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The ninja records 10 bits or 8 bits in a 10 bit wrapper Maybe you meant convergent designs nanoflash However 8 bit was never useless but it is better as a finalising format and not for colour correction or capture. Although Canons C log on their 1DC looks amazing the problem is it costs £8500 but the game has moved on and it could have moved on much earlier but the manufacturers chose to cripple the cameras.   I don't agree demand determines supply Heh heh The demand is high for the BMPC but sadly few are getting made. Okay joking but that does highlight the point that demand is high for the cameras BMD make and yet none of the main manufacturers are satisfying that demand because it would ruin their pro markets and £15000 cameras. Marketing does create demand and the way things are going in a very cynical way. http://www.moviemachine.tv/video/comments-on-4k-philip-hodgetts/77230136/

Are there any negative diopters? I mean usually they are useless but does anyone know about them being produced for photography? I used the back glass group of a Helios as a focal reducer successfully but it reduces the working distance and I want to counteract this by using a negative diopter. I haven't used this for anamorphic yet, but I thought I ask this here.   Here is a Hoya 200mm f3.5 working as a 135mm f2.0 (estimated)

Video from the A7 - moiré festival. http://youtu.be/oh3dKWglaXQ

An f2.8 fixed zoom  starting at 24mm on a 1" sensor will not give you much of a wide angle nor bokeh. High compression in camera may look great but so high it leaves concerns. Uncompressed HDMI which I assume is 8 bit will "Another assumption" be for 1080p. For the price and lack of professional usability accept for gimics I fail see what use it is. Yes you will get a little bokeh using its built in ND filters but to little room with the lens for anything meaningful accept to shoot demo footage that shows what extremes it can do. At its price point If you don't want highly compressed 4k then other cameras have more to offer.

here is the movie done with this set :   https://vimeo.com/77265744

merci Yiannis !  I had a small f clamp for your lens but it was not very perfect... Maybe you can find with REDSTAN Don't forget to use diopter !

Hope the patent will work at 24p...

I have done greenscreen compositing with my DVX100, with my XH A1 and nothing since, just 'tests'. Both must be considered inferior by any means compared with modern cameras - and modern software.   Back then it was Ultimatte and/or Primatte, plugged in After Effects. Today I would highly recommend to try the very easy Keying-Filter within FCP X, should you happen to have access to it. To achieve visually perfect results, you have to reveal the 'advanced' options, but once you allow the new background's colors to counteract spill (tool: 'Light Wrap') and 4:2:0 edges (instead of complementary tint and much edge feathering), you will love it.   Being in no way an expert for chroma keying, I still think the spill issue doesn't get much better with 4:4:4. Reduce spill by seperately lighting the greenscreen (as recommended above or in every greenscreen tutorial), that's more than half the battle.    exotics wrote:     Arguable. The larger the green background, the more spill, almost unavoidable. A very rich broadcaster in my country built a green hell of a news studio, and it looks terrible. I followed the advice of Maschwitz in his DV Rebel: Make the green background as small as possible, make it a green towel, light it as little as possible (but as evenly as possible, outside, with an overcast sky, you will get the least spill). Let it just barely cover your foreground object, cut away everything else with garbage masks. Even allow an occasional hand or foot to stick out, a few frames of roto won't hurt you, but the key will be better.   Of course, this is not an option for a 'broadcaster' or someone who needs to isolate an ensemble of dancers.   Testing greenscreen techniques is cheap and easy. Multi-talented cats move and have whiskers. Let your cat play with a laser pointer in front of a green background. Then comp it into your slightly tilt-shifted kitchen and let yourself be hunted. The incredible shrinking EOSHD user.

Nice! The camera stabilisation works really well, I can't do much better than that on a steadicam.

  Great fan of making ofs, fan of the DV Rebel's Guide, great fan of the traditional make-believe approach that the great masters of the silent movie era began, great fan of meticulous storyboards and so forth, I hope this old clip might inspire you: https://www.youtube.com/watch?v=WRS9cpOMYv0

      I was going to say maybe they were Sony fanboys not having an objective view.  But after reading the thread I actually don't think that is the case.  I think the people there are videographers in the traditional pre-dslr sense of the word.   They are seeing this cam as a convenient all in one workhorse for ok videoey looking video.   Whereas people here are more interested in ultimate image quality.  We judge dynamic range, detail and tonality to the same standard a still photographer does with stills.  It doesn't matter to us if a camera is twice as convenient: If it doesn't represent a significant increase in image quality for its price point then we aren't interested.

Merci Seb ! Ta fille est toujours la classe ! Et parce-que mon français sont encore trop mauvais (je déménagè récemment en France, à Aix-en-Pce), I will continue in english :) ...  Your baby hypergonar looks 2 times better than the Isco!... I will really appreciate if you can give me a couple of advices on it, as I'm new to this world.   Thanks!   By the way, I love your jobs & I follow you everywhere!

  Would love to see that too. Even just a little test... Andrew, pleeeease? :)

  Welcome to the SpeedBooster :)   If you have a 35mm 1.4 and a speedbooster, buying a 24mm 1.4 is pointless indeed (unless you want to use it on the speed booster, as 17mm f/1.0.   Normal adapters don't give any quality loss. They just extend the mount. Optically the Samyang lenses are all the same. The ones with MFT mount just are longer with a different mount, so you don't need the adapter.   Buying the Nikon versions with a Speedbooster is a good idea. Results with the SB can vary from lens to lens, so you might want to check out other peoples results with the Samyang lenses on the SB, although I don't see any reason for trouble. Just have a look on Vimeo and you'll find good results.   The only doubt is the Samyang 16mm f/2.0 - it's made for aps-c-sensors with a crop factor of 1.5x With the SpeedBooster your GH3 will have a crop factor of 2x 0,71 = 1,42x, so you'll be pushing the 16mm a bit 'over the edge'. Most lenses have an image circle that is bigger than what they are designed for, I think it will work without problems, especially since you're in a 16:9 crop for video. But best thing would be to try before you buy.

If they had added a large sensor they would have cleaned up and wiped out most of their customers for their pro line. On the other hand in order to build such nice cameras as they do, they need a production line and design department that cant just sit idle after each camera and technology has in the past moved on and enabled them to do this. However that works against its own customers when they deny them cheap modern technology and bring about new companies that fill the gap and the reason why we see companies like atomos convergent design BMD getting a foothold. Although this camera will sell to many the growing competition sony face will also grow stronger because of this.   In my opinion this is a plaster on a limb amputation and Sony really need to rethink their short term strategy as they are losing goodwill as well as losing out to the competition. Many like Sony have gone down. Shame they just cant see it.

  Classic Sony SKU compartmentalisation! Camcorders are unpopular, they want to shift more of them, so the add a premium feature to an old-school camcorder in hope of shifting units made on a similar production line.   Meanwhile they can slowly squeeze money from compact and mirrorless so they do,  removing features in order to leak them in slowly and create demand every release.   They could put a 4K mobile phone sensor in a camcorder body if they like and flog it on the stats.   Even though I sometimes wish I had it, the video look is what made me sell the RX100. It wasn't a matter of DOF or 24/25fps, it just looked wrong, when I cut it with soft Canon EOS 600D  ML2.3 the latter looked nicer. Plus you couldn't grade RX100 much because of the compression. Same with FS700, I got where I wanted colour wise in the end, but it really was falling apart at high ISOs.   This obsession with giving awful compression, unless you buy from a line that isn't selling is arrogant and cynical. The C300 has wiped out the FS100/7000 in corporate/TV/ad hire. For the most part that's because of the bitrate and ergonomics.   So I keep saying I want to justify the RX10... but do I? Statistically it's great, but will I just be disappointed with another videoish camera that doesn't reach its full potential, so they can sell me another next year?

schhh get rid quick the moller is tired history the future is bright it is 1.33. we sorry few lunatics have hit an iceberg. gentlemen we are going down. no band to play for us. no buxum breasted irish girl for a last romantic dance. just the ice winter cold of the deep sea drink.