How important is to have a 35mm adapter for the HCM150?

H

haperez

Member
I would like to know if you recommend to buy a 35mm adapter for my HCM150 or not.

If you do, what will be the best choice?

I am starting to create my kit and I will be shooting some footage for a project. One of my producers would like to have a film look, but I suggested that with good lighting and right camera settings will be more than enough.

Thanks for your help
 
I think you are right - the HMCs color and tweakability can provide tons of looks and with the right lighting it should be fantastic. I mean if the DVX was hailed as being 16mm like, the HMC150 surely can get it done. However, if you want some nice 35mm dof you could get an adapter, or you could just get a t2i and a good fast lens for special shots.( All the while keep the HMC rolling for audio and a different perspective) The t2i could also get some nice lowlight scenes for you that the adapter could not achieve.
 
haperez said:
I would like to know if you recommend to buy a 35mm adapter for my HCM150 or not.

If you do, what will be the best choice?
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Respectfully, and in an effort to be helpful relative to your question -- you don't buy a 35mm lens adapter because it's a good idea. You buy one because you have existing needs that require an adapter.

For example, you need to do shots in small spaces and you need shallow focus and you want the convenience of a video camera without the headaches of a DSLR. This is a typical interview scenario -- and a 35mm lens adapter on an HMC150 (with the right lenses) can create some outstanding results.

On the other hand, if you're producing/directing an indie film, and you have the ability to control your production environment -- then all you need to do is back up your HMC150 about twenty feet from the subject, allow plenty of space behind your subject, and then zoom in on your subject. "Bam!" Instant shallow focus -- and it cost nothing extra.

Next, if you go the lens adapter route -- it's all about lenses. It's all about lenses. It's all about the lenses you use. Stick a crappy lens on the best adapter in the world and you'll end up with crappy images. Fix an outstanding lens to a mediocre adapter and you may end up with something entirely usable. You need to research lenses, understand them, and know how to use them to accomplish your goal. You also want full frame 35mm lenses -- lenses designed for APS-C or "micro four thirds" will not work.

There is no easy answer here.

All that being said -- if you're determined to go the lens adapter route -- look into the new Redrock Micro "M3" that features a spinning glass and on paper its specifications match the Letus Ultimate (that costs between three and four times as much).
 
AGMedia said:
Next, if you go the lens adapter route -- it's all about lenses. It's all about lenses. .
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very useful information. Somebody recommended to get the Nikkon Nikkor 35mm and 50mm if I go to the adapter route. Are those good lenses? I will be shooting a feature this summer in Houston, tx

Thanks
 
pulpfiction007 said:
you could just get a t2i and a good fast lens for special shots.( All the while keep the HMC rolling for audio and a different perspective)
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I have FCP7 and I was just wondering if I decide to get a T2i, can I edit the mix footage with my Hmc150 with no problems?. and my second question is what lenses should I get to start building my kit?
 
haperez said:
I have FCP7 and I was just wondering if I decide to get a T2i, can I edit the mix footage with my Hmc150 with no problems?. and my second question is what lenses should I get to start building my kit?
Click to expand...

They are not a great match. Some shots you can match by really dumbing down the T2i, others you will struggle with. Learn which kind of shot match and which don't and you will do ok.
 
I would disagree with the sentiment that they are tough to match. It has been pointed out that there are certain conditions where the t2i will shine with certain lenses (most notably low light) and yes, it would be tough in those conditions to match footage.

In a controlled setting I have been really happy with matching the footage (in my humble opinion). I think it has a lot to do with proper lighting. The HMC-150 can give some pretty awesome footage when the circumstances are right. About six months ago I shot a cooking show in a studio kitchen and used the HMC-150 on a dolly and two t2i's as b-cams. You have to dial in the settings on the HMC (and the t2i's) but with proper lighting and color grading in Apple's "Color" It was pretty seamless to my eyes. Not too much grading work in post either.

If I get a chance I'll try to post some freeze frames.

I guess my summary is that in a controlled situation where you can choose the wardrobe (I try to stay away from anything with small complicated patterns that would be tough on the codec) the background, have time to dial in the settings (refer to Barry Green's book if you're not familiar) and most importantly the lighting, they can be matched well with impressive results. If you have that control they are good matches, if not you may have trouble or "have to dumb down the t2i footage" to match. This may be what the previous poster was saying anyway. Once again I'll try to see if i can post some freeze frames but I shot two weddings this weekend and need to stop procrastinating on DVXUSER...
 
I have heard the panasonic gh-2 is a great companion to the 150 and you don't get the moire problems of the t2i. The gh2 also has an electronic viewfinder and articulating lcd.
 
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