedbooster and they're great lenses. Ive found that nikon quality is pretty damn good and not just optics. Their build quality is very good too. Probably get the zonghyi canon speedbooster so I can adapt other lenses like my om mounts I got for free.
Thank you so so much. It's very helpful to me. Maybe this video is the clearest video about these Contax lenses which I've watched on youtube. Now I can choose some of the lenses on my Mavo!
I picked up a mint 50mm 1.4 MMJ on a contax 159mm for 100 bucks. My early Pentax K 50mm 1.4 is sharper wide open, and tends to have less CA but I still tend to favor the Zeiss for some reason lol
Hey Justin, another awesome video. Thanks for the hard work! I am. wondering where I can find the Zeiss chart you mentioned as the link to Zeiss website does not work. Can you help? Thanks again.
Thanks Justin for this wonderful overview. Just wondering about the balsam separation: Is it an inevitable occurrence some time in the future for the contax zeiss line? Just trying to find more info about this specific to this line. Again, keep up the great work!
Thanks! If you keep your lenses away from moisture you should be fine. I have a dry cabinet that i keep all my lenses & hard drives in: rover.ebay.com/rover/1/711-53200-19255-0/1?mpre=https%3A%2F%2Fwww.ebay.com%2Fitm%2FFehorily-Electronic-Dry-Cabinet-Lens-Dry-Box-Canon-Nikon-Dampproof-Storage-Box-%2F174058903505&campid=5338547251&toolid=10001&customid=
Peace Justin. So I have the Zeiss Contax set in my cart and ready to buy, but what adapter will I need to be able to use the lenses on my Black Magic Ursa 4.6 and my Pocket 4k Black Magic?
You've persuaded me to pursue the Contax Zeiss set, but I don't find that chart at the reduser forum link. Can you link us directly and specifically to it?
Dope did you shoot that feature on the Black magic 4k as well? What are your thoughts on Nikon NIKKOR 24mm f/2.8 AIS Manual Focus Lens for Black Magic 4k pocket? Thank you for the information! Very helpful!
Nikons are very nice as well. People still use those on big budgets, (The Favourite). But i just prefer the look of Zeiss. But yeah, the movie we shot on P4K with all Zeiss.
Justin Phillip I agree, I was able to direct a film about a bad acid trip right before the pandemic hit in feb. shot it in queens on Vericam with zeiss super speeds. Love the way my film looks, we got amazing low light stuff and the skin tones look phenominal. Along with neon store fronts
I don't want to grind the contax pins down for the speedbooster, I've only seen bad luck online for that, can I get an adapter that does CY to EF that clears the nub or am I SOL?
your best bet is to just get the metabones speedbooster thats C/Y to MFT. Because you dont want to be stacking adapters. Thats why i hard converted all mine to EF, but yea, theres no going back. The C/Y metabones is nice, i used to own it. Or if you have the P6K, theres plenty of good C/Y to EF adapters for cheap, Fotodiox is a good brand.
@@JustinPhillip Hi i have question for the Contax zeiss cine lens, i see on eBay c/y mount what kind of speed booster do I need to make it work for my Bmpcc4k, will speed booster ef mount work for the Contax Zeiss?
Have you noticed any sharpness issues when using the Contaxes on the Metabones EF-MFT XL Speed Booster? I'm trying to figure out whether to buy a used EF-MFT XL for 400eur or a new EF-BMPCC4k XL Speed Booster for 800eur. 😅 My set is fairly slow with 18mm f4, 28-85mm f3.3-4, 50mm f1.7 and 80-200mm f4 so the 1.33 stops of extra light would definitely come in handy.
Very entertaining video thank you ... I like your down to earth ways man! Very informative and familiar I can totally relate to this cinematography passion. My self been collecting all this old lenses! keep it up...
Wow man, I'm glad to see your 6 piece 'cine-mod' set, and examples from the film. Looks Awesome! Thanks for info on the 'classics' range too ... I'm happy you mentioned about going for a personal look, and you haven't given up on the older vintage glass also. Things in the 'Justin World' are really moving forward ... Congratulations ✌
Another great video, I am curious, were all your lenses in Nikon F mount or did you convert any from Contax/Yashica mount? asking because most of the versions I see for sale are C/Y mount
You've been quiet mate. I guess you have been filming. Great video Justin. :) These lenses look great, what speedbooster are you using? I'd like to try this with my GH5/GH5s.
Hi! I have a GH5ii and intend to move to s1h or equivalent in the future. I have assembled a small collection of contax zeiss 28/35/50/85. Shall I hunt for the 15, 18 or 21mm knowing I am on MFT and Full Frame (perhaps) in the future? Any point getting a 135mm? Thank you
Just all depends on how you like to shoot. all three of those wide focal lengths are drastically different. The wider you go, every little mm is quite different. Whereas on the tighter end, its not as noticeable in terms of performance.
Hey J.P. Thank you for this video. I've been trying to find a video that's atleast point me in the right lens department and you've just made my life so much better. And how you've broken down the lenses and styles... yaaaaassssssssss man. Thank you. I'm planning to get a bmpcc (the original) and its my first ever camera and deliberately, I went for it because I want to work.on my cinematography. I need to pick really good but affordable lenses for a really good start. This video is literally what I needed.
@@JustinPhillip I think so too man. The Zeiss collection is way out of my budget. I'm looking at the Auto Fujinon lenses and I already bought an Elgeet 13mm f1.9 vintage lens. I'm starting out with vintage lenses especially because they're affordable. I think I'll start with 4.
RiNus World You should look at the Russian ones! Very cheap and very unique! That was my first set of Primes. You could build a set of six for around 500-800 bucks! Maybe even less than that!
Hello @Justin Phillip I don’t know if I’m asking this correctly but.. I aspire to shoot films my favorite lengths are 24mm 35mm 50mm and I’m getting the BMPCC4k as my next camera so to achieve that in the best possible way with little to no vignette on the lens should I buy the 0.71 or 0.64 adapter? And should the 0.71 be used with aps-c and the 0.64 with full frame only? because I don’t only want to own zoom lenses like the sigma 18-35mm aps-c lens. I want set prime lenses that are one length..for example a 35mm which was the only lens used to shoot call me by your name one of my favorites films/aesthetics..so I want to know with which booster will I get me closer that or the best results obviously keeping in mind the crop factor of the 4k which like you said 1.35x with the 0.71 and about 1.2 with the 0.64
If you plan on using aps-c lenses as well, safe bet is to go with the Ultra. But if you’re planning on using only full frame lenses like the Zeiss, then XL will get you closer to the full frame look.
Great video. I think the biggest factor in the look of the image of a lens is the formula of the optical glass. The coating is not as much of a factor. If you look at ancient Cooke Speed Panchros from the 50's they are super simple designs and single coated, yet they render some of the most colorful, beautiful images ever. The Cooke Look is so amazing, yet no one has been able to duplicate it. Cooks optical glass formulas date back to the 1920s. Leica lenses are not complex designs either, yet they have their own magic. I read a paper once on the special optical glass formulas for Leica lenses. Schott makes the glass for Leica, but can only use the specific formula for Leica. So the magic is in the ingredients of the optical glass. The proof is in the pudding rings true. Cheers!
Great video! I've got a set of Canon FD lenses that I've been wanting to send to Simmod. Was curious how the EF conversion works in conjunction with the metabones speed booster. I've got the BMPCC 4K and an Ultra EF, and would love for all my lenses to be EF mount for the sake of time on set. Any thoughts on that? Thanks!
Weightless Films Simmod are pro’s! Check out that video if you havent seen it yet. For full frame lenses i would recommend the XL. Like i said, it’s a 1.2 crop is all, so that’s as close as you’ll get to full frame, and it is awesome!
@@weightlessfilms5651 That is correct. I would highly recommend the Cine XL version though, to guarantee full clearance and to get the closest to the full frame look
@@JustinPhillip Thanks! I already own the Ultra, and I actually am going for the Super 35mm look. There's also some vignetting (I believe) at 18mm on the Sigma 18-35 with the XL version. What do you mean by full clearance?
@@weightlessfilms5651 well, it's probably just a Contax Zeiss thing, but i have the ultra as well, but not the cine version, so you have to twist the lens on, and the electronics inside the SB are not back far enough, and the pin, there's one that you're not supposed to cut off the contax, it would hit that little electrics, and prevent me from using the aperture, just on the AEG contax zeiss, so a good solution is using the cine lock version, which i upgraded to, and now it works, because you dont have to twist the lens on, you just set it in and lock it, like a PL Mount. But i suggested that to you, because i dont know too much about FD's.
Thank you for the great video. Just to clarify, in full frame terms would it be +- wide:25 normal:50 tele: 85 So for my mft mount I want a 12mm, 25, 40mm as a core set. around those peramiters I want to discover what focal lengths I like for each catagory? My main lens at the moment is an 18-35 and I’m trying to figure out wether I should buy a speedbooster for it. After that I would want to start building a cine prime set. Thank you for the feedback.
BadKarma 714 Yeah i mean they mainly service the lens, de-click it, add gears, step up rings with custom caps, and then convert the mounts, hard mount EF
Justin Phillip would you like add BMPCC6K in your camera family? Which adapter you use? Do you think this one work? www.bhphotovideo.com/c/product/1462378-REG
@@JustinPhillip Many thanks for you answer🙏🏼, metabones is very expensive, do you have any budget option fot this ? Does cheap adapters c/y to mtf do the job ?
No disrespect but mannn you need to improve your cinematography. Plus you need to get a better colorist. I don't know the context of the film so I don't want to judge too hard but it looks very video if that makes any sense.
Another thing you dont know is that the entire camera/lighting crew was me and another guy, and we shot the entire 90 min feature film in 9 days. So not a lotta time to be artful . Thanks for your input tho, however you werent telling me anything new
@@JustinPhillip It's definitely one of the hardest to master. I can light int and ext night quite easily and even int day but ext day is very hard to give contrast to. I have started relying on art direction and color theory to make the image more beautiful + wardrobe. But it still looks flat and garbage no matter what I do. Long way to go haha. I am building my Zeiss kit and this video came in clutch so thanks for that mate!!
Dude, let me please give you a tip regarding on how you are perceived by people here on youtube due to the way you talk during your videos...I did a test with some of my friends who like me are watching a bunch of other channel about filmgear an filmmaking. You are talking to fast...this is the first mistake in videos. If a narator is speaking to fast the audience loses interest(me and my friends did lose interest here). Second of all you are diging in to much details(we all lose interest again). And this is coming from a photographer specialized in studio(beauty) @zahaphoto, teaching advanced studio photography and went back in the days trough Arts Univeristy, studied 3 year film and cinematography. No hate, but I think that you take in to account what I said you will gain subs super fast...keep up the good work out there. Cheers man.
I hope you rented these and not bought them. You can do the same job in narrative work with a BMPCC 4k, a speedbooster ($150) and a Tamron 17-50mm f/2.8 ($160). You don't need primes if your zoom has a constant aperture (that gets more light with the help of the speedbooster). Sure, it won't be as sharp as Zeiss, but if you're really trying to emulate film, then you don't want sharp. In the film days, sharp Zeiss lenses were a must-have because film is very soft (35mm barely has the resolution of 1080p, if that). Today, with 4k+ digital, you want softer lenses. You have the opposite problem, essentially. I own lots of lenses, but I now mostly use that Tamron, and if I really want a sharper prime lens, I just use the new Laowa 17mm f/1.8 ($150). No need for anything else for narratives. Now, for documentary or commercial work, or some high end music videos, you might need sharper, better lenses. But for narratives, where the film soft look is imperative (IMHO), the Tamron does the job perfectly.
Eugenia Loli You can achieve the soft look with filtration and still have a super versatile prime set thats also sharp for corporate work and higher end stuff as well. I think every filmmaker should own a custom set of primes. Zooms, imo, are for doc and live event work.
@@JustinPhillip I can't stack up too many filters in front of the lens (I always use an IR CUT on BMD, and ND outdoors), or flaring becomes an issue. Plus, I absolutely hate how pro mist and such filters "bloom" the highlights. A *modern* constant aperture zoom lens is equivalent to the primes they had the old days. And since I'm not after sharpness, such a zoom really works for narratives for me.
Resolve also comes free with the blackmagic pocket multiple films have used the hollywood editor software
Good set of lenses. I have a mini collection too, but due to time and budget and my full frame DSLR, I keep the set small, cheap and practical. I have a 28 f2.8 (which many people tend to overlook because it doesn't have the 'Hollywood' nickname, but is actually sharper and just as pleasant as the F2 version), the 50 f1.7, which is rumoured to be T rated at f1.5 and is the sharpest lens I own and the f135 f2.8, which is a great great lens.
It’s very obvious that you love what you do. That’s always great to see and hear. Thanks for sharing.
I like the 2.35-2.66:1 Anamorphic look. That's the look I grew up watching and nothing else looks quite like it. I'm currently working on my anamorphic lens line up. Because they're cumbersome I'm just trying to get two identical rigs with two different focal lengths. That way I can swap between them from shot to show. Lens swapping takes too much time and it has to be scheduled. I too prefer to shoot wide too with my favorite being a 40mm 2x anamorphic. So 40mm compression/bokeh and 20mm equivalent wide. Well not quite 20mm with the BMPCC4k and the SB XL crop.
I had the Pentax version of the Hollywood. Really fun lens. I love the 28mm focal length
great job man. your content is getting better and better. very eloquent Justin. I'm really impressed man.
Dave Donovan Thanks man!!! Trying to be more professional with my youtube time 🤣🤷🏻♂️
Thanks for the specific details regarding lens choice and how you put these lenses to work in the feature. Awesome to see some of the footage. Great update Justin!
Chris Ratchford Thanks brother! Tombstone is next!! 😉🙌🏼
Looking forward to seeing more footage and learning more about your role in the overall process.
@@chrisratchford8153 Try to check out the Patreon when you get a chance
Definitely will do so this weekend!
been hunting everywhere for this chart. perhaps Zeiss killed it off? appreciate if you have any links Justin 🙏🙏. cheers jas
The 180 is a gem.
Hello! I just started to get into cinematography, I always loved it; having only an old Nikon D7000 I decided to buy the BM4K. I build it up very well. A nice efficient rig, a gimbal, but the only problem I see is whether I should go with EF lenses or stick with MFT. Having no such lenses, at all, I see myself at a crossroad.
My objective is to shoot and create documentaries and reportages; my question for you is: should I invest in a metabones and build the camera with EF lenses, or stick with the native sensor?
Thank you for your videos. They are helping me, along side everything else I can catch, to become what I aspire to and would love to do.
Sascha D Great! Doc work and reports i would go with the Metabones Ultra and say you only need two lenses, Sigma Art 18-35 and Sigma Art 50-100 👌🏼
@@JustinPhillip what adapter and Metabone you use on Contax lens for the Bmpcc4k? I just brought contax lens I’m trying find information about them so please let me know?
Speaking of the 18mm, combined with the Metabones Ultra, the f/4 I don't think is too much of a deal breaker because the MB gives an extra stop of light, bringing it to f/2.8, which I think is fairly reasonable. I aim to pick it up for my wide when I have the chance.
In S-35 u can start with mini set of 3 lenses : 28 mm - 35 mm - 50 mm.
But for some shoots or entire project, u will like to grab whether a wide angle, whether a tele, that's understandable.
28 mm has a special relationship with S-35 : the strange story is that photographic FF equivalent (almost) doesn't exist.
Ever seen ur dad grabbing a 42 mm ?
By the way, I encourage u to look at a 1928 masterpiece called : The Man Who Laughs. The main character is the ancestor of the Joker, I mean, mainly the DC Comics & C. Nolan legacy. I think the entire film is shoot with only one focal length. Justin might tell us which one he thinks it is.
awesome! will do
@@JustinPhillip Hello Justin. If u're interested, I found a good copies on RARBG. My guess is they only had a 35 mm period. But I'll let u confirm.
I love the 30mm and 50mm plus really wide like 16-24mm. But overall I think the 30mm wins with the 50mm literally right there behind it. But this is on the bmpcc 4k the the metabones ultra so it's more like a super 35. I went nikon with the speedbooster and they're great lenses. Ive found that nikon quality is pretty damn good and not just optics. Their build quality is very good too. Probably get the zonghyi canon speedbooster so I can adapt other lenses like my om mounts I got for free.
Yet another reason I love you Justin. Both informative an instructional
Stone Fisted Props Thank you! 🙏🏼
@@JustinPhillip Anytime Brother, Just Keep up the Great work and Keep Inspiring us to Be better Filmmakers.
Do you have a direct link to the Zeiss chart? I clicked the link but it just takes me to a general Zeiss page. Great video
Thank you so so much. It's very helpful to me. Maybe this video is the clearest video about these Contax lenses which I've watched on youtube. Now I can choose some of the lenses on my Mavo!
Jeffery Meng Appreciate it! 🙌🏼
@@JustinPhillip By the way you look very like Nash!! I feel so kind of you.Hhhhh~ (It's another comment from China.Hhhhh
I picked up a mint 50mm 1.4 MMJ on a contax 159mm for 100 bucks. My early Pentax K 50mm 1.4 is sharper wide open, and tends to have less CA but I still tend to favor the Zeiss for some reason lol
Hey Justin, another awesome video. Thanks for the hard work! I am. wondering where I can find the Zeiss chart you mentioned as the link to Zeiss website does not work. Can you help? Thanks again.
Surely the 35mm if used on a GH5 with an Ultra Speedbooster would be roughly 50mm , so would actually be a perfect standard lens?
Steve Tucker Yea pretty close, with the Metabones XL it’s a 45mm
Thanks Justin for this wonderful overview. Just wondering about the balsam separation: Is it an inevitable occurrence some time in the future for the contax zeiss line? Just trying to find more info about this specific to this line. Again, keep up the great work!
Thanks! If you keep your lenses away from moisture you should be fine. I have a dry cabinet that i keep all my lenses & hard drives in: rover.ebay.com/rover/1/711-53200-19255-0/1?mpre=https%3A%2F%2Fwww.ebay.com%2Fitm%2FFehorily-Electronic-Dry-Cabinet-Lens-Dry-Box-Canon-Nikon-Dampproof-Storage-Box-%2F174058903505&campid=5338547251&toolid=10001&customid=
Peace Justin. So I have the Zeiss Contax set in my cart and ready to buy, but what adapter will I need to be able to use the lenses on my Black Magic Ursa 4.6 and my Pocket 4k Black Magic?
this one is really solid, but you'll need a speedbooster on that P4K amzn.to/31QwxPb
You've persuaded me to pursue the Contax Zeiss set, but I don't find that chart at the reduser forum link. Can you link us directly and specifically to it?
great work bro ! Thank you for this video. i have one question. what adapter you used for this CY lens kit. Thanks
Dope did you shoot that feature on the Black magic 4k as well? What are your thoughts on Nikon NIKKOR 24mm f/2.8 AIS Manual Focus Lens for Black Magic 4k pocket? Thank you for the information! Very helpful!
Nikons are very nice as well. People still use those on big budgets, (The Favourite). But i just prefer the look of Zeiss. But yeah, the movie we shot on P4K with all Zeiss.
Justin Phillip I agree, I was able to direct a film about a bad acid trip right before the pandemic hit in feb. shot it in queens on Vericam with zeiss super speeds. Love the way my film looks, we got amazing low light stuff and the skin tones look phenominal. Along with neon store fronts
I don't want to grind the contax pins down for the speedbooster, I've only seen bad luck online for that, can I get an adapter that does CY to EF that clears the nub or am I SOL?
your best bet is to just get the metabones speedbooster thats C/Y to MFT. Because you dont want to be stacking adapters. Thats why i hard converted all mine to EF, but yea, theres no going back. The C/Y metabones is nice, i used to own it. Or if you have the P6K, theres plenty of good C/Y to EF adapters for cheap, Fotodiox is a good brand.
@@JustinPhillip Thank you!
Excellent video! Really help, just one thing, where can i check the current prices? I dont know much about how to get them
Hi Justin, I just wanted to say thanks for another great video. Cheers Ed.
Thanks!
you're dope dude, teaching isn't easy and you do it so naturally. Thanks for that.
ChimneyMan27 Awesome. Thank you!
@@JustinPhillip Hi i have question for the Contax zeiss cine lens, i see on eBay c/y mount what kind of speed booster do I need to make it work for my Bmpcc4k, will speed booster ef mount work for the Contax Zeiss?
@@aliquran7535 No you have to convert them to EF
@@aliquran7535 they do make a metabones that is C/Y to micro four thirds, but it might be hard finding it
@@JustinPhillip please forgive me this is new for me I’m starting getting film. Convert ?how can convert ?
Have you noticed any sharpness issues when using the Contaxes on the Metabones EF-MFT XL Speed Booster? I'm trying to figure out whether to buy a used EF-MFT XL for 400eur or a new EF-BMPCC4k XL Speed Booster for 800eur. 😅 My set is fairly slow with 18mm f4, 28-85mm f3.3-4, 50mm f1.7 and 80-200mm f4 so the 1.33 stops of extra light would definitely come in handy.
oh i would def go with the one made for the P4K. thats one of the reasons i went back to the Ultra cine lock version.
@@JustinPhillip Damn, I was afraid you’d say that 😂 Oh well better go for that one then even though my wallet is not a fan of this decision.
Very entertaining video thank you ... I like your down to earth ways man! Very informative and familiar I can totally relate to this cinematography passion. My self been collecting all this old lenses! keep it up...
HIT MAKER STUDIO Thank you! Appreciate that! 🙌🏼
I prefer the AE....J or G. & I think you love cinema as much as I do.
Wow man, I'm glad to see your 6 piece 'cine-mod' set, and examples from the film.
Looks Awesome!
Thanks for info on the 'classics' range too ... I'm happy you mentioned about going for a personal look, and you haven't given up on the older vintage glass also.
Things in the 'Justin World' are really moving forward ...
Congratulations ✌
HAHA thanks man!! Staying on the grind!! I love it!
Love to watch your video.. Very useful info for cinematography enthusiasts..
Another great video, I am curious, were all your lenses in Nikon F mount or did you convert any from Contax/Yashica mount? asking because most of the versions I see for sale are C/Y mount
Steve Tucker they were all C/Y except the 15 & 21
@@JustinPhillip Thanks
You've been quiet mate. I guess you have been filming. Great video Justin. :) These lenses look great, what speedbooster are you using? I'd like to try this with my GH5/GH5s.
Shark Metabones XL
Thanks Brother. What version of metabones is that? Which mount?
Shark Oh EF to MFT
Thanks Bro. I got x2 of those!
Good work bro, keep the passion going
🙌🏼
Hi! I have a GH5ii and intend to move to s1h or equivalent in the future. I have assembled a small collection of contax zeiss 28/35/50/85. Shall I hunt for the 15, 18 or 21mm knowing I am on MFT and Full Frame (perhaps) in the future? Any point getting a 135mm? Thank you
Just all depends on how you like to shoot. all three of those wide focal lengths are drastically different. The wider you go, every little mm is quite different. Whereas on the tighter end, its not as noticeable in terms of performance.
Hey J.P. Thank you for this video. I've been trying to find a video that's atleast point me in the right lens department and you've just made my life so much better. And how you've broken down the lenses and styles... yaaaaassssssssss man. Thank you. I'm planning to get a bmpcc (the original) and its my first ever camera and deliberately, I went for it because I want to work.on my cinematography. I need to pick really good but affordable lenses for a really good start. This video is literally what I needed.
RiNus World Excellent! 🙏🏼🙌🏼
@@JustinPhillip I think so too man. The Zeiss collection is way out of my budget. I'm looking at the Auto Fujinon lenses and I already bought an Elgeet 13mm f1.9 vintage lens. I'm starting out with vintage lenses especially because they're affordable. I think I'll start with 4.
RiNus World You should look at the Russian ones! Very cheap and very unique! That was my first set of Primes. You could build a set of six for around 500-800 bucks! Maybe even less than that!
@@JustinPhillip I'll definitely look them up. Any particular brand names I should look at?
@@rinusworldzm
Helios: amzn.to/2sJQqd4
Jupiter: amzn.to/35jo7Q0
Mir 1B: amzn.to/2tqIZri
Where do you get those custom lens caps/covers?
www.simmodlens.com 👊🏼 Tell em Justin Phillip sent ya! 💯
@@JustinPhillip Ty will do
do I get a discount lol?
Hello @Justin Phillip I don’t know if I’m asking this correctly but.. I aspire to shoot films my favorite lengths are 24mm 35mm 50mm and I’m getting the BMPCC4k as my next camera so to achieve that in the best possible way with little to no vignette on the lens should I buy the 0.71 or 0.64 adapter? And should the 0.71 be used with aps-c and the 0.64 with full frame only? because I don’t only want to own zoom lenses like the sigma 18-35mm aps-c lens. I want set prime lenses that are one length..for example a 35mm which was the only lens used to shoot call me by your name one of my favorites films/aesthetics..so I want to know with which booster will I get me closer that or the best results obviously keeping in mind the crop factor of the 4k which like you said 1.35x with the 0.71 and about 1.2 with the 0.64
If you plan on using aps-c lenses as well, safe bet is to go with the Ultra. But if you’re planning on using only full frame lenses like the Zeiss, then XL will get you closer to the full frame look.
@@JustinPhillip thank you very much enjoy the content so much!!!!
@@Techn1colorfilms Awesome! Thank you
Nice lens set bro!
JOE BLACK Thanks! Gonna be comparing soon to Sigma Art in a future vid!
Justin Phillip cool bro , i recently rigged up a bpcc 4k , i am trying to get the best lenses for it, i work with that and a gh5.
Great video. I think the biggest factor in the look of the image of a lens is the formula of the optical glass. The coating is not as much of a factor. If you look at ancient Cooke Speed Panchros from the 50's they are super simple designs and single coated, yet they render some of the most colorful, beautiful images ever. The Cooke Look is so amazing, yet no one has been able to duplicate it. Cooks optical glass formulas date back to the 1920s. Leica lenses are not complex designs either, yet they have their own magic. I read a paper once on the special optical glass formulas for Leica lenses. Schott makes the glass for Leica, but can only use the specific formula for Leica. So the magic is in the ingredients of the optical glass. The proof is in the pudding rings true. Cheers!
where did you get the focus and aperture gear?
Awesome video! I really enjoy your videos and how passionate you are! Does the metabones XL vignettes with the more wide lenses on the bmpcc4k?
The Mystic Artist only if they’re not full frame
@@JustinPhillip So the metabones XL is without a doubt the best option to use with a set of Canon Fds (converted to EF) on the bmpcc4k?
@@gabrielsane yeah
Always a fan thank you!
Great video! I've got a set of Canon FD lenses that I've been wanting to send to Simmod. Was curious how the EF conversion works in conjunction with the metabones speed booster. I've got the BMPCC 4K and an Ultra EF, and would love for all my lenses to be EF mount for the sake of time on set. Any thoughts on that? Thanks!
Weightless Films Simmod are pro’s! Check out that video if you havent seen it yet. For full frame lenses i would recommend the XL. Like i said, it’s a 1.2 crop is all, so that’s as close as you’ll get to full frame, and it is awesome!
@@JustinPhillip Okay awesome, so if I had them convert my FD to EF the EF speed booster will work?
@@weightlessfilms5651 That is correct. I would highly recommend the Cine XL version though, to guarantee full clearance and to get the closest to the full frame look
@@JustinPhillip Thanks! I already own the Ultra, and I actually am going for the Super 35mm look. There's also some vignetting (I believe) at 18mm on the Sigma 18-35 with the XL version. What do you mean by full clearance?
@@weightlessfilms5651 well, it's probably just a Contax Zeiss thing, but i have the ultra as well, but not the cine version, so you have to twist the lens on, and the electronics inside the SB are not back far enough, and the pin, there's one that you're not supposed to cut off the contax, it would hit that little electrics, and prevent me from using the aperture, just on the AEG contax zeiss, so a good solution is using the cine lock version, which i upgraded to, and now it works, because you dont have to twist the lens on, you just set it in and lock it, like a PL Mount. But i suggested that to you, because i dont know too much about FD's.
How did u get speedbooster to work on Contax lenses .mine doesn't work
you have to convert them to EF
@@JustinPhillip ah yes! any recommended vids to learn?
@@scott_the_dreamer its super easy to do yourself. just buy some from Simmod Lens 🤙🏼
U DA MAN
do your lenses now work on the bmpcc 4k ? with just the normal conversion? 159? from CY to EF ? thank you!
all of my lenses have been converted with hard mounts, to EF
hi Justin Phillip what do u think of the sigma 50mm art on a #blackmagic 4k
sigma arts are nice lenses
@@JustinPhillip thank you soo much
Thank you for the great video.
Just to clarify, in full frame terms would it be +- wide:25 normal:50 tele: 85
So for my mft mount I want a 12mm, 25, 40mm as a core set.
around those peramiters I want to discover what focal lengths I like for each catagory?
My main lens at the moment is an 18-35 and I’m trying to figure out wether I should buy a speedbooster for it. After that I would want to start building a cine prime set.
Thank you for the feedback.
My Boy Justin how are you Homie can the Simmod guys turn any lens into a Cinema lens or only Prime Lens?
BadKarma 714 Yeah i mean they mainly service the lens, de-click it, add gears, step up rings with custom caps, and then convert the mounts, hard mount EF
What hard case do you use to keep your 6 lenses kit?
kit.co/jpOnFilm/cases
You drop your old Rokinon family?😀
Eric Yehuda Yupp! Sold em to a production house here in LA
Justin Phillip for now you only using these vintage Zesis lenses？
Justin Phillip www.bhphotovideo.com/c/product/1507682-REG you may like this one😄
Eric Yehuda Yupp! and i still have the sigma 18-35
Justin Phillip would you like add BMPCC6K in your camera family? Which adapter you use? Do you think this one work? www.bhphotovideo.com/c/product/1462378-REG
what adapter do you use to put them on bmpcc 4k ?
simmod hard EF convert
But 4k got MFT not EF mount, you use any adapter ?
@@marvis10 metabones
@@JustinPhillip Many thanks for you answer🙏🏼, metabones is very expensive, do you have any budget option fot this ? Does cheap adapters c/y to mtf do the job ?
or maybe just get the 6k and have no problem xdd
What’s your speedbooster on these ZF Nikon mount lenses?
it’s in the description 👌🏼
Justin Phillip Sorry, I only notice that you list Metabone XL there. May I use ZF lens on it? Or perhaps, SIMMOD can convert it to EF version?
Eric Yehuda yes, all my lenses have hard EF mounts
Justin Phillip got it. 😄Thanks. I wonder if SIMMOD could covert any lens mount to EF?
Eric Yehuda Just about! Check out their website. Store is closed for now, but website is still free to roam
what usb c cable are you using ? I need this setup!
revive For the SSD?
revive I just have a little baby one that came with the G Drive SSD.
What are those lens caps?
www.simmodlens.com
I shot a music video with this camera on my channel
You’re definitely talking to filmmakers who can afford these lol
yeah i mean, truth is, all good glass is gonna cost ya ;)
Justin Phillip true. For now I’m still in the Rokinon cine Lens game.
J.J Marlon Those are good. I rocked those for a long time. Love the 24 & 16
You betrayed the contax zeiss family. 😢😢 how you getting on with milvus
Those are long gone too
"lenses will never depreciate in value" - ummmm what?
...according to your budget, lol
No disrespect but mannn you need to improve your cinematography. Plus you need to get a better colorist. I don't know the context of the film so I don't want to judge too hard but it looks very video if that makes any sense.
yeah it was definitely one of my earlier projects. 🤣 I fell victim to the front light quite often on that shoot
Another thing you dont know is that the entire camera/lighting crew was me and another guy, and we shot the entire 90 min feature film in 9 days. So not a lotta time to be artful . Thanks for your input tho, however you werent telling me anything new
@@JustinPhillip It's definitely one of the hardest to master. I can light int and ext night quite easily and even int day but ext day is very hard to give contrast to. I have started relying on art direction and color theory to make the image more beautiful + wardrobe. But it still looks flat and garbage no matter what I do. Long way to go haha.
I am building my Zeiss kit and this video came in clutch so thanks for that mate!!
@@JustinPhillip Fair enough ! Cheers for the video.
Warning: SIMMOD sucks due to bad customer service! Be careful!
Dude, let me please give you a tip regarding on how you are perceived by people here on youtube due to the way you talk during your videos...I did a test with some of my friends who like me are watching a bunch of other channel about filmgear an filmmaking. You are talking to fast...this is the first mistake in videos. If a narator is speaking to fast the audience loses interest(me and my friends did lose interest here). Second of all you are diging in to much details(we all lose interest again). And this is coming from a photographer specialized in studio(beauty) @zahaphoto, teaching advanced studio photography and went back in the days trough Arts Univeristy, studied 3 year film and cinematography. No hate, but I think that you take in to account what I said you will gain subs super fast...keep up the good work out there. Cheers man.
meh .. you sold your set ..
Oh yea they long gone. This video’s old AF. Im an evolver
I hope you rented these and not bought them. You can do the same job in narrative work with a BMPCC 4k, a speedbooster ($150) and a Tamron 17-50mm f/2.8 ($160). You don't need primes if your zoom has a constant aperture (that gets more light with the help of the speedbooster). Sure, it won't be as sharp as Zeiss, but if you're really trying to emulate film, then you don't want sharp. In the film days, sharp Zeiss lenses were a must-have because film is very soft (35mm barely has the resolution of 1080p, if that). Today, with 4k+ digital, you want softer lenses. You have the opposite problem, essentially. I own lots of lenses, but I now mostly use that Tamron, and if I really want a sharper prime lens, I just use the new Laowa 17mm f/1.8 ($150). No need for anything else for narratives. Now, for documentary or commercial work, or some high end music videos, you might need sharper, better lenses. But for narratives, where the film soft look is imperative (IMHO), the Tamron does the job perfectly.
Eugenia Loli You can achieve the soft look with filtration and still have a super versatile prime set thats also sharp for corporate work and higher end stuff as well. I think every filmmaker should own a custom set of primes. Zooms, imo, are for doc and live event work.
@@JustinPhillip I can't stack up too many filters in front of the lens (I always use an IR CUT on BMD, and ND outdoors), or flaring becomes an issue. Plus, I absolutely hate how pro mist and such filters "bloom" the highlights. A *modern* constant aperture zoom lens is equivalent to the primes they had the old days. And since I'm not after sharpness, such a zoom really works for narratives for me.