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You people crack me up. You finally get an affordable 4K Panasonic GH model that you've been begging years for, finally has ALL the video-specific features for audio, proper codec, MFT lens, portable ergonomics... and your first reaction?   "No ND filter?!  WORTHLESS!"   Ungrateful kids...   *curmudgeon curmudgeon*

This is shot using the D800, DSO Trump FF58 with Oval aperture, the new flare sex filter and towards the end the Iscorama 1.5X anamorphic lens mounted inside the Trump for a 2X oval bokeh.   https://vimeo.com/76912854   Some images of the trump I'll grab one with the iscorama in there too.        

I had a chance to play with a near final version of the new SLR Magic 1.33x Anamorphic Adapter today with Andrew Chan.     This adapter is a completely new design from other anamorphic adapters I've used. It has unique focusing abilities which give it the strengths of single focus designs like the Panasonic LA7200 with the added capabilities of what you'd find in dual focus anamorphic adapters like those from Bolex or Kowa.    In its normal focus mode, with the SLR Magic 35mm T1.4 CINE II lens, you get a picture that can focus from 2.8m to infinity.   The lens also has a NEAR mode that works as a variable built in diopter. This works by rotating the ring on the anamorphic adapter towards the "near" marker on the adapter barrel when an object is closer than 2m and it moves the rear element of the adapter changing the focus capabilities of the lens. It's easy just to think of it as a macro mode, and something I'll cover more in depth on video when we get a copy of our own.                  You might be wondering, how does this differ from an LA7200? It is a completely different type of adapter.    First, this lens is best pared with the SLR Magic 35mm T1.4 CINE II, which has been beefed up to not have lens slop while the anamorphic adapter is attached to the taking lens. Use the LA7200 enough and it will make even the most robust metal slr lens start to slop from all the weight hanging off the end of the filter threads.   Second, the LA7200 does not work at 35mm, not even close. You can fudge it with diopters, but the edges of the image will be an unfocused mess.    Lastly, this is a brand new lens with a warranty, not something you have to get lucky on an eBay auction. Every lens will work and look the same. If you have a problem, it will be simple enough to get actual support.       Image Quality. I look forward to having more time to shoot with the SLR Magic anamorphic adapter in the upcoming months, but in the few hours I tested it I can give you some of my opinions. First of those being that this adapter is in no way a copy of any anamorphic adapter that has come before it. Testing the lens at infinity gives this away quickly as none of the other adapters can do 35mm without some degree of edge blurring.    When the lens enters it's "NEAR" mode that works as a variable diopter, you can get some fantastically sharp images as well as exaggerated bokeh. The lens appeared to be out resolving my BMCC, which is something my LA7200 could never do, so I'd like to see what it does at even higher resolutions.    The closest new and available 1.33x option that you could compare would be a Hawk V-lite 35mm at somewhere over $40,000. For a fraction of the price I think SLR Magic adapter+SLR Magic 35mm T1.4 CINE II lens will be a steal.        Let me just say that I love the way this lens flares now. I know it might change before the final version ships, but the coloring reminds me of the coating on our Isco 36 and Bolex Anamorphot 8/19. Blue is nice too, but those can be faked with VANTAGE Blue-Vision® Flare Filters.     Finally, I'd like to think this will be a great product that should serve as a new starting point for getting into anamorphic lenses. It should greatly decrease all the unhappiness that comes with spending hours searching and bidding on lenses on ebay just to find out an anamorphic lens is broken or out of alignment. When this releases you can focus your time on learning how to shoot with anamorphic lenses, rather than focusing on the mechanics of just trying to get the lens to work with a bunch of adapters and wasting hours on forums and searching vimeo and youtube for answers. 

Hi, I have been reading this post, and I have two questions: 1.-  why not to use the sigma lense on the canon 5D III? (if you used on the 7D you could have been used it on the 5D III too, because the quality of the fixed 50 mm 1.4 Zeiss lens is better than zoom sigma...) 2.- I can understand about the resolution, etc, etc... but do you think all this is more important than a good story for a film or a good theme for a video or documentary? for example, any Canon (60D, 7D, 5D ,...) IS GOOD ENOUGH TO MAKE  A FUTURE FILM this is completely proved by filmakers around the world, even Hollywood used them as a secondary cameras in accion films like The Avengers, Iron Man, or drama films like The black Swan. I feel this point should be a problem for engineers and not for filmakers or video makers about how make the cameras to be betters or how to find the best way to get the best from them, I feel that we should be planning good stories... THE CAMERA IS JUST A PART OF A PRODUCTION, anyone can have an Arri Alexa or a Genesis but if your story is not good... you could have the best resolution image, but that my friends is nothing... but now, you could have a nice and cheap good camera (the one you like: GH2, Canon, BlackMagic, GH3, I Phone, etc, etc...) and even low resources, but if your story is good... even Hollywood could buy it (for example: LIKE CRAZY, budget 250.000 dollars and sold by 4 millons dollars to Paramount Pictures, I read some guys writing about moire, and alliasing, etc in this film, but I repeat: SOLD BY 4 MILLONS DOLLARS...) Technology is a never ending issue, falling in this "corporate game" is not good, we are the user of the technology and that´s it.! you can use the one you like more and is ok!! more resolution, less moire are just secundary points because all this cameras WORKS FINE!! if you know at least the strenghts and weaknesses of your camera you can do a good job!, a good director of photography can do a good job with all this cameras, no because of the camera, is because HE KNOWS WHAT MAKES... we need to learn about photography, directing, and writting and the camera will be the last problem in our carrer... be fine!  

  Reminds me a bit of this: http://www.youtube.com/watch?v=KpUNA2nutbk

Compelling Panasonic GH4 rumours have come in from two good sources. Disclaimer: I'm not a rumours site but if I was I'd give this a high rating. That said, it's still a rumour! Nothing official has been announced by Panasonic. The model has a pro-range product code. It will be dubbed the Panasonic AG-GH4. [url=http://www.eoshd.com/content/11371/detailed-panasonic-gh4-rumoured-specs]Read the full article here[/url]

I have not seen this comparison yet so I decided to test it out.   I tried to match the shots and then colors as closely as possible, setting the look with the raw footage (starting from BMD Color Space) and then trying to conform the AVCHD to it. The severity of the grade was moderate:   5D Mark III (Raw DNG)     FS100 (w/ Frank Glencairn's G-Log Ultimate)     And here is where the codecs really show their differences:   5D Mark III     Sony FS100    

Your enthusiasm does you credit but also gives you tunnel vision. Sorry to burst your bubble but the predominant market for Panasonic stills cameras even quite capable hybrids like the GH3 & G6 is overwhelmingly for taking still photographs.

@Rich - would the Iscorama 54 fit in the recess of the Trump and does/could it have a 77mm thread on the front? I'd buy it in a flash if this was possible, as i will still be using my 60D after i get the Pocket - I mean why wouldn't I?   I'm just waiting for the EF to M43 speedbooster & the Pocket (of course!) & i'll be happy to use a 58mm+anamorphic with the SB. The Helios 58mm is my goto lens & also my Helios 85mm - it just doesn't get any better than these 2 lenses. As far as a 35mm is concerned, I think the Mir-24 would be a good lens to adapt.   (Personally i've never bothered with the whole FF equivalent nonsense! On my APS-C I know the FOV a 58mm lens gives & that's the important thing - that's my sensor size & that is that. This is also made null'n'void by the fact that i've always got an anamorphic paired with my lenses). 

Lovely stuff mister Bannister.  -As always.  And great to see you shoved the iscorama into the front too.  was that using the 1.5x oval to get 2x oval result?     re. wider focal lengths.  Indeed this is an issue that is being resolved, however the upcoming wider lengths are more of a companion type set to the existing 58mm.  the 58 being the 'go to' beauty lens, then the 35 and the short tele being for the additional angles that a 58 wont cover, but that will give a nice matched aesthetic to the 58mm.    The fact is, the double gauss (6 element) 'planar / biotar' type lens configuration is the most agreeable lens formula when it comes to the mods I'm applying optically.     To me the only real solution is if metabones were to take advantage of the smaller sensor of the pocket, and the lack of fast, exciting and also wide lenses for it.  And create a ultra strong focal reducer/speed booster that would shrink the full frame (or at the very least s35/apsc) image circle onto a 16mm sensor.  gaining maybe 2.5 stops, and obtain the fov we expect from the type of lenses most of us are using on cameras in the price range of the pocket etc.   I've been dealing with a very well regarded optical designer who is working on a prototype medium format to full frame focal reducer for DSO.  And have also thought about a lo-fi full frame to s16mm focal reducer concept (around 0.4x if my memory serves me).       Bang on.  I think it would be more like 112mm f1.4 on m4/3 equiv.  It's a beautiful 'beauty / money shot' fov and dof blend as Hugo Goudswaard demosnstrated with his Trump58 on a gh3 (which the pocket effectively becomes in fov terms when a speed booster is added into the equation).:-      http://vimeo.com/70412767   obviously he had infinite space behind him to allow for the fov limitations, and he was not working to a deadline with a nasty branding manager on his back, asking for wide shots etc, but i think he demonstrates what can be done when you make do with limited resources and a beautiful subject/theme.

I don't agree on the nvidia 680, it's good for games but for cuda stuff I think it's slower than the 580.

  With Speed Boster we get a 102mm FF eq. Good for portrait :P hahah that's wha I want 28 and 35mm lenses from DSO soon ;)

I'm so tempted to get this lens, but am about to get a Pocket cam & it pains me to say that i might need a wider lens!

He saved my bacon just before i shot my first short with an anamorphic - clamps & advice. Epic conversations to be expected, everything from conspiracy theories to cinematography to where ever you mind wonders! He's very trust worthy, but people have taken advantage of him & its a real shame. I bought my last anamorphic from him (& the choice of lenses he presented to me made it a tough decision), but being the upstanding man he is, i got a couple of diopters thrown into the deal as well - life saving! I met up with him a few times (in a coffee shop opposite GCHQ of all places!) & he's younger than you'd think, but he sure has some fine anamorphics! His side anamorphic project was very nice to use, even if the design/build was a bit basic.

  hello friend, you seem lost.   this is a thread about nuances in cinematography: its an "In Depth Test" of Camera A vs Camera B vs Camera C vs Camera D

  Who asked for 4k? Mostly just a marketing thing. Actually what people have been angry about is the crippling of cameras and codecs that make sure you can never compete professionally. Would it be so HARD to put a 10 bit 4.2.2 clean hdmi out on a DSLR Black Magic did it at a great price so come on whats the excuse. Wont be long before there is triple triple crippled raw on iphones so people like you can tell us we don't need an alexa.

Some revision and a little mantra ( attached) to chew on. 1) Resolution is not as important as Color space. I'll take 10Bit 2.5K over 8Bit 4K any day 2) Built in ND filters matter a lot since many of us need them to knock down the sensors in bright light and NO I do not like taking the time to constantly deal with filters in my mattebox every time I change shots. 3) Panasonic will be wasting time and an opportunity if they release anything 'Pro' in a M43sensor ( Please forget the Speedboosters- that's more unweildy hardware between the rear-element and the sensor than I care to deal with in a supposedly 'Pro' camera) So have a look at my mantra and goodnight all !  

Thanks guys I love this lens. If you havnt gone out and gotten one what are you waiting for. I'll be putting together a thorough review ASAP. The creative options this lens provides is incredible. Also I guarantee that the Oval Apertures in this guy are worth more then fighting with all the lower end anamorphics or paying the crazy prices for some of the other offerings. Also if you are going for the Trump ask the guys about getting on the list for the new Flaresex filter. Its sweet and I'll be reviewing that soon as well.   Thanks for checking out my little test video Rob

  Yes they are. They are saying that he should work with charts or start doing only artistic videos. They say his tests are too in between.   Life would be perfect if you could always have a controlled environment, but unless you are James Cameron, you wont have that. We have lots of amateur shooters (like me). Actually, most of us are hobbyists. We dont work with lights and reflectors. We shoot trips, family stuff etc. When I go to the beach with my girlfriend I dont go with lights and reflectors in my back. Journalists dont shoot in controlled environments. Most of us dont have a crew. And please, if you have a crew, why are you shooting with a GH3? If you want to go pro, you should use a real pro camera.

Built in ND's are one thing i do miss coming from the C100. Going to the BMCC was a hike in the image but a trip to the damn Stone Age At the same time, lol. You could be setup for a shot with the C100 in no time. Normally i'd not give 2 sh-ts about whether a cam had "built in" ND's until I got to use them in practice. That little feature just glides right into your workflow like it belongs there, and you miss it when you don't have them. Plus, GOOD ND is REALLY f'n expensive. I'm talking Schneider, B+W, Heliopan. It friggin blows swapping step rings, and stacking. You're just f'n around for 5 more minutes! That's not very run & gun for sure. I'm not big on Variable ND's either.

I rate the rumor high as well. Been waiting for this to break.   What I really want to know is, will it be switchable to a 4:3 aspect ratio?   I know this request from the pro community was lodged with Panasonic. I just hope they implemented it.   Like Andrew and many other anamorphic zealots, I'd be very, very happy to finally shoot ~2.35   Keep us posted, Andrew.   Thanks

agreed,  specifically I would get the dell U2713H, cost a bit extra but superior for color critical work. I just bought one a few weeks ago, its great. I recommend buying an x-rite to collaborate it as a grading monitor is only as good as it is accurate.      

Hello everyone,   I started testing my 16F on my red one mx.   The 4k anamorphic mode is quite handy, gives the correct aspect ratio with the 2x squeeze of the 16f. And it directly feeds desqueezed footage out of the camera no need for a monitor that has this function.   Tested on the 50mm and 85mm. Need to see if it is possible to go lower. It should be because there is a 3k and 2k anamode that crops into the sensor so I feel like even if 28mm shows vignetting at 4k, it might not at 3 or 2.   Here is the first vid shot with the 4k ana mode:       https://vimeo.com/66549568     This one was shot with the 4k widescreen mode, giving a wider aspect ratio. And a close to 9k image when desqueezing horizontally...     https://vimeo.com/66459473    

Not a single problem with him! Alan is a cool dude! Very special British side (:P ) I already deal with him a couple of times not only with money but "things"! (that one is one of the most funniest stories of my life.... )    Top rating 5*****!

Shhhhiiiit.... If you pack these specs in a Gh body I can walk around with for $3k, let's do it. This whole 8 bit thing needs to just go away Though. Seriously. The technology is there. Just, be done with it already. I hope by the end of next year i never see that spec on an announcement again, because to me, what's the sense in packing a camera with a 4k, 200+ Mbps codec and bottle necking it with 8-bit? So you can see all of that banding in pristine quality? (1-DC?).

Speed Booster gives it a larger than Super 35mm sensor so I really don't think that's a problem.

  Why? AF series ergonomics are outdated. Small cameras is where it's at. Just look at the Epic. Easier to rig and easier to customise. More stealthy too. The only thing I miss from the AF100 is the built in ND filter. Exposure is important. Every camera should have it.

That lens is really sexy.