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Hello everybody, here is my new anamorphic set ! :) baby Berthiot Hypergonar anamorphic 1.75X lens Qioptiq Linos MeVis-C 35mm f1.6 C-mount lens I've order a special machined step up flat ring, then unscrew from the C-mount lens the ring that maintains the glass, then replace by the flat ring. I've screwed the original Berthiot small clamp, then screw and aligned the anamorphic. This combination of these two lenses seem to be very promising. Sharpness and no vignetting :) Here is the set and two pictures taken with it on my OMD (video is coming soon). Thanks for your attention. http://www.flickr.com/photos/43243778@N04/sets/72157636631334626/

  I really hope there will be a new wave of influental independant films that deserve this name. Even worse than being dependant on the politics of major production companies is the situation in my country. It has the "FFA", an acronym for film promotion association, founded in 1968, and it effectively finances german theatrical films with tax money, but approving the standards, which can only be described as uncinematic and boring. It's a federal association that decides if scripts are worth the investment, and you can easily imagine what that means for creativity and originality.    I particularly hope, that indie filmmakers will stop to think retro. If they want to reinvent cinema, there is no frigging 'cinematic look' to be followed, no grain filters, no exaggerated DoF-gimmicks, no oange-teal-'blockbuster'-grading, that would be embarrassing. There has to be a good and revolutionary story that dictates it's own aestethics, preferably clean and straight.   Don't dream about fancy imagery, you've got a camera with sufficient color depth to look good on a big screen. Now it's time to tell something!

Haha well I was hoping to find out if it will work before I buy a set. 50's and 60's Kern Pailard switas are lovely lenses but they aint cheap! Your success is encouraging though. Happy shooting.

HDMI is 10bit on the $999 Blackmagic Pocket Cinema Camera so no excuses Sony!

The AA filter won't make a difference to video. It barely makes a difference at 36MP never mind the 2MP of 1080p. Biggest marketing gimmick ever devised.   The difference in video between the A7 and A7R could still be significant because they use completely different sensors.   So look to the sensor as the differentiating factor.   The AA filter comes under the headline spec along with the sensor, they have bundled the meaningless AA filter spec in with the CMOS which is crazy. On my list of priorities the AA filter comes a distinct LAST! Look at the difference between the RX1 and RXR and you will see what I mean!

If they are doing on the new full frame sensors the same as on the RX10's new 1" sensor then video is going to be amazing.   The RX10 does a FULL READOUT producing 20MP 6K raw stream at 60fps.   The new Bionz X as featured in the A7 and A7R is powerful enough to then subsample that 6K down to 1080p before writing it to the card.   That means no moire or aliasing, no line skipping on the sensor, no great loss of dynamic range from a poorly subsampled sensor output.   If your credit card is not ruined by now it may well be when the RX10 sample videos start trickling out.

"Sony are offering a battery grip style add-on which gives the camera professional XLR audio jacks. Like the one rumoured for the GH3 but never materialising. I haven’t seen any images of this grip in the press releases though, nor any specs."   I think they are just talking about the XLR-K1M adapter already available for the Sony dslrs ect...

This is a good book to start with:   Cinematography: Theory & Practice by Blain Brown   Used to be on the reading list when i lectured at University, it also includes a DVD.   If you'd prefer a blog then take a look at the mass of useful info here (a Hollywood DP):   http://www.hurlbutvisuals.com/blog/

I might suggest the Sony RX100 compact. It's very geurilla, stabilised and easy.

I've shot with the A7 for a full day, you can see the video here: http://www.youtube.com/watch?v=bnvgceTEV3c Looking at the image afterwards though, I'm not as excited as I initially was.  I loved the process of shooting with the camera, but the image quality is pretty wanting.  As you can see on the video above, the image is quite soft, and moire is visible in many shots.  Hopefully, this can be chalked up to pre-release firmware, but we permitted to judge the video quality based on the models we had, and I'm not delighted with the results.  Once the production cameras come out, I'll post a follow up to the above video with my revised opinions.

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.  

Ghost In The Shell is ace! This is a great combo for this camera, and to top it off it's modern and can be bought now, you don't have to scour eBay for odd rare little lenses!

It is only that extreme when you open the footage in camera raw. Camera raw does not interpret the footage correctly. But when shooting you are heavily over exposing till you hit zebras and you are discovering what your footage actually looks like when you open it on the computer. Which is a bad workflow imo and I have not experienced this with any other camera. Maybe this video is to extreme to illustrate my point.

There are other cameras available.

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

I don't use the multiplier on the F-stop when it comes to speaking about low light ability. F1.8 is F1.8! And it is easier just to take it as given that with a smaller sensor you won't get as shallow depth of field as you will on full frame.   Crop factors are only useful in terms of describing the field of view. Everyone in the DSLR video world thinks in terms of full frame. A 28 is a wide, etc.   People in the movie industry don't think like that, they go in terms of Super 35mm and a 18mm is wide on a movie camera.