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Hey Francisco, thanks   It was you who turned me on to this lens as I really appreciate your work.   I have two so this one is for sale.   It is interesting to note that the one I am keeping serial 761xxxx, has Cyan coating producing blue/yellow flares and the one for sale here serial 762xxxx has a Magenta coating producing purple/green flares. I wonder why they made the change?   I was tempted to keep the two because of the different coatings, but this is a chance for someone to join the exclusive Moeller 32/2x club ;)

Yes there is and not too far off now. I've been writing it for the past 9 months!!

Well I also have only Canon equipment (5d mk III, 70-200 f4 is, 17-40 f4, 50 1.4, mattebox, shoulder rig, tripod, sliderdolly , followF, editorPC) since photo-video multifunction is more than handy. And as much as i agree with you, and looking for the eos line users experience, other experiences with higher-end equipment comes useful :) Also my term "new line: the independent filmmakers" is not optimal. But my focus is still in this area, the fact it's not new "movement" only makes it more interesting. So I'm aiming to those filmmakers who are related to the digital revolution what dslrs brought  (5d mk II). The fact they were already involved to the industry, or the availability of digital technology lured them in, is not an excluding point, only makes it more and more complex and interesting. ps.: I know.. sorry for my English...

A very nice Moeller 32/2x  :)   http://www.ebay.com/itm/DSLR-MOLLER-MOELLER-2X-CINEMASCOPE-ANAMORPHIC-ANAMORPHOT-15MM-ROD-RAIL-SUPPORT-/130899559395?pt=UK_Lenses_Filters_Lenses&hash=item1e7a38c3e3

I agree eBay is now heavily biased towards the buyer, some people I've dealt on eBay treat me like a shop, one day I will have to don a badge and uniform and deliver the camera in person with a cheesy smile. It isn't much fun working for eBay!

The fees have gone haywire. A price for listing, even charging for photo hosting (which is free on Photobucket and the like), then 10% of sale price, plus they take a cut for receiving a card payment to PayPal.   Then there's no protection for sellers as you can't leave feedback, so bullying and ignorant buyers are rife now.   Then they pay no f***ing corporation tax despite running their own currency.   *rant ends*

It can be hard to track down footage from this camera to see it in action, so here's a site that does just that:   http://www.bmcc.tv/   Good to see it in use in many situations...   This is only a test, but it looks lovely:    https://vimeo.com/64463112#

What needs to be understood is that these "2K" DNGs actually have about 1920x1080 pixels of "actual image", the rest are black bars.   So far each model seems to have a set width for the "actual image" but the image height can be changed by setting the camera's recording resolution in Canon's menus.  Also in the 5x and 10x mode the width can be increased but the height is about cut in half.  Further more 1080p and 720p modes seem to use the same "actual image size" of about 1920x1080 but the DNGs also mimic the frame-rate so in 720p mode you get a usable 1080p60.  However the memory buffer to your storage card is limited to about 30 frames, so that's about 1 second for most frame-rates and half a second for 60 fps.     Here are a few examples of "usable image" sizes: 60D in 1080/720 = 1736 x 1154 60D in 480p = 1736 x 694 (almost 720p but needs a little up-resing in post) 60D in 5x = 2520 x 1764 60D in 10x = 2520 x 1080   5D3 in 1080 = 1931 x 1288 5D3 in 5x = 3592 x 1320 (a bit of a crop factor though, Andrew said about 1.3x) 5D2 in 1080 = 1880 x 1248   There have been very little advancements, 1% tried 720p 24fps on the 6D and only got 54 frames.  That is about 20 more frames and about 2 seconds and so far the longest 24fps recording on record.  They have also found that turning the camera to "JPEG" (Not RAW+JPEG or RAW) increases the frame buffer to about 50 also but won't compress the DNG.  The problem is that the buffer simply isn't fast enough and as I said before they will have to compress the DNG much like BlackMagic does.     Alex just threw in a quick DNG converter to see if it would work, it does but it was designed by CHDK some time ago and based on a previous version that didn't support compressions, if they can implement the newer DNG then they might be able to add compression but even at a basic 3:1 compression ratio that's only 3-6 seconds before the buffer fills again.  

Consider this - the hacked 5D's 2K raw image is better than the 1D C's 1080p.   We are being diddled.   The more that comes out the more I am sure of it.

the hack on the GH2 gives you bigger files with LESS compression in the AVCHD codec I run mine at about 170mb/s so the files are big over a gig per minuite shooting time But the amount of detail retained in the files is quite amazing I've sat in commercial edit suites grading stuff and you would be suprised at now much latitite there is in a hacked gh2 file for grading . The suite I use regularly work on Red Raw and ARRI Raw and the Gh2 is close to them in the amount of latitiute the files have for grading so my advice is get a mega hi bit rate hack on your gh2.

Doesn't look bad at all, nice job!

I shot with the 1DC recently and initially I was a little disappointed in the form factor and the menus. I was used to shooting with C300 and for this project we decided to pair the C300 with the 1DC. The main reason we chose it was option  to shoot 4k internally to a flash card.... at the time of the project  the  c500 was available to rent,but the 4k recording device needed to work was not, so this became the  best option for the price point of the project. Phillip Bloom did the world of cinematographers a great service by providing an honest hands on review to know what to prep for when using it.  Specifically in regards to the menu  I guess I wanted more simply because this  Camera is in canons cinema line thus warranting a that expensive (C) on the camera I really wanted a more proper video menu.   After using the C300 I hate to say but  user wise until you see the image the camera will just seem inadequate for run and gun,  or some other styles of production. Say all that to say this it's Dslr yes with some great bells and whistles but it's a Dslr none the less.  At the end of the day I just look at from a Director/DP/Producer/Editor/ perspective which is "Is this camera the best to  execute the project, and,does the shoot allow time for rigs, monitors  external sound devices, and expensive flash cards in place of external 4k recorder... if yes than this camera is for you and your project if not shop around.

There is a chinese monitor called NEWAY CL76HO-X with custom scaling option out there. It's about $300-400 as I recall. 

5d mark III 1.2.1 firmware has no audio out via HDMI http://www.dslrfilmnoob.com/2013/04/26/5d-mark-iii-1-2-1-firmware-audio-hdmi

IMHO the exact ratio of BMPCC to Full Frame is 2.88 Full Frame Active sensor area for full HD video is 36 x 20.25mm diagonal = sqr(36)+sqr(20.25)=sqrt(1706.0625) = 41.30 BMPCC active sensor area 12,48 x 7,02 mm diagonal = sqr(12.48) + sqr(7.02) = sqrt(205.0308) = 14.3189 41.30/14.3189 ~ 2.88 Which is the same if you simple divide the long sides - 36/12.48 ~ 2.88 Most C-Mount lenses cover 2/3'', 1/3'' and 1/2'' inch sensor sizes. Probably only 10 to 15% of all C Mount lenses cover the 1'' sensor size needed for BMPCC. So most will vignette heavily on BMPCC and among those which do cover correctly the 1'' sensor size there may be still problems. Like: 1. Will the lens work without modification on a C- Mount to m43 adapter. Some don't. Can't focus on infinity and need some rework. 2. Is the image quality good enough. Most of those are surveillance camera lenses not optimized for high quality photo/video/film work. From what I've seen image quality on GH2 (tele converter mode) doesn't look good. It doesn't make sense to buy BMPCC which is supposed to give great image quality and stick a poor soft lens in front of it. My hopes are in Metabone Speedbooster for m43.