35mm Adapters

I made my choice of the SGpro after watching as much footage as possible with all the adapters I knew of and comparing it. I am happy with my decision.
 
I dont want to be insulting. But if you have been shooting for such a long time you should understand what f-stop is and how it effects light and depth of field. You dont need a 35mm adapter to make a good film/tv etc. Arrested development was first shot with the dvx. Its always sunny in Philadelphia is still shot with just the dvx. Its the story being told, not the equipment your using. Look at the blair witch project, like it or not, that movie was an incredible success. And it was shot on point and shoot handycams. I have said it before and i'll say it again, had kubrick shot a clockwork orange on a dvx it still would have been an amazing film. Sure an adapter is nice, but if you dont know whats up its going to cause you more heatache then breathtaking shots. Pick up digital photography for dummies. Its incredibly helpful when it comes to all things photographic.
 
I agree with everyone else on here, I'm pretty new to using adapters myself, but I've also taken a fair bit of digital/35mm photography classes in highschool/college, so I understand the basics of how you use light to make a nice picture. When using a 35mm lens, it is key to understand how to manipulate the aperture to get the right amount of light in your shot, while also keeping it consistant with your other shots. Otherwise, once edited, your film will more than likely look way off.

I'd really suggest doing some searches on the internet, or getting some books that teach basic photography. Or even taking a small course to learn how to properly use a 35mm still camera, it's the same principal once applied to a video camera with an adapter, but in my opinion will be much easier to learn.

Of course there is nothing wrong with just buying an adapter and going with it until you get it right, but I really believe that it would save you a lot of time, and frustration to brush up on the basic workings of a 35mm lens/camera before jumping into the adapter world. It's almost a night and day difference from using your stock video camera once you attach that adapter to it, as far as the learning curve goes...

Good luck with whatever your decision is though
 
I'm sorry for being harsh, but if you think that buying a 35mm adapter will automatically get you jobs shooting those $100,000 pilots, then you're just fooling yourself. There's no such thing as a "quick fix," no magic tool that will suddenly make you a better filmmaker or your film looks better. LEARN THE FUNDAMENTALS. Understand lighting, compositions, the technology you're working with and I can guarantee you that your skill will improve. Those 22 years old are successful because they know exactly what they're doing. Many of them probably spent years shooting and learning to perfect their craft, and I can guarantee you that they can come up with kickass result even if you give them a handycam.

If you refused to learn the theories and understand why you're getting the results you get, you'll end up with crap even if you use a RED. It's like giving a racecar to someone who's used to driving a Pinto. If you don't know how to use it to its full potential, it's not gonna do you any good. I've seen great work done on the DVX and I've seen complete sh*t from people touting 35mm adapters. Don't blame the camera, blame the operator.
 
Huy Vu said:
I'm sorry for being harsh, but if you think that buying a 35mm adapter will automatically get you jobs shooting those $100,000 pilots, then you're just fooling yourself. There's no such thing as a "quick fix," no magic tool that will suddenly make you a better filmmaker or your film looks better. LEARN THE FUNDAMENTALS. Understand lighting, compositions, the technology you're working with and I can guarantee you that your skill will improve. Those 22 years old are successful because they know exactly what they're doing. Many of them probably spent years shooting and learning to perfect their craft, and I can guarantee you that they can come up with kickass result even if you give them a handycam.

If you refused to learn the theories and understand why you're getting the results you get, you'll end up with crap even if you use a RED. It's like giving a racecar to someone who's used to driving a Pinto. If you don't know how to use it to its full potential, it's not gonna do you any good. I've seen great work done on the DVX and I've seen complete sh*t from people touting 35mm adapters. Don't blame the camera, blame the operator.
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I guess you guys tie in 'not knowing all there is to know about F-Stops' with being a 'terrible director'. First and foremost, I WILL learn about F-Stops VERY soon. 2ndly, I won't man my own camera entirely on my first film anyways. I'm not that ignorant. I'm bringing people HIGHLY more experienced to the set so that I can focus on getting my story told right.

I DID go to film school. I was taught to screenwrite and direct by Emmy Award winning directors (IMDB Charles Cirgenski). We just never touched on the technicalities of the cameras. Just writing, the business and film positions. I should enroll myself in a brush up course somewhere though.

No, these kids did NOT get on in the industry from their TALENT, they got on from their EQUIPTMENT. Search Dave Lehre. Search Matt McDermitt. I shoot GREAT work on my DVX, Check my Demo Reel: http://www.vimeo.com/647856.
It's just that I'm ready to advance. If, on a 1-100 scale, 1 being never shot anything, 100 being Steven Spielgerg, and 5 Being a us DVX users, I'd say that getting an adapter would take you to a 7. Flat out. That's where I want to be, People pay more attention all of a sudden. These big wigs out here scoff @ DVX footage. Say they don't all you want, but they get reels from people 1 MILLION times better than you and I don't trust that they're going sit through flat DVX footage, regardless of how good it is. And @ the end of the day, what happens to me is based solely on what I believe is going to happen. So for my personal security, not only will I buy this adapter, but I'll learn EVERYTHING about F-Stops and be GREAT with it.

Now back to thew subject @ hand, seeing as you guys know SO MUCH about theses adapters, which one is best to you and why?
 
I give up, if you think that better equipment will automatically make you a better filmmaker, that's your call. Never mind that there are Oscar winning features that were shot on the DVX sans adapter, never mind that the film Broken was shot on a bare DVX and went on to be a huge hit. Never mind that learning how to light and operate the camera properly will earn you results that are a thousand times better than what any adapter can do. Nope, why bother spending years learning the craft when you can get a 35mm adapter and have people pay attention to you. Just don't be surprised when you end up with the exact same result, except with shallower DOF.
 
These are guys winning the award for Best of Show @ the Detroit Trinity Film Coalition Festival for a film called 'Broken' Are these guys behind the film that you're talking about? Because my I just submitted a film to this festival this year and never heard of these guys
1031595158_f49d59f3f4.jpg

 
WhiteWood said:
No, these kids did NOT get on in the industry from their TALENT, they got on from their EQUIPTMENT. Search Dave Lehre. Search Matt McDermitt.
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Let's see, Looks like Dave Lehre shoots on a Canon XL2, and he was only big because he made a YouTube video that people liked, a lot of people. And if you read This article then you will see that he was chosen to direct the Backstreet Boy's video after they saw a film he had made for $300 dollars. I think you are just proving our point.
 
RallyMonkey said:
Let's see, Looks like Dave Lehre shoots on a Canon XL2, and he was only big because he made a YouTube video that people liked, a lot of people. And if you read This article then you will see that he was chosen to direct the Backstreet Boy's video after they saw a film he had made for $300 dollars. I think you are just proving our point.
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No, Dave Lehre was famous through a connect that saw 'MySpace: The Movie' (Which WAS shot on an XL2) now he shoots in HD 35MM on a RedRock.
l_17081e0bb6cdc31bcba6501601680375.jpg

I know his story because I now HIM:
l_47ce2dfd47dd41696062884e122f3b87.jpg


And Matt's '$300 Project' was shot was on a DVX with a 35mm Adapter. He's never shot anything without that Adapter. That adapter is the SOLE REASON that music video director, Joseph Kahn, signed him to his label.
​
 
This is not about F-stops! You do not understand what we are trying to tell you! Talent and equipment are two different things. David Lehre got to where he is because he has talent and emersed himself in all things film. You are so focussed on a TOOL of filmmaking and are forgetting about the fundamentals.

The most important thing for any film is a good script! If The Godfather was shot on a shitty little handycam, I would have watched it because of the story. You can have the best looking footage and that shallow depth of field (which you can achieve somewhat if you zoom in and move the camera farther back) people are going to care about the story and characters. Regular people do not care about the shallow dof, because they have no idea what it is!!!! We are all filmmakers on this forum and when we watch films (or atleast me) we see the camera moves and lighting. We notice technical aspects because that is what we focus on when we make movies.

IMO you are just being ignorant to what people are saying on this forum. It seems that you are just not ready to spend thousands on a TOOL to give you a shallow DOF.

And you wanted a RED!!! Are you nuts! That thing has such a steep learning curve, it has more controls and function than a DVX ever will have. You need to learn about the DVX before you do anything. Get comfortable with what you own and then add on to that.

If I were to hand someone filmming with a digital camera a DVX, how well could they use it? They would press record and thats it. LEARN THE DVX!!! So many good movies and shows have been filmed with it and I doubt that it was camera footage that got it on the air, it was the script.
 
Austinv said:
This is not about F-stops! You do not understand what we are trying to tell you! Talent and equipment are two different things. David Lehre got to where he is because he has talent and emersed himself in all things film. You are so focussed on a TOOL of filmmaking and are forgetting about the fundamentals.

The most important thing for any film is a good script! If The Godfather was shot on a shi*ty little handycam, I would have watched it because of the story. You can have the best looking footage and that shallow depth of field (which you can achieve somewhat if you zoom in and move the camera farther back) people are going to care about the story and characters. Regular people do not care about the shallow dof, because they have no idea what it is!!!! We are all filmmakers on this forum and when we watch films (or atleast me) we see the camera moves and lighting. We notice technical aspects because that is what we focus on when we make movies.

IMO you are just being ignorant to what people are saying on this forum. It seems that you are just not ready to spend thousands on a TOOL to give you a shallow DOF.

And you wanted a RED!!! Are you nuts! That thing has such a steep learning curve, it has more controls and function than a DVX ever will have. You need to learn about the DVX before you do anything. Get comfortable with what you own and then add on to that.

If I were to hand someone filmming with a digital camera a DVX, how well could they use it? They would press record and thats it. LEARN THE DVX!!! So many good movies and shows have been filmed with it and I doubt that it was camera footage that got it on the air, it was the script.
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I am BETTER than David Lehre.
Go to MY YouTube:
http://www.YouTube.com/WhiteWoodEnt
and go to his:
http://www.YouTube.com/DaveLehre
And compare the video views.

I JUST WANT AN ADAPTER!!!!
This thread is about YOU telling ME which is the best adapter in YOUR opinion and WHY! I don't CARE about F-Stops right now! I just don't. On my priority list, it comes 2nd to this adapter, I'm sorry if that HURTS you guys' feelings! I'll learn when I GET it, Geesh. Not pulling the race card with intent, but being a black filmmaker, I have to do TWICE the work to get to the SAME place that these white boys are getting. In order to get where Lehre's getting with an XL2, I have to shoot on 35mm. A logic that has stood the test of time. I do ALL and MORE that Lehre does and NOTHING is getting me anywhere. NNOOTTHHIINNGG!!! If you don't have advice about this Adapter, STOP talking to me because you don't understand. I'm fed now.
​
 
Of course you would pull out the racist card! Come on you are stereotyping yourself. I watched some of your films, and I enjoyed some and others I didnt.

Video views has nothing to do with who is better, you should try harder if you want to be like Lehre.

Honestly just watch a view videos from the different adapters and choose one. I like the Letus and others like the red rock it all comes down to what you want. So just pick one of the adapters and use it.
 
WhiteWood said:
I JUST WANT AN ADAPTER!!!!
This thread is about YOU telling ME which is the best adapter in YOUR opinion and WHY! I don't CARE about F-Stops right now! I just don't. On my priority list, it comes 2nd to this adapter, I'm sorry if that HURTS you guys' feelings! I'll learn when I GET it, Geesh. ​
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The best adapters in the sub 2k range are the letus, sgpro, redrock and brevis in my opinion. In no particular order. They have different looks and pros and cons. Take a look at footage on there websites. You will see the differences and then start to get attached to the adapter u like.

U can also make one, but the quality will probably not get close to the ones mentioned.

i posted this while ago.
this is F-stop information.
it will help you now and when u buy an adapter.

http://en.wikipedia.org/wiki/F-number
http://www.camerapedia.org/wiki/F-stop
http://www.uscoles.com/fstop.htm
http://www.homephotog.com/tutorials/aperture.shtml
http://www.stsite.com/camera/cam04.php
http://www.paragon-press.com/lens/lenchart.htm

happy shooting.
D
 
1: Learn about F-stops before you get it. Just trust me, you won't be lost
2: I've always like the Redrock, contrary to a lot of people.
3: Spend more of your budget on lighting and LEARN TO LIGHT better. Just follow everybody's advice here & don't buy the adapter until you have camera & composition fundamentals down. I do believe that NOVEMBER (starring Courtney Cox and was a selection at Sundance a couple of years back) was shot on a DVX100, (correct me if I'm wrong) without an adapter
4: Babysteps! Make more shorts, and once you have fundamentals down, make a feature. Then make another feature, mabe with an adapter.
5: And for the love of God rent before you buy
6: Don't pull the race card, if you truly believe in yourself, you should stop making excuses to justify why you haven't had your big break yet.
 
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Austinv said:
Of course you would pull out the racist card! Come on you are stereotyping yourself. I watched some of your films, and I enjoyed some and others I didnt.

Video views has nothing to do with who is better, you should try harder if you want to be like Lehre.

Honestly just watch a view videos from the different adapters and choose one. I like the Letus and others like the red rock it all comes down to what you want. So just pick one of the adapters and use it.
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I'm not stereotyping myself. It's true. I had a conversation with Tim Story (African American American Director of Fantastic Four's 1 & 2) on MySpace and even HE told me how hard it is to break into this industry as a black man and the paths I would have to take. I'm not about ignore reality to try and play a 'fair' game of catch up.

Lehre should try harder if he wants to be like ME. Lehre is not my aim He's just lucky and connected.

I'm watching ALL the footage I can from these adapters, they all look the same to me. So I want to know from USERS OF THEM their personal experiences with them.
 
85poundsofentertainment said:
1: Learn about F-stops before you get it. Just trust me, you won't be lost
2: I've always like the Redrock, contrary to a lot of people.
3: Spend more of your budget on lighting and LEARN TO LIGHT better. Just follow everybody's advice here & don't buy the adapter until you have camera & composition fundamentals down. I do believe that NOVEMBER (starring Courtney Cox and was a selection at Sundance a couple of years back) was shot on a DVX100, (correct me if I'm wrong) without an adapter
4: Babysteps! Make more shorts, and once you have fundamentals down, make a feature. Then make another feature, mabe with an adapter.
5: And for the love of God rent before you buy
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So I take it RedRock is the least fav? Why?
​
 
85poundsofentertainment said:
I think a lot of people think that it has a bit of a clunky design, but I've always like a certain something about the image
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So to bring back all of my unanswered questions from before:
1.) What's the difference between a 'Vibrating' and 'Rotating' Design?
2.) What is 'Modularity'?
3.) What's the difference between a 'Hard' and a 'Soft' mount?
4.) How many MM is the lens's focal length on a DVX?
5.) Which 33MM Adapter is better when it comes to FStops?
6.) Why does my camera do this around the edges:
n8099637221_824982_4419.jpg


 
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