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I have decided to start developing a series of taking lenses for users of anamorphic lenses, in particular they add a rawness to footage shot with the sometimes 'over clinical' Iscorama, Schneider 35mm Projection lenses, and the high performance Kowas. I have always wanted the sharpness from this type of anamorphot, but wanted the feel of an 8mm anamorphot which seems to add a certain raw and natural quality (see Seb Farges 'Baby Hypergonar' stuff for examples of what I mean). The little lenses might struggle in low light, and sometimes dont match the big boys for sharpness, but they add a real lovely overall aesthetic which I think is lost when you upgrade to an Iscorama. Anyway, I have been compiling some sample footage of flare characteristics and will be adding more as i go. I am currently shooting samples with a 8mm anamorphot and a century 16:9 converter. For now please see the footage shot with Iscorama 36, and in non anamorphic too. Iscorama 36= http://www.vimeo.com/60022405 Iscorama 36 Flares= http://www.vimeo.com/59961537 Century 1.33x Flares= http://www.vimeo.com/60036048 Cinevision 8mm 1.5x Flares= http://www.vimeo.com/60038931 The second link has some information about the lenses. I will be selling these to people who want them. And can customise the characteristics to suit your particular style. I'll probably sell them via ebay. Feel free to make suggestions as to what you might want to see... :) Century and 8MM 1.5x anamorphot flare samples coming up!

    Not exactly.   First, each Cb and Cr (could also be UV) channel represent the deviation from gray on an axis ( from wikipedia : CB/PB and CR/PR are deviations from grey on blue–yellow and red–cyan axes, whereas U and V are blue–luminance and red–luminance differences.) (The LAB colorspace is using the same principle)   So for example, the CB/PB channel representation in 8bit is at 0 - blue full saturated, 64 - blue half saturated, 128 - grey, 256 - yellow full saturated.   Second, in the 4-2-2 relationship, the 2-2 doesn't not represent the channels, but samples per row. The sampling formula always seems to be represented on by 4 pixel columns by 2 row. So in a 4-2-2 sampling, for a region of 4 pixel wide (4-x-x) by 2 (the second row - not related to the 2s in 4-2-2), you have on the first row, 2 samples of chroma (for both U and V, or Cb and Cr), and on the second row, 2 samples.   So, on a 4-2-0, on first row, 2 chroma samples of each channels, but no sampling on the second row (it is like have half resolution on both x and y axis of chroma versus luma, eg. 1920x1080 luma resolution, 960, 540 chroma resolution).   In 4-1-1, you have one sampling of chroma on each row (so for a 1920x1080 luma resolution, you get a chroma resolution of 480x1080).   in 3-1-1 sampling, like XDCAM EX and HDCam HD, you have for each 4 pixels of luma in source, only 3 samples of luma at the output, that is why those codec are 1440x1080 with a 1.33 pixel aspect ratio.

turn some screws, lift some metal, clean glass, put it back!

@QuickHitRecord Pretty sure what you're seeing isn't the result of the color space, it's the result of the massive overall bitrate increase going from H264 to ProRes.  Detail and clarity come from bitrate increase, color data change is more hard to discern.

I've never seen noise showing up in highlights more than in shadows. Is that even possible?

Really nice. Love the ecu's of the ink prints on her face

Check out Shian Storm's sight for his new color grading tools, ColorGHear.  He has loads of helpful video tutorials on the site for everything from lighting to grading, some of them free without purchase of the CG toolkit.   http://www.colorghear.com/

Smoothness in the bottom image ? What is see is an just an awful lot of noise reduction.   On an image like that, you don't/can't really see the advantage of 4:2:2 over 4:2:0 or 4:1:1.   4:2:2 is not about detail in luminosity, but in chroma. As there is not much chroma information in this image, there is almost no chroma contrast/details/sharpness. We can't say for sure that it is 4:2:2.   The compression artefacts are 4:2:2 but just hoping that the camera is not wrapping 4:2:0 information in a 4:2:2 format.

I'm looking to use one basic PP setting for shooting. This is my "wish list" of what I'd like:     No bleeding of reds and dark colors No muddy shades of color Most dynamic range for color correction ( if needed, some shots if not many, won't need it) Little to no video noise Least aliasing Flatest profile (not essential but a plus)

http://vimeo.com/44308566 I'm just gonna mention the Bolt one more time since it sounds like you need portability and ease of use. You could buy that plus a reverse light stand, an umbrella mountable head and an umbrella for under $500.