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[quote name='Kingswell' timestamp='1353042743' post='21747'] No arguing the concept is brilliant, but 4 months and still no mass production is an absolute disaster of a release. Since the end of July its been week after week of problems. [/quote] I love how everyone has been treating this like they haven't been letting us know what's up the whole time. Like Grant hasn't been disregarding expected industry norms by giving us regular reports (and they are ridiculously in-depth!) every time he knows something. Get a grip people. I understand you are angry because you want your camera and you want it now but have a little compassion. This is not some kind of debacle where people are sneaking around trying to keep things secret because they are worried that it might cause a fuss. I for one feel that they have been up-front and caring the whole way through. I don't know any other company that would give a damn enough to keep us all in the loop like they have. Geez guys. And think for just a second what it must be like on their end. You think it's fun waiting around for a week for some company to send you samples only to find that they are bad... over and over?

We don't want focus through like LA7200, that doesn't work at fast apertures or with a shallow depth of field. We need the Iscorama style focussing method of prime at infinity and one focus barrel, no breathing. Agree dual focussing is a deal breaker (for me at least) and have made that clear to SLR Magic. I want them to package this as one lens with the prime and anamorphic focussing as one unit. Focus more important than having it as a stand-alone adapter in my view. Have a Kowa for that and don't use it because of the dual focussing.

[media]http://vimeo.com/53623079[/media] [i]Above: A message from Andrew of SLR Magic[/i] SLR Magic are stepping into the world of anamorphic lenses. Developed afresh, this will be a 100% new custom designed anamorphic lens for filmmakers but priced accessibly for DSLR filmmakers as well as pros. The footage above is from the early prototype and I have been speaking to Andrew about the early development of the lens.

[quote name='EOSHD' timestamp='1353095592' post='21791'] Let's test this intuitive Windows 7 claim :) Task 1. I need to backup the entire system. I click Time Machine, it is done. You click.... [/quote] ...Norton Ghost.

[quote name='EOSHD' timestamp='1353095885' post='21793'] Thanks for all the feedback guys. In order of importance what do you think is most critical to you? Single focus barrel (not dual focus like Kowa) OR adaptable to different primes? If the adapter cost for example around $1000 (I just made this up, nothing to do with actual pricing as this is not decided on yet) and was dual-focus would you buy it? With dual focus you cannot rack focus during a shot and it takes longer to confirm focus, is trickier too. How much would you be prepared to spend on a high quality single focus anamorphic (like the Iscorama)? [/quote] Difficult one there Andrew. People would be more willing to spend money on a Single Focus system, but not at the Iscorama price range (I don't think they'll ever hit the quality of an Iscorama, so why price it as such). The idea of it being a closed system would appeal - lens & anamorphic combined. No one would pay $1000 on a dual focus system, as there are too many good cheap ones out there already.

Don't feed the troll :)

Eye opening because the VG-900 is a total, unadulterated, nightmarish disaster.

as suggested by [url="http://www.eoshd.com/comments/user/21340-bioskopinc/"]Bioskop.Inc[/url] in past posts, a wide prime with a series of matching diopters to get closer would be nice. an f2.8 35mm monoblock and a set of diopters (+0.5, +1.5, +3.5) would be a nice little package. 35mm is a nice all round length. and for closer shots where you want a bit more of a portrait feel a +1.5 diopter from 1.5mts away on a 35mm focal length would give lovely close face shots with nice bokeh.

[quote name='matray' timestamp='1353056455' post='21755'] Where is the oval Bokeh ? The sharpeness isn't great at all and again ? Where is the oval Bokeh ?! Only flares aren't good enough. An oval and strong bokeh is definiteively needed ! Flares can be faked like with the Atlantic filter, but not the bokeh. That's what matter the most to me. [/quote] Are you referring to [color=#282828][font=helvetica, arial, sans-serif][size=3][background=rgb(247, 247, 247)]Apefoscope? I prefer image quality from the SLR Magic.[/background][/size][/font][/color]

I wouldn't hold your breath too long for an Iscorama copy, regardless of the patent problems. It would probably be very expensive to mass produce in order to get it perfect e.g. no breathing etc... Andrew's comment about it being a sealed unit with a taking lens is probably a hint at where they will probably be going with this lens - at best it will be a focus through type thing. The SLR magic anamorphic is looking good, but what are their plans for it - what's the focus system & what's the market? Not really seeing the problem with dual focus systems or even monobloc fixed focus lenses - i have a lens i can rack focus with & still haven't found an instance where this type of shot would serve me better than another alternative. Still not sure where this obsession with 'Rack Focus' has come from - i've watched, studied & written about so many films over the years and it just isn't something that is used in abundance. The most common usage is to rack focus from one talking head to another, but most filmmakers will not abandon the 'shot-reverse-shot' technique since they are taking into consideration audience identification processes. There are numerous shot types out there, you need to get to know them & stop being hung up on a very minor one - 'John Fording' will never go out of fashion (this is a close up shot, where an actor moves into focus) & is so much more effective, and easier, thus less time consuming to set up, than following the actor whilst trying to keep them in focus. More info is needed, please!

[quote name='Inean' timestamp='1352240153' post='21195'] I love it, congratulations on the look achieved. I'm intrigued by lenses you used coupled to AglA7200. I have read Nikon AIS, but which? Thanks, I'm starting with my newly acquired AG and'm crazy with lenses and Close Ups. Assembling QuickHitRecord is the best idea I saw so far. Sorry for my English translator of google. [/quote] Thats from google translate?! It did a pretty good job. What's your native language?

[quote name='kitchentable' timestamp='1353021183' post='21717'] Under the circumstances (basically the myth that there would be a 4-5 month advantage to sticking with the EF mount) , I'd very much like to see Blackmagic offer the option to switch an order to MFT without joining the back of that particular queue. [/quote] They seem like reasonable people. You should bring this up with them. To be honest, I almost pre-ordered when they announced the MFT mount. And I go through this every few weeks now, "Should I order one? No, I should't order one." Aside from it being a finical hardship at the moment, I decided to wait for them to get all the kinks ironed out. I also have a feeling that the "passive" MFT mount is just a phase. I really think they will release an active one. I mean, think of all those Panasonic lenses that are focus by wire. You simply will not be able to use those due to the focus mechanism requiring power. I'd rather wait for that for an active mount if that's in the cards.

[quote name='galenb' timestamp='1353027228' post='21726'] This might be just my ignorance but what's wrong with the LA7200? It seems like it would work a lot better then all these goofy projector lenses? [/quote] I agree with you regarding the projector lenses. Dual-focus is a no-go for anything but the most patient of experimental filmmaker. It's for people who want the look more than they desire sanity, if they're actually shooting a film with actors and all kinds of people that are usually, already waiting on camera to be ready without such exotic toys in play. I'm assuming (hoping) the SLR Magic adapter is focus-through as well. Dual-focus is a total deal breaker for me. The problem with the LA7200 that this test already shows this adapter is an improvement on is sharpness at wider apertures without a diopter, and in the case of the LA7200 an even more rare, more expensive diopter than the venerable Tokina. I'm not sure what it's lower threshold is but with my Century I can't be tack sharp at any focusing distance open wider than F2.8 without a diopter (which affects FOV).

[quote name='EOSHD' timestamp='1353025707' post='21725'] What was the solution Charlie? Separately I'm having issues with Resolve in Windows. Was working fine until a few days ago and now Quicktime decoder exe keeps crashing during sessions. Windows is so reliable isn't it??!? [/quote] Ha! As this was happening to me I actually thought about your words on Windows, because I've never had major problems using PCs (that's all I know, never had the luck or interest to use Macs) and facing this issue I said to myself "Andrew was right!". But much to my embarassment, I caused the issue, not Windows. The problem was at some point when working on the first version of my project I imported an asset from my portable drive (while the project I was working on was in my PC, inside a 2TB RAID 0) and that's where Premiere left it's importing and also it's SAVING dialog at. So when I saved the second version it was saved into the portable drive, instead of my PC (saving is second nature to me, and I use keyboard shortcuts almost exclusively, so I didn't even look). After encountering this issue of Premiere shutting down I rebooted and my PC has a quirk in which I have to disconnect every USB drive I have connected or it won't start (alright, this is an argument for you to hit PCs! haha). Apparently it always tries to boot from them. I tried to configure the BIOS to prevent this but haven't been succesful. So I just live with it. Anyways, the drive wasn't connected when I reopened Premiere, so the projects didn't show up in the startup dialog, I connected the portable drive, checked my project folder, everything was gone, made searches on my RAID 0, and tried other stuff. It was only afterwards that I dawned on my that this folder mix up could've happened, so I searched inside the hard drive and there was everything I thought I'd missed. So... you're free to bash me on my stupidity. But I'm still very relieved for not losing my work! As for you trouble in Resolve, yeah, sometimes installing the most unrelated stuff can mess up other drivers. Perhaps making a System Recovery back to the day Quicktime worked can help you? P/S: My real name is Ernesto, not Charlie. This is a username I've been using for more than ten years, it dates back to highschool times when I created a character of that name and I didn't trust the internet enough to give them my real name. :P

I'm sure BM didn't plan to have this delay, having to deal with all these impatient customers, like Toyota didn't plan to recall 7.4 million cars B) And waiting a bit for such a milestone treat at an unbelievably low price shouldn't be that hard...

I for one, love DSLRs, but precisely because they do limit you. The consequence of this is that you really have to think about how you want to shoot something & this gives you good experience in planning a shoot. In a way its like stepping back in time, where you have to learn your craft - make mistakes, fix mistakes etc... I personally like to get everything right in camera & never have to say "I'll fix it in post". To me that is just plain lazy & you'll never learn from the mistakes that you should be making if you take that attitude. RAW seems like a good idea (well its amazing really), but how many people will just use it to avoid learning to film a scene properly? With film you had to get it right - no excuses. Why should digital be any different. What makes a film look good is a DP creating a mood, seeing an angle etc... It doesn't really matter what its filmed on/with - if its a good film, its a good film. If you have a good idea, just shoot it on whatever you've got to hand. It doesn't matter, as no one is going to say "Its filmed on a DSLR, so its shit!" The highest grossing film of all time (based on how much was spent & the return it saw) is still The Blair Witch Project - made for the price of a used car, lots of ingenuity & some balls! Of course i want a better cheaper camera - i'd kill for one. The future could & most probably will be bright for low budget filmmakers, but first you need the idea & the know how. In the meantime there's no point getting hung up on codecs, formats, resolution etc... At the moment i'm as happy as larry & love my shitty 60D, with its moire, aliasing, softish picture & the rest of the crap that it throws in my face just to spite me.

I sometimes imagine a different press conference for the opening of the GH3. It could have run as follows: 'We appreciated that many of you out there were trying hard to make our GH2 into something more than a consumer photo-camera. We didn't expect, that it's final success would be owed to the dedication thousands of you invested into making this product comparable to professional movie cameras. The GH3, we decided, had to be a worthy successor. While we put in some interesting improvements for still photographers too, we now make an offer for all of you who demand more - and not [i]moire[/i], haha - of it's video features. The market changes fast. The hacks of our original firmware showed, that you care less for a good compression with small file sizes than for the tiniest bit of quality you can squeeze out of it. We added an All-I-video codec at 72 mbps. The optional large battery grip also includes a slot for an SSD on which you can record ProRes at 4:2:2 10-bit, in variable frame rates up to 120 fps. It has two XLR jacks, which can be leveled separately with control knobs and a small LCD right beside. Furthermore, we made a special software to fine-tune the color presets and to fully customize the camera to your needs. This is our offer to you. We invite you to take the advantage and make this thing the ultimate tool for all filmmakers on a budget.'

I have owned the GH2 since it was first released and I remember that this conversation about moire is an exact repeat of the conversation people were having about moire and the GH2 before the camera was released and after it was widely available. Some owners found it had a lot of moire, certainly more moire than on the DSLRs and they showed their video proof on Vimeo, Youtube, etc. Other owners found that the GH2 had little or no moire, certainly less then on the DSLRs and they showed their proof online. Both camps were very confident that they were right. After I got the GH2, moire was never really an issue for me at all, but then, I never really hunted to find it. And in feedback on my videos, no one ever mentioned it. In going back and looking into this, I have seen some GH2 videos online with a lot of moire, yet, in my own shooting it never really occurred. I am not a professional videographer and I never tried to produce moire as a test, but here is an early test video I did with the GH2 that has the opportunity to show moire and there is none to be found (look at the fences at around 1:30) (When my GH3 arrives, I plan to go back to this same waterfront and shoot the same test video.) So, here we are again with the GH3. I have seen some videos where you can see a little moire, and even more, where you can not see any moire even when the person shooting was trying to produce moire specifically. Here's one example of a video where the filmmaker tried to produce moire and there is none: Here's an example of a video where the filmmaker did not try to produce any moire yet - if you look for it purposely - you can see some on the zipper of the jacket: So, after all of the talk about it and all of the videos now available, (and I am sure the debate will continue) personally, the moire issue in the GH3 is a total non-issue for me. Under certain shooting conditions, I may get a little moire and in most other conditions there will be none. Isn't it really as simple as that?

First of all: It's not the camera :P, it's you ;) I think it is the lens. I couldn't find a specification how much it weighs, but it certainly looks heavy. Then the lens needs an adapter mount, and the cheap ones may have enough slackness (if that's the right term, I mean that they are not machined with highest precision). The two items on the plastic body of the GH2 add instability, more so if you focus by hand, because, the Vivitar being a photo lens, the ring is not designed to run smoothly. The most noticeable problem of your shots is the shivering, that even produces rolling shutter jello (as in ~6 - ~11). The shiver is amplified by the focal length, which makes all of them tele. With a lens like this, a rod support is needed and better yet a follow focus (a good one). Also the tripod should be good enough. Note, that zoomed in fully the lens has an aperture of only f5.3, which is pretty slow and explains why your shots are quite dark. As you see, the lens, though cheap, is not exactly a bargain for this kind of task. The bokeh looks okay sometimes, but it's certainly not remarkable. I advise you to look for a faster, lighter and wider lens. Some of the finest are discussed in Andrew Reids book for the GH2, but I'm sure you will find recommendations by using the forum search. Yes, and the background at 20, you couldn't see anything through the compression artifacts of vimeo, so I downloaded your upload mov. :blink: Congratulations! You found the *banding* that represents the GH2s biggest problem. Use the search again, but let me explain for now that it is most prominent in dark, blurred areas with slight gradients within. > It can be avoided to some extend by avoiding dark, blurred areas with slight gradients within. > It can be fixed in post to some extend by rendering fine grain in the highest possible quality ('de-banding', 'dithering'), by the way also a good trick to prevent vimeo from simplifying your video to a broth of macroblocks. As you see, everything is fine. Everybody who shoots sharp, clean footage with the GH2 has a good lens.

Hello, Here is a short i did couple of weeks ago, it's shot on hacked GH2 (Quantum9b hack). Enjoy! http://vimeo.com/51677068

/Edit: Uploaded new video with correct contrast. Here you go. Not the best test situation, had to go to iso 800 to shoot at f/2.8. Included some footage I shot before as well in the end (with 12-35mm X) Didn't bother to include +5 contrast, probably nobody wants that anyway. I used a 50mm Minolta MD Rokkor f/1.7 @ f/2.8 which I bought for €5 on eBay. You get some free moire included. Safe to say More is not a 12-35mm X only thing. Settings: 1080P MOV ALL-I 72Mbit 25 fps 50mm Minolta MD f/1.7 @ f/2.8 ISO 800 1/50 sec I left out the Custom profile. It just saves one of the other profiles with your contrast/sharpness preferences as a preset. It's not a different profile. Here some HQ Screengrabs straight from Sony Vegas: