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[quote name='markm' timestamp='1353881982' post='22276'] Mike Why'd you do that? I need to see people different places lighting conditions focal lengths NOT closeups on stained glass! Please try again! Have you got some 16mm lenses to test with a monitor plugged in or maybe even a prores recorder? [/quote] geeez dude, it's his camera, he can shoot whatever he wants lol

I have been following the development of a new anamorphic lens created by Personal-View user Apefos, and today we finally have the first footage: [media]http://vimeo.com/52515544[/media] It is remarkable to me what a lone person can overcome and accomplish with a little conviction and a lot of patience. For more information, see the thread at Personal-View.

Shot out in the Hoh Rainforest. Heavily used the Kenko .3 105mm diopter. Edited in Adobe Premiere. https://vimeo.com/52401060

Here's the thing with moire & aliasing... ALL cameras have it. Even the 1D C and that is $12,000, and the Blackmagic Cinema Camera. The 5D Mark II had much worse moire and aliasing than the GH3 and that didn't stop it being used by pros in Hollywood. It isn't a desirable quality of the image but the way some guys have gone on about it on forums has been ridiculously over the top. The list of cameras that the GH3 is better than for moire and aliasing is staggeringly long - 5D2, NEX 5N, NEX 5R, NEX 7, A99, D800, D600, 7D, 60D, 600D, 650D, EOS M, 550D, OM-D and nearly every other DSLR on the market. The 5D3 is soft but when you sharpen in post sometimes you get some aliasing. The GH2 had slightly less moire & aliasing than the GH3 given the same situation. But it still occasionally flared up. Not so much in the real world but with a very sharp lens with a very narrow band of fine patterns. You may get 1 occurrence out of every 100 shots with it. On the GH3 maybe you'll get 5 occurrences out of a 100. Depends what you're shooting. The 5D2 was doing it on roof tiles and water!! All sorts of stuff. The GH3 seems to have a lighter anti-aliasing filter, so there's a very slightly wider window of fine patterns that it occurs on. I hope this puts the GH3's moire into perspective. I know it can be a confusing issue, as it depends on so many different factors whether you get some or not. By the way, it is far less visible on a TV or projector than it is on a computer monitor - which is the least organic and cinematic way to watch video.

What a silly discussion. These people do have way too much time on their hands... seriously... I don't have any money invested in this, but you don't need to look further than the Digital Bolex website news section to get extremely detailed info on the progress of the entire project. On top of that, you have the 2 creators showing up for interviews everywhere, on every different filmmaking website or blog, do you think they're all in on it? I don't think it would be worth it... If this was a scam why would they stop at 100 orders? They could have gotten at least 5 to 10x more orders than that through kickstarter alone!!! Maybe they're scammers AND dumb?

This was shot 'flat-ish' in Custom picture profile all -5. Can be sharpened in post but I didn't touch it, all direct from the camera as it was the look I was seeking.

Yes it is pretty good in low light, better in the shadows than the GH2. This was a wide range of ISO, mainly between 640 and 1600 with the train cabin shot right up at 3200, F1.6 (it was shot through black glass and almost completely dark to the human eye). SLR Magic 12mm F1.6 is superb for shadows wide open because it has a cinematic effect, lifting the blacks. I found their new 35mm 0.95 and 1.4 prototypes did the same when I shot with them in Cologne.

The reason the Digital Bolex is still vapour ware is because they didn't go and release the product they first announced ignoring everyone's input, instead they listened and they've been tweaking it according to feedback, and their progress has been documented in detail on their website, with a transparency uncommon to other manufacturers. Besides, the BMDCC is still vapour ware to many people who ordered it months ago too. Anyway the point was that they're so close to having a really solid product that in my opinion it's worth going the extra mile and thinking it through. If you wanna settle for less, be my guest, I'm sure they'll appreciate it, but will it help changing things for the better? What you're saying sounds like if you put raw in a cheap camera you can ignore everything else, and that's not true. Everyone complained about the audio capabilities on the DSLRs and the BMDCC is not any better in that regard. I'd definitely rent one if I need it, but as an indie filmmaker I can't be buying cameras incrementally, when so many little things clearly need to be addressed even before the camera comes out.