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Redstan has forgotten more than most of us know. Sadly, most quality built products are often overlooked and undervalued these days...Redstan Is a cottage industry that will not sell substandard tin foil goods, this may not suit the people who want everything 'yesterday' but these are the people who deserve the crappy pipe and screws from other clamp makers in my opinion. You get what you pay for.   In my experience that is top quality of build and service (as long as you don't act like a tit), not to mention the invaluable information and guidance he gives out privately or on this forum.    Viva La Redstan.     P.s - I want to buy a Redstan branded T-shirt with 'Bokeh Tit' written on it...as Well as other famous quotes from his posts over the years.  

So Andrew, you watch much Ghost in the Shell :)

http://vimeo.com/61441075 Above - the compressed 2.4k version of 4K raw from the Nikon V1 by Javier Sobremazas There's a dark horse in our midst which very few know about, a camera which can shoot 4K raw at 60fps for $200.   Full article

I stumbled on this video and it displays perfectly the biggest flaw that I had the displeasure to work with on that camera: https://vimeo.com/76824060 *** EDIT WITH WORKAROUND *** There is a clever trick to work around this issue. Thanks to Axel for digging it up. Since the bmcc records raw, and when shooting raw you keep the actual recorded footage of the sensor, and an adjustment such as iso, is only kept written alongside the file in the metadata, what you can do is lower the iso until your image becomes decent. In post you can then bring it back down to the native 800iso. Not a perfect fix, as we would need to know how much of an increment we would need to exactly counter the screen displayed over exposure, but a nice workaround. *** EDIT WITH WORKAROUND *** When you work as a dp on a film, You need the best visual feedback possible through the monitor in order to frame and work on your lighting adequately. Does not need to be perfectly accurate, but the more the better, especially when working with lighting equipment to adjust your lighting. You need proper feedback of how soft your fill light is, how strong your rim light and with what fall off etc... And you need to have the vectorscope, as the visual feedback fools you in terms of recorded data, to get the best exposure possible on your camera, and make decisions on what you want to preserve, whether highlights or shadow or a balance of both, if the situation demands it. Now with the bmcc, you have to extremely over expose your image to get best image quality. The result is a completely washed out image through the monitor, good luck properly fine tuning your different lights with that. And you have to disregard the vectorscope, because if you use it to expose properly you will actually be underexposed. You have instead to completely over expose until you see zebras, meaning no proper control over exposure. This is a major flaw, no professional camera should disregard the vectorscope and provide such inaccurate visual feedback. Now let me know if I missed something here

Probably the same Tom says on the BM forum: That sets my mind at rest: In raw mode, you can use every ISO you want, without changing the exposure of the clip.

Karim, The BMCC gives you two basic monitoring options: Film and Video, which can be used for any recording mode. I think by monitoring in FILM Mode (log), you will get a much more useful monitoring image for the purpose of lighting Was all this stuff monitored in Video Mode? It looks like it. If you want to see all of the detail you are capturing, Film mode is the only way to go. It won't look pretty, and you may want to punch up the contrast and saturation on your monitor, but it's definitely better than looking at the over-exposed video mode monitor.

The intention of the video in the original post is to show how far to the right one can shoot in 2.5k RAW.. However, shooting this way does also produce the best image quality out of the camera.. This isn't directed at the original post but to the others talking about "the best image quality" from the BMCC.

We'd need an Olympus body with a decent video mode first. Oh how I dream of that!

Is there confirmation that these cameras will not have the NEX menus? I didn't read that elsewhere, that would be great because NEX menus are confusing toys, there are no tabs and any configuration change makes you go to through a lot of work and the worst thing is the lack of customization. What good is the Fn/Mode dial button if I can't change its function?   I think that for video, manual focus will be fine for a lot of use but for photography - and I understand why the Leica comparison and not the DSLR - you'd like a AF, NEX cameras doesn't really have a fast AF and here we get into the lenses. Sony has been making a name for themselves in not delivering the goods when it comes to lenses.   The almost 3.5 years old NEX cameras still doesn't have a portrait lens and neither non-pancake decent wide angles. You get lenses from $300~450 and then, suddenly you jump to $1000 and even the Sony/Zeiss doesn't deliver the same optical quality as the best lenses from Micro4/3 and Fuji. And adding a new family of lenses plus the 3 others (APS-C/FF A-mount and APS-C E-mount) it makes me worry. Will Sony at least bring a decent roadmap? Or will it happen all over again? Sony is said to launch official Canikon lens adapters, would it mean that they will rely on that for lenses?   I didn't know about the video improvements and hope for that, but for now, it's just hope. I remember how Sony pumped up about the A99 video capabilites how it would a true FF hybrid and in the end they didn't deliver that. So I think we have to wait to see the real thing and not rely so much on just words.   Anyway, although I have my converns and as such I will wait before even thinking about buying these cameras, they are, for sure a great step for mirrorless cameras. I also have been saying that mirrorless is the future and I wonder what's gonna happen when it becomes known to the general public that fact. Canikon made a living of just their names and how people think that having a Canikon DSLR means being a "PRO" and that's why they have the luxury of not worrying about entering the mirrorless market or they have been so lazy about it - and I also think that one day they may pay for it. We'll see.

  Straight from the card into Premiere and Film Convert. No need for anything in between, no LUT.

  Sony unreleased camera specs, always so promising! :)

Yeah, you know what man, sorry for being a dick. Seriously. That was pretty immature to defend the Project when it was presented like a redneck with a camera & some explosives.. So my apologies For blasting off over it. I like over the top humor. I see every cut in my head and think "how could anyone Not laugh their asses off at this scene?" But, nobody's seen anything yet. To follow up however, I found a squadron of rebuilt Huey Hogs about 45 minutes away that will begin memberships and event Flying next year. Oddly enough the PR lady was very sweet and down to earth on the concept of working with me, and The negotiation is pretty awesome considering they need a videographer to get the word out there. Double whammy

WOW! Looks like an early Iscorama to me! Damn, that must be worth a fortune now!

I think all mention of gold or red anamorphic lenses should be banned here.  And ebay should ban the selling of them.   Lets make it a forum rule that we all report every non iscorama lens listed with iscorama in the title.  

Exasperated by the lack of BMD cameras and their non communication I am again looking at the Canon 5DL Mark III What I would like to know is What are the issues with the 5D like moire, anti aliasing etc and how it compares to the BMCPC. Is there a way to record the RAW to SSD cards and how easy is it to use and how easy to grade? Any test films?    Also any fixes like special filters etc that can be bought.   Workflow - How easy is it to use Canon raw and how many hoops to jump through to edit in say Sony Vegas. Could you for example buy Cineraw or something like it to be a one stop solution.    

I had a great service from Redstan.  a great little cottage industry type affair.  I imagine it was you being a difficult, uptight, impatient customer rather than he provided bad service...

Hi Guys,   I'm shooting with russian primes (helios 58mm, mir24n 35mm, tair 85 etc) I'm looking for something wider than 35mm that will stay consistent with this aesthetic.   My gh2 will vignette using the isco at any wider than 25mm, so that is around what i'm looking for.   Any suggestions? I'm current looking at the MIR10a (28mm), downsides are its star bokeh looks  a bit odd and its f3.5.   Thanks!        

So I got my pocket this week and got myself some adaptors for my current lens kit (canon, nikon), and while at it I thought I'd throw in a c-mount adaptor so I can try out my trusty Bolex 16mm lens kit, my four lens weren't on this forums list so I thought I'd chip in with my results. Overall I'd say I was pleasantly surprised by the result. Of my four lens only 1 turn out unusable, and I was quite pleased with the image quality I got from the other 3. first the bad one: Som Berthiot Cinor 10mm f1.9, clear vignetting on the edges. Next the Som Berthiot Cinor B 25mm f1.9, this one works well, a little soft but not altogether unpleasant... no vignetting. I even went out that evening and shot some test footage exclusively with this lens! Next is my Kern Paillard Yvar 75mm f2.8, this also works great, shapest of the bunch I think, but I always felt it was sharper even when shooting 16mm ( which I do often with these lenses). Finally the zoom, a Som Berthiot Pan-Cinor 12-120mm f3.3, I love this lense, a real cine lens, very nice focus throw, extremely smooth, constant aperture... and it works! well almost... it works great from 20-120mm, anything below 20 shows vignetting. but the results are rather good, altough I think there might be some barrel distortion (see @40mm), which wasn't apparent on the other lenses... here @ 12mm @20mm @40mm And @120mm Conclusion: Maybe I'm crazy, or I'm just lucky to have good glass in a sea of crap, but I'm rather happy with these 16mm lenses on my Pocket. Mind you, I wouldn't have bought these lenses just for the pocket, I don't think 16mm glass is the way to go, even if you're on a budget, unless you really really want that 16mm look, which is what you'll get I'd say. I have these lenses first and foremost because I still use them often to shoot actual 16mm. To have them around also for the pocket is a nice bonus to bona fide my BMPCC kit, and coupling them with my full frame glass it gives me good options to shoot so that I don't have to rush out and buy some new glass right away... for sure I'm likely going to add a lumix zoom with OIS and probably an slrmagic or voigtlaender glass to that kit down the road, but with what I have I can wait a bit before I do that and that's great for my wallet! Picture of the 3 working lenses with the BMPCC