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View 10 frames from a rehearsal shoot with Bunny Suit, a Berlin based band I'm currently working with on a music video Disclosure: I have worked closely with SLR Magic in refining the flare and have a close relationship with SLR Magic, but I am approaching the lens objectively in my articles. It's here! The finished lens. Read the full article here

Here's another, the camera (in good hands here) produces lovely images, I'm really enjoying playing with these

Looks like Vitaliy Kiselev has added EOSHD to another spam revenge list again.

So I've had the BMPCC and a cold for the past couple of days. https://vimeo.com/80026814 This camera may wake Canikon up to Andrew;s arguments. For more reasons than enthusiasts, young film-makers, or professional buying this camera for personal use. BM may have shrewder plans. Yes, for anyone who knows anything about video, or uses it professionally, the BMCC and BMPCC are good niche products. Many executives at Cankon can argue, if the BMPCC makes it in the professional sphere, fine, no real biggie, small market. If they gain any traction with the retail market, then it wouldn't take too much to add raw-type capabilities to our cameras (as I've found out, the latest two models and the EOS-M can shoot very good 720p raw). History, however, always seems to repeat. No matter how much money large corporations have, it's hard to beat really motivated and smart competitors who have got a lead on you. The problem is Canikon is not actually moving forward, but one could argue, almost moving backwards. I'm sure there must be executives at these companies who argue that their corporations have gone to hell in a hand basket. How could some uppity Australians come out with such an innovative camera? Because really, what video person wouldn't want or love this camera? Forget what's coming out tomorrow. Forget the 5D3. This is more camera in your pocket than Lucas had to shoot "Attack of the Clones" only 11 years ago! In your pocket. Doesn't even have to be a big pocket! I'm not trying to pitch this camera. Or say it's the best thing since sliced bread. I am saying this camera has the potential to be truly disruptive in the retail marketplace. It has certainly changed how I view consumer video. I should go to bed, so let me shorten my points. 1. With additional software, consumer could get this video automatically adjusted to blow away the quality they get from their DSLRs--ALL OF THEM! Forget DNGs. If the public reaches that conclusion using this camera the name "Black Magic" will be synonymous with quality High Def video. 2. There is NO CURRENT PUBLIC perception of what is the Bentley/Gucci/Mazarati/etc of true color video cameras. If this camera claims that spot, just like the Palm Pilot, iPod, Blackberry, Nokia (all products from companies that were nobodies at the time), Canikon may catch up, but will not overtake. 3. No one in the current market wants to admit/recognize that their current video cameras doesn't measure up. Same happened with American TVs, cars, etc. The one day, the market has changed. No one knew exactly when it happened. You just woke up one day wanting a Toyota. 4. It would be smart for BM to let the early adopters work out the bugs with this camera and continue to build their distribution channels and name recognition. 5. This camera could easily take photos. I don't believe BM is preventing this for engineering or purist reasons. If I was them, I wouldn't tip my hand. I would recommend this camera to any friend with money to spare. This is not some difficult to use piece of equipment. It's the post-processing that's difficult, and I can tell you, from my experience in software development, that is cheap to fix. BM can create a plug-in for iMovie, or an app for Macs, with little expense (compared to camera making). Everyone looking at the shortcomings of this camera are way too jaded. I look forward to using this camera during Thanksgiving. The 50d made me want to give up H.264 and adopt RAW. This camera makes it a reality.

Last week I finished a short film that we shot on the GH3 with the Speed Booster. I thought it's maybe interesting for you guys to hear and see how it holds up in the field. At first I received a faulty Speed Booster, but the 2nd one worked great. It feels solid and well designed, although there is a little 'play' on the camera mount side. Nothing to worry about though. It makes my lenses wider and better. There is some purple fringing though at low light shots when pointing at a light source, but this is only at very large apertures. The lenses are perfectly usable at high apertures in 'normal' situations with the Speed Booster. It didn't hold me back while I was shooting with it, so that's great. I see no increase or decrease in sharpness without pixel peeping. Simply to say, it's ignorable and you can shoot safely :) To answer a previous question. The Speed Booster works great with the Samyang 16mm f2.0. It acts as an 11mm FOV and there is no vignetting! (well I do have some vignetting, but that's because I use a variable ND filter with a smaller filter thread that the one of my lens) I'm a real fan of the Samyang primes. I have the 16mm f2.0 / 35mm f1.4 / 85mm f1.4. They feel and look solid and professional. Image quality is great. Usuable wide open, but really good stopped down 1 - 2 stops. Thanks to the Speed Booster I love my GH3 even more now. With a crop factor of around 1.4x, it's comparible to a S35 sensor. So I now have the 6 most used focal lenghts (with normal adapter / speed booster), an effective s35 sensor when I need it and all the good stuff and quality that I'm used to from the GH3. Maybe you guys are interested in the short film. It's a short comedy film (5 min) and is, with a few exceptions, shot with the Speed Booster. Here is the link: http://www.youtube.com/watch?v=4wdTVhlhzm8&hd=1 Would love to hear your opinions about it :) Hope I could help and thanks for watching.

So by the year 2020?

Hey Andrew - passed my GH2 around with the Voigtlander 25mm f0.95 wide open when Andrew Chan was in LA for a meet up. Guys were instantly shooting with it - no problem. You'll see there are moments of tack sharp focus in the video. Again - this was very informal shooting and the Anamorphot was a breeze to set up.

  Yes you focus on the prime. Can even do AF through it. When you go close, you toggle the ring from normal to near on the anamorphic. It also has a fine tuning adjustment in-between with a short travel.

You know my offer! :)

Thanks guys. Just two years ago all my gear (17.000€) got stolen. Insurance didnt pay. Among the equipment my whole ana-collection. (Isco 36, Kowa, Mini Isco, Agfa....)... so I see this as sort of redemption. @Au8ust: Best ask Tony... btw. what happened to re-housing isco project? On Ice? Koji

Here's a great article from my former employer on the subject: http://www.soundonsound.com/sos/1995_articles/jun95/microphones.html

Andrew I'm surprised you're suggesting the RX10 as a D5300 alternative. I refute it thus: The D5300 is not simply a D5200 with 60p. It looks like it has improved on the low-light performance of the 5200, which makes it a beast in this price bracket. Plus without the banding and with a higher bit rate, the footage looks quite gradeable (certainly lending itself to a flat picture style more than the D5200). I am not going to buy the D5300 because it shoots 60p - I don't need slow-mo that badly. If I do buy it, it will be because it is a genuine improvement on the D5200. Remember the dismissive reception the 5D3 got when it first came out? The D5200 is a great camera, but it has some issues. The 5300 looks like it has ironed out those issues. I understand that talking about the gradeability of H264 has been eclipsed into near darkness by much more exciting codecs, and that the Nikon mount is restrictive. But combined with the wide availability of cheap, fast second-hand AIS glass, this camera could be a very solid budget option - particularly for people wanting a low light camera. 60p is just a bonus. :)

1. I open a DNG in Photivo and, under "Camera", set the Demosaicing to "Bayer Pattern". The default box will say DCB. I will also set the output to the highest JPG setting at 4:4:4. 2. I create a batch proceess to save all the DNGs in that folder to jpg (but you can save to TIFF etc.). 3. I then use a DOS/CMD script that calls ImageMagick that crops out a section of each JPG and scales it back up for %%f in (M*.jpg) do (convert %%f -gravity Center -crop 170x90+0+0 +repage -scale 600%% crop170_%%f) for %%f in (M*.jpg) do (convert %%f -gravity Center -crop 85x45+0+0 +repage -scale 1200%% crop85_%%f) I then create clips of the various JPG series and put together in NLE and render. At some point I hope to do a better version, where it would show something recognizable, like someone's face, in the expanded crop.

I made some rear screw-on caps for Kiev-16U lenses. Price is $20 per cap. Non-anodized caps will be available for order till November 24th. Then I'll send rest of them to anodizing.

"Hideous Monkeyshit" is the new official term for bad Vimeo "test" videos

Andrew, what version of OS X are you running? I'm curious because you mention the performance in Resolve, and I'm finding it to be markedly worse under 10.9 because Nvidia hasn't released proper drivers yet. Are you still on 10.8 or some other variant?

Although it's yet to be officially announced, the A7 and A7r have been heavily leaked. All along I have been saying mirrorless is the future, not the low end consumer proposition the manufacturers seem to think it is. Canon and Nikon ignored the high end mirrorless technology and now it is pay back time. Sony, already ahead of Canon on full frame sensor performance, looks set to steal a huge chunk of the enthusiast DSLR market away from the 6D and 5D Mark III with these new E-mount Alpha cameras. [url=http://www.eoshd.com/content/11296/sony-a7-a7r-promise-improved-full-frame-video]Read the full article here[/url]

[html][img]http://www.eoshd.com/wp-content/uploads/2012/05/fs100-and-gh2.jpg[/img] I’ve had my suspicions for a while now about AVCHD footage having a different exposure on my Mac to on the camera. When I edit my GH2 and FS100 stuff natively in Adobe Premiere Pro CS5.5 or the new CS6, or preview AVCHD MTS files in VLC Player (Quicktime XÂ still does not support AVCHD) blacks are crushed and the image is darker overall with far less shadow detail than on the camera’s LCD. [url="http://www.eoshd.com/content/8076/how-mac-osx-still-screws-your-gh2-fs100-nex-footage-a-must-read/"]Read full article[/url] [/html]

Hey Andrew I saw your twitter last night about Quicktime X now having the ability to play AVCHD files in OSX Mountain Lion. I was wondering if you found whether they fixed the "Clipping" or gamma shift look, that it does? Also, did you notice an improvement in Premiere? It would be nice if I didn't have to keep using 5DtoRGB to convert everything. Kind of defeats the reason I switched to Premiere. Thanks, Charles

the baby hypergonar as i describe on flikr shows what a great man chretien the designer was. it is superior to the isco 1.5x it has to do with the focal length of each optic i am sure they are different in hypergonar and in small isco. also glass materials will be different. isco probably used 2 of the same glass types only in this model. baby hypergonar uses different materials that give a more usable result. you could call it an air spaced achromat. as stated they will both suffer because of tiny back element. the isco has nothing to do with moller. remember these are all companies all using patent systems. different glass materials are being used in every lens to avoid patent conflict when you get to the 1970s it becomes much more of a free for all companies are copying and patent cases do not show up much. apart from whem kowa tried to make a focus lens like the iscorama my close up doublet does a great job on all of these wacky lens the low magnification power is the key. if i was selling an anamorphic with the doublet i would keep the doublet because it is so good and flexible. using a single element close up you are adding more chromatic aberration in. sometimes in footage i see what appears out of focus is terrible ca and coma. dp's in hollywood in the 20s,30s and 40s understood the difference between depth of field,point of focus and bokeh. when early bausch and lomb cinemascope arrived they where horrified at the mess and poor quality. chretien sold the concept and the americans believed they could do a better job they did not. chretiens original lens for the mitchell camera was similar in size to the iscorama 36. but a square box design. hollywood made them much bigger. chretien could control the quality with small optics so less error. hollywood wanted big chromatic aberation is optical error and nasty looking. bokeh is romance and natural. i have a couple of old hollywood optics one from the 50s and one from the 60s proper camera lens not projection. and to my horror when i got them one needs f8 the other f8.5 that is why hollywood loved big lights in the 50s