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  Too bad, in the end it just ends up costing everyone involved more money.  I could tell my clients I'm shooting on an Alexa and they wouldn't know the difference.  It all looks pretty much the same on TV anyway if you know what you're doing.  It's unfortunate more clients don't get that.

  The dutch Iscorama 54 arrived today in mint condition. Focus is smooth as can be. I'm overwhelmed.

A little early plug of our latest product...  a slight step up from the original little FF58.  This is early sample footage of a prototype we are working on.  Single focus, a lomo-esq integrated anamorphic lens, based on our FF58 with an anamorphot we are developing.  Single focus, but using the LOMO focus method rather than the iscorama method.  this is a f2.8 50mm anamorphic lens system.  no diopters are used.  focus currently is from 4.5ft-infinity.  with lomo-like sharpness, and flares from the gods:)     http://vimeo.com/65480667 Password:- ???     CA is there at the edges.  but without it, i think the feel of this type of lens might be lost.     Lets hear some critique from you anamorphic nutters!.  We don't want to go into technicals as yet, but would love to hear some unbiased opinions on the look where getting from this first prototype.   in the movie you will see Hans using his Oct 18 square front and a FF58 in our new Bronze tint.  but all footage is shot with our newly developed anamorphot.  

Hi everyone,   I'm posting this because I think it will genuinely be of interest to at least some of you, and I'm really hoping it isn't considered spam, because that is definitely not my intent.   I'm a DSLR filmmaker and I developed a cool little widget thing that I'm now making available via Kickstarter. It's called the Multiplate and it stays on your camera all day long, and lets you mount things like a monitor, 15mm rods, follow focus, matte box, handles, etc - without having to switch out to a totally different configuration. Just attach the pieces you need, take off the ones you don't and carry on shooting.   [attachment=500:The-Multiplate-sm.jpg]   There are only 10 days left on the Kickstarter and we're pretty close to the funding target. Take a look (http://www.kickstarter.com/projects/1822814480/the-multiplate-the-dslr-filmmakers-essential-mount) and see if it's something you might be interested in helping make a reality.   Thanks!  

The ISO3200 example is sorta academic, to me. I'd rather see more realistic comparisons at something like 640/800 where too much above that you're pretty much in a horrible lighting situation and just hoping you get an image you can use and then it becomes a contest of "which camera would I rather have when I'm not lighting anything and my light is shit?", more or less. Some differences between the ISO160 examples could also come from the Standard profile reportedly not giving a correct exposure for medium gray on the GH2. According to Shian Storm (ColorGHear) and his tests with scopes and handheld light meter (unconfirmed yet myself) only Nostalgia measures medium gray exposure @ 50% and the others are closer to 40%. Perhaps they fixed this anomaly in the G6?

All scopes of a telescopic design are guaranteed to perform at the stated magnification at the infinity focus setting only.   For example a 2x scope will range from 2x at infinity focus to 1.5x at 0.5m

If you dont intend to do a lot of photography, i would not go for a 8bit camera anymore. i would rather go for one of the blackmagic ones. true, extra storage costs and you need a decent pc, still, it appeals a lot more to my eye.   if you want to go the 8bit route, i think the gh2 is still a fine camera for the price, it has its limitations, but if you dont need it for paid jobs, its absolutely a decent camera. there is a tendency these days to just live the postcard-syndrome, as Robert Bresson put it. People should think less of their gear and more about their ideas and concepts and what they got to do with themselves. I have seen wonderful things shot on average cameras. The dslr canon super shallow depth of field-thingy is terrible in my opinion. i would not even call it cinematic. result is most amateurs shoot 70% of the shit out of focus, even in interviews.People like Sven Nyqvist would have spanked the shit out of most of the people out there with an iphone. These days i watched agnes vardas glaneur et glaneuses (excuse my poor french) shot in terrible digital camera video look. and what a wonderful and poetic movie it was, rightly awarded many prices.   Only reason for me to pick the 5d over the gh2/3 would be the option to take superb stills and a better DR than gh2. 

Borrowlenses.com also has a good rental selection.

I'd like to point out that the GH3 has MUCH better low light handling and dynamic range than the GH2. It's more in line with the Canon crop-sensor cameras, even a bit better. It's also lightyears better as a stills camera than the GH2. There's a much bigger difference in stills quality than video, in fact.

This is unfortunately the case around here too. If you're shooting your own projects and short films it really doesn't matter. But if you're doing freelance, a lot of people expect (even if they're clueless) a 5D, or c300, etc. 

It's funny to read when people mention the 'Prolost' Neutral as if it were a 'Picture Style'.   I'm pretty sure when Stu named it that as a tongue in cheek sideways swipe at all the fancy pants picture profiles been knocked up and the 'slightly' exagerated claims made about them.   He's long since suggested the 'flat' approach on prolost.com and before that in the DV Rebels Guide and the fact that just flattening neutral down a bit can be done without the need for a laptop to load the PS out in the 'field', to set in numerous cameras when a group get together to shoot adhoc.   They'll be many out there with dialed down Neutral not even knowing they were using 'Prolost', and not only on Canon DSLR's but the for runners in the budget indie shooter hands such as the Canon HV range, :-)

I guess what I'm getting at is that for wide angle lens' adapter manufacturing quality does start to matter. With a small sensor wide lens' are very intolerant of back focus errors. The B&H Angenieux 10mm f1.8 is a fantastic lens. They cost a fortune when they were new. The lack of focus wide open in the test shot back in post #88 could well be down to incorrect flange depth. I put more faith in Pierre Angenieux than I do in a $10 C mount adapter! I don't have a C to M43 to test this but I do have a cheapo ebay C to Nikon 1 adapter for my J1. I'll put my Ang 10mm on my J1 and check it against a focus chart and see.

What works and what doesn't. Here it is...   http://www.eoshd.com/blackmagic-cinema-camera-lens-compatibility-list   Feel free to add / edit suggestions below.