Posts tagged Epic x

Retro 7

Think Tank was kind enough to send over their latest shoulder bag, the Retrospective 7. The 7 fits nicely between the Retro 5 and Retro 10, but features the addition of a zipper pocket that can hold the iPad or 11 inch Macbook Air.

Without taking the bag out for a full day of shooting my initial thoughts are:

This size seems juuuust right to me. Big enough to fit a bunch of gear but sized right as to not allow too big of a load for a shoulder bag.  As with all the TT Retro bags I love the lightweight, soft feel of the bag and inserts. Wearing it you don’t feel encumbered by the “padded foam box” syndrome of other shoulder bags. There’s a natural give to the design that hugs your body like an old school Domke would. But unlike the Domke the Retro line has hidden pockets and organizers. And they are scalable with the ability to take some of the Think Tank modular pouches. A big plus.

The Retrospective line disappear while shooting. When I take one out I don’t feel like I have a bag with me at all.

For Canon users it fits the holy trilogy of the 16-35mm 24-70mm 70-200mm without feeling too loaded down.

I was even able to fit a basic Epic X package into the Retro 7. A Epic, side handle (not attached) 28-70mm, 4xRedvolts, filter wallet. I plan to use this bag w/ the EPIC and the M mount as a ultra small shooting package.

Would be great if the laptop pocket could fit a 13 inch Mac Air. I bet they are saving that for a future Retro 10 update. Just my feeling. It’s so close as it is. A work around would be slipping the 13 Air in the front pouch. The front flap does close over the the laptop, but not an ideal solution.

The Retro 7 is a very versatile size. I can highly recommend this bag for many set ups.

Order here as a friend of Todays Tomorrow and receive a free gift from Think Tank

SLR Magic HyperPrime CINE 50mm T0.95 PART II

I wanted to compare these two lenses in a shoot out in part one but the Canon 50mm f0.95 won’t fit the SpaceCam Leica M mount. (The locking ears are too thick and prevented the lens from fully making contact with the back of the mount.) This is the only lens that I experienced this with, so part II of this review will be done using a GX1. I will probably revisit this when my RED Leica M mount ships out. But until then…


In day light the SLR_M renders smooooth OOF areas. It almost reminds me of bokeh/oof produced by a long telephoto lens. The SLR_M can produce classic looking bokeh but just had to work a little harder to do so in the daylight. Maybe this was due to the subject being photographed in this comparison shot. Curious if this might be due to the different field of view of these two lenses and/or the different close focus distances. The SLR_M has a much close focus range (.7m) then the Canon “Dream” lens.

Split view on a PANASONIC GX1
(Full resolution on Flickr)

Backgrounds completely melt into a soft field of color in the SLR_M shot…while lacking the oof bokeh circles . The SLR_M renders an extremely sharp image and coupled with the smooth oof/bokeh the image evokes that Leica “3D” effect. The Canon gives you the dreamy soft-ish focus, diffuse/glowy hi lights and slight low contrast and saturation images, and classic bokeh.


The same smooth oof/bokeh performance from the SLR_M on the EPIC-X. I almost needed a ND filter shooting 800 ISO at night with the EPIC X and the SLR_M Hyperprime on the streets of Los Angeles. The streets at night are pretty bright and I seriously had to up the shutter rate to compensate for the extra stops this lens produced. I was a bit suprised… I can only imagine the performance on the EPIC when its rocking a RED DRAGON sensor. Night vision???

I did run into something of note with the SLR_M Cine. I noticed this in the RED EPIC footage more so then the images from the GX1. At 5K you could see that there are dark dots or white dots in some of the bokeh circles. This only showed up occasionally in a shot or two. Its visible in the footage around 6:22. I have been told that this is a side effect in all lenses f1.0 and faster due to the inherent design of the optics.

Not a deal breaker but something to keep an eye open for while shooting with these fast lenses. I will have to test this further…as it is apparently present in the Leica Noctilux as well.

Conclusion/Thoughts: For the price the SLR_M CINE you can’t beat what you are getting. A low light monster that can deliver that LEICA 3D effect while staying very sharp wide open. To me the SLR_M delivers a super clean, sharp modern feeling image. As for the Canon, I do like the size and the vintage feel the “Dream” lens brings. The flaws of the Canon are what give it a ton a character. Each has its place in my arsenal of lenses.


SLR MAGIC CINE 50mm T0.95 on EPIC X from Jason Bognacki on Vimeo.

SLR MAGIC CINE 50mm @ T0.95

Camera: EPIC-X w/ Spacecam LM/ARC mount. Shooting 5k FF in RED COLOR 3

(Compression is softening the footage a bit ...check out the flickr stream to judge sharpness)


Thanks to the actor Karl E Landler and Matt Stiller for standing in.

!!! UPDATE !!! SLR Magic HyperPrime CINE 50mm T0.95 PART I FOOTAGE



Anamorphic Part I

An unscientific evaluation of the Lomo Anamorphic (Square Front) Lenses. These lenses were produced in Russia from 1970-1980.

-Images and Footage shot on my RED EPIC X
-5K anamorphic mode in RED COLOR2+RED GAMMA2 (UNGRADED TEST)

35mm T2.8, 50mm T2.4 and 80mm T2.5 in OCT19 mount

35mm @ T2.8 FLICKR LINK
- The smallest of the bunch, flares wide open as well as stopped down. A mastery of optical engineering a thing a beauty.

35mm @ T11 FLICKR LINK

50mm @ T2.4 FLICKR LINK

- Flares nicely wide open and less so when stopped down. These are heavier then their more modern round front counter parts, but still manageable hand held.

80mm @ T2.4 with a +1 DIOPTER FLICKR LINK

80mm @ T2.4 FLICKR LINK

Lomo Anamorphic Part I from Jason Bognacki on Vimeo.

Thanks Matt for standing in.

Epic x Test Footage from Jason Bognacki on Vimeo.

A quick test drive of the new EPIC-X (48-300 FPS)
Model: Estefania Iglesias

A quick test drive of the new EPIC-X. What an amazing camera.

Film stills for “ANOTHER” directed by Jason Bognacki