Leaderboard

I think we have plenty of out of focus short films already, shot on 5D full frame cameras. IMO APS-C/Super 35 is the sweet spot, east to get shallow DOF shots and easy to keep things in focus. Even though full frame cameras can be used with amazing results, most people abuse them, and it gets quite hard to shoot wide open with a full frame camera. 16mm sized sensor is great for documentary or one man shoots, as it's much easier to keep things in focus, and yet it can also look cinematic. It's definitely a useful format that should be supported by modern cameras. There's also loads of high quality 16mm glass available, calling it a hipster trend is shortsighted to say the least. :)

Wow, that is some detective work :) Thanks!

Far better executed than the Laforet ad for Movi.

The guy from this video - - mentions a B+W +0.25 67mm, so I think the +0.5 was made in this same batch, to a very specific lens. Maybe they weren't sold separately, and that's why you can't find them on B+W website, but that's only a wild guess. :)

I'm impressed with your grades mindcut. Some of the best posted on this site.   FCPX is deceptively simple, but you can do nearly everything you need with just the stock tools in it for well-captured footage.   To get around keyframeable color in FCPX, you can blade the clip and dissolve across the cut from one correction to another.   To have a comparison frame, you can just use the Match Color view, without necessarily picking a color to match. This also lets you match someone else's footage or still you import. Another way of doing that is Window->Show Event Viewer, and load your still or whatever (you can export and re-import a still from your timeline for this if you want) into it next to the footage you're grading.

you guys want to team up and make a video (shot only on BMCC) about the trolls or canon fan boys (I respect canon, their fans on the other hand)   if Jeremy's footage ends up in the cutting room looking little rough, we know Hurtin can clean it up  :P

Got an interesting diopter. It is a B+W 0.5, 67mm. Found it on ebay, looks brand new (from a camera store), but quite old. I cannot find any documentation of it's existence, even on the B+W website. Maybe some of you know about it, but new to me. Now I just have to get the anamorphic lens to test it out, but I am hoping it should be good, considering the brand.

"This is all you have to say about this camera" and yet you only mention the prores shooting mode of a raw shooting camera, aren't you kind of missing the point? You also keep basing its performance on the original BMCC camera, even though it's a different sensor.

If you shoot in PoRes it's hard-clipping everything over 100 for sure, unlike C300 you can't pull back the highlights. You mustn't ETTR with ProRes mode.   If it's raw mode you're just getting the vital image data in your shot at a sensible point in the DR of the sensor, using aperture ND and shutter. The ISO is post gain. Highlight recovery functions within reason!   That's what I've seen so far.

Thanks Rich that's a v.generous offer & would be good to meet another enthusiast in Bristol.   My feeling is that the T* coating is killing pretty much all internal/external (normal spherical) lens flare & this is some how allowing the flare generated by the anamorphic to become a little more prominent. However, its still piss poor & nothing like a flare produced by a non-MC'd anamorphic lens - i was just curious if anyone had an explanation, as it was unexpected.   NB. If you have a MC Anamorphic & are reading this, please don't think that an expensive T* Coated lens is any sort of solution, it isn't! I bought my MC lenses so the flares wouldn't get in the way - just look at Star Trek they're in every F**king shot & it just gets distracting/annoying, IMHO.