I assuming you're talking about a speed booster?

There are plenty of nikon/canon lenses that are wide enough, you're also shooting 1.5x correct? thats not even bad, whats the issue?

eheathI assuming you're talking about a speed booster?

There are plenty of nikon/canon lenses that are wide enough, you're also shooting 1.5x correct? thats not even bad, whats the issue?

So like I was looking at some 24mm old nikon glass which ends up being 36mm on my sensor which isn’t that wide... and yea the speed booster. I mainly just want one that can focus to infinity lol.

lelandbroadhurstSo like I was looking at some 24mm old nikon glass which ends up being 36mm on my sensor which isn’t that wide... and yea the speed booster. I mainly just want one that can focus to infinity lol.

Wide enough for what?

eheathWide enough for what?

Filming skiing on a electronic gimbal. Much harder (imo) to get in frame shots than a glidecam because of the delay the motors have.

lelandbroadhurstFilming skiing on a electronic gimbal. Much harder (imo) to get in frame shots than a glidecam because of the delay the motors have.

So you want to use an old film lens on a gimbal? Why? The tokina 11-16 or 12-24 11-20 or any wide lens that isn't from 1960 would be better for what you want to do.

**This post was edited on Jul 26th 2018 at 3:55:35pm

eheathSo you want to use an old film lens on a gimbal? Why? The tokina 11-16 or 12-24 11-20 or any wide lens that isn't from 1960 would be better for what you want to do.

**This post was edited on Jul 26th 2018 at 3:55:35pm

The only reason being that the native Sony mounts are far too expensive for my budget right now. Well atleast the ones I’ve seen. That’s the reason why I was looking for an adapter because I can get those old lenses for like 100-150 ish in good condition vs like idk 350-500

lelandbroadhurstThe only reason being that the native Sony mounts are far too expensive for my budget right now. Well atleast the ones I’ve seen. That’s the reason why I was looking for an adapter because I can get those old lenses for like 100-150 ish in good condition vs like idk 350-500

Yeah the emount lenses aren't the best, I really liked the 18-200 when I used it. Id say get yourself a cheap adapter and a tokina 11-16 for like $400 total (canon or nikon, nikon is a bit easier because you dont need electronics to change the aperture) that lens goes for like $300 these days and its still one of the best wides you can use.

eheathYeah the emount lenses aren't the best, I really liked the 18-200 when I used it. Id say get yourself a cheap adapter and a tokina 11-16 for like $400 total (canon or nikon, nikon is a bit easier because you dont need electronics to change the aperture) that lens goes for like $300 these days and its still one of the best wides you can use.

Do you think it matters which adapter i get? Like is there a question of quality and or focusing to infinity.

lelandbroadhurstDo you think it matters which adapter i get? Like is there a question of quality and or focusing to infinity.

Ive never had any issues with a $50 adapter other than small light leaks that can be solved with a piece of tape. I had a novoflex adapter for my fs100 that was $200 but it was very nice, definitely worth it if you have the budget.

lelandbroadhurstFilming skiing on a electronic gimbal. Much harder (imo) to get in frame shots than a glidecam because of the delay the motors have.

I film almost all of my mōvi skiing work with a 16-35mm on the 35 end, as long as you know what the skier is going to do its fairly predictable where they will be in frame and you can adjust ahead of time accordingly

IanAvery-LeafI film almost all of my mōvi skiing work with a 16-35mm on the 35 end, as long as you know what the skier is going to do its fairly predictable where they will be in frame and you can adjust ahead of time accordingly

That’s true, I’m confident in my own ability to get shots of others when I’m on paid projects... but the biggest concern for having an extremely wide lens was people filming me not knowing who what where and why if you get what I’m saying. But that’s interesting to me why you’d film more on the tele end of that lens... just curious why do you prefer that?

lelandbroadhurstif you get what I’m saying

unfortunately no I don't really understand

but as far as the 16-35mm goes, its my personal preference to have a ski edit mostly be longer focal lengths (tripod 70-200 also) with just a few 16mm shots sprinkled in, than a mostly wide edit with just a few longer shots. I'd love to get a 17-40 if that lens wasn't soft/shitty since I'm always finding myself wanting more reach on my gimbal, but never really need to go wider, and I wish the Sony 24-70 didn't extend/retract while zooming

IanAvery-Leafunfortunately no I don't really understand

but as far as the 16-35mm goes, its my personal preference to have a ski edit mostly be longer focal lengths (tripod 70-200 also) with just a few 16mm shots sprinkled in, than a mostly wide edit with just a few longer shots. I'd love to get a 17-40 if that lens wasn't soft/shitty since I'm always finding myself wanting more reach on my gimbal, but never really need to go wider, and I wish the Sony 24-70 didn't extend/retract while zooming

What I mean is typically when filming me and maybe one other friend will switch off filming each other (like every other lap) and he’s not as experienced or as skilled as I am. I’m not saying I’m the best in the world either but I understand more of how to predict movements and the smooth reactions rather than jerking it around. And that’s interesting to me... do you just prefer the more zoomed in look? The only reason I would want to shoot super wide myself is to have room to possibly letter box in post or pillar box... etc.