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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

More than any camera that came before it even from Sony themselves, the A7R marks the end of the DSLR era and a transition to a future. Next to this camera the Canon 5D Mark III looks, feels and performs like the dinosaur it is. However it's the Sony RX10 that is arguably the most capable from a video perspective. Read the full article here

Eagerly awaiting your Pocket Cinema Camera? You already have a micro for thirds camera and some C-mount lenses? Want to know if they will cover the sensor of the Pocket? Lets find out! I hope you will add your results, so we can make this list growing. I will only add lenses to the lists when you have proof, in other words: images. How? Because we know the active sensor area of the BMPCC measures 12,48 x 7,02 mm, it is fairly easy to check if our C-mount lenses will cover the full sensor. Calculate this by taking a picture with a lens on your micro four thirds camera, and crop out the image area of theBMPCC. In Photoshop: Open the image. Go to Edit > Image Size, uncheck resample image. Change Image width to 19 centimeters, press ok Go to Image > Canvas Size, change dimensions to 12,48 x 7,02cm, press OK to crop the image to BMPCC size. Resize to 1920x1080 pixels Post your results! Note: If you shoot on the GH3 or other MFT camera's, the sensor size is 17 x 13mm, so change the width in step 3 to 17 cm! To lazy to do it yourself or you can't work it out? Upload the full resolution files and I'll do it. List terms explained: Yes = covers the full sensor of the Blackmagic Pocket Cinema Camera No = doesn't cover the sensor Needs modification = Doesn't fit on C-mount to M43-adapter without modifications Equivalent = The focal length and depth equivalent on a fullframe camera (5D Mark III for example) Blackmagic Pocket Cinema Camera Compatibility list Primes Apollo 25mm f/0.85 - Yes = 72mm f/2.4 equivalent [link to proof] Angenieux 10mm f/1.8 Retrofocus (Fixed Focus) - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof] [more info] Carl Zeiss Jena Tevidon 10mm f/2 - Yes - Needs modification = 28,8mm f/5.8 equivalent [link to proof] [more info] Carl Zeiss Jena Tevidon 35mm f/1.9 - Yes - Needs modification = 101mm f/5.6 equivalent [link to proof] Century 9mm f/1.8 - YES (poor quality) [link to proof] Computar 8mm f/1.3 - NO [link to proof] Computar 16mm f/1.4 - NO [link to proof] Computar TV Lens 25mm f/1.8 - YES = 72mm f/5,2 equivalent [link to proof] Cosmicar 8,5mm f/1.5 - NO [link to proof] Cosmicar 12.5mm f/1.8 - YES - Needs modification = 36mm f/5.2 equivalent [link to proof] Cosmicar 25mm f/1.8 - YES - 72mm f/5.2 equivalent [link to proof] Ernitec 6.5mm f/1.8 - YES (heavy distortion) [link to proof] Ernitec/Navitar 17mm f/0.95 - YES (v. blurry corners & distortion) [link to proof] Fujinon TV 12.5mm f/1.4 - Yes (blurry corners) - Mod.? (unknown) = 36mm f/4 equivalent [link to proof] Fujinon TV 16mm f/1.4 - NO [link to proof] Fujinon TV 35mm f/1.7 - YES - Needs modification = 101mm f/4.9 equivalent [link to proof] Leitz Macro Cinegon 10mm f/1.8 - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof] Kern Switar 10mm f/1.6 - Yes (slight vignette & blurry corners) [link to proof] Nikon Cine Nikkor 13mm f/1.8 - Yes = 37,5mm f/5.2 [link to proof] Nikon Cine Nikkor 25mm f/1.8 - Yes = 72mm f/5.2 equivalent [link to proof] Pentax 25mm f/1.4 - YES - 72mm f/4 equivalent [link to proof] Schneider 10mm f/1.8 (silver version) - No (almost) [link to proof] Schneider-Kreuznach Cinegon 11.5mm f/1.9 - No (almost) = 33mm f/5.6 equivalent [link to proof] Schneider-Kreuznach Cine-Xenon 16mm f/2 - Yes = 46mm f/5.8 equivalent [link to proof] [link to proof (2)] Schneider-Kreuznach Xenon 25mm f/0.95 - Yes = 72mm f/2.7 equivalent [link to proof] Schneider Xenoplan 17mm f/1.7 - Yes (blurry corners) - [link to proof] SLR Magic 11mm F1.4 - Yes - [link to proof] (added by EOSHD) Tokina TV Lens 8mm f/1.3 - NO [link to proof] Tokina TV Lens 16mm f/1.6 - NO [link to proof] Taylor-Hobson Cooke Kinic 25mm f/1.3 - Yes = 72mm f/3.7 equivalent [link to proof] Taylor-Hobson 25mm f/1.9 - Yes - 72mm f/5.6 equivalent [link to proof] Wesley 25mm f/1.4 - YES = 72mm f/4 equivalent [link to proof] Wollensak Cine Raptar 12.5mm f/1.5 - Yes = 36mm f/4.3 equivalent [link to proof] Wollensak Cine Raptar 25mm f/1.9 - Yes = 72mm f/5.6 equivalent [link to proof] $ 25 noname 25mm f/1.2 CCTV - YES = 72mm f/3.5 equivalent [link to proof] Zooms Ernitec 6-12mm f/1.4 - NO [link to proof] Kowa TV Zoom 12.5-75mm f/1.8 - NO [link to proof]

The G6 achieves a certain yin-and-yang. With the GH3 now occupying a higher position in the line, the G6 has moved up to occupy the position once taken by our much loved GH2. It shares the same sensor which of course was always pretty special for video, yet adds a lot of significant new features like 1080/60p, a faster processor, high resolution LCD and something the GH3 doesn't even have - focus peaking. Read the full article here

New Nikon D5300 has started shipping This is the first Nikon to have the new Expeed 4 image/video processor and the first Nikon to be able to shoot video at 60 P.Nikon Canada are claiming that the video auto focus is smoother than that on the 5200. Any one else interested in this camera for video ?? I have several Nikon full frame lens from film days.

The recent rumours surfacing of Panasonic releasing an AG-GH4 around the $3000 mark have been given a boost. Panasonic have now officially announced the existence of a 16MP Micro Four Thirds sensor which is capable of 4K video at up to 30fps, matching the rumoured specs of the GH4. Tantalisingly this sensor is even available as a customer part on the open market, making it available to Blackmagic Design. Read the full article here

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.

plus £10 shipping outside UK see this Kickstarter project! project in the hands of Raspberry Pi fans, but don't see why this product can't be used for pulling focus in the studio? It can be battery powered, hence also portable. Anyone for a 9" portable monitoring screen :-)

Not a huge amount of discussion on gear/techniques used to record audio on this forum, though its not totally neglected.   I have a background in classical music recording, and am used to a laptop audio interface rig with great preamps and nice mics. Needless to say, I'm not happy with the preamp on the H4N and the rode videomic type shotguns.    Anyone have any experience with the Roland R26? I've heard good things, but is the noise floor really lower than something like a zoom? If so I'd be interested in picking one up. If not, I feel like I'm going to need to invest in something like a sound devices mix pre to feed my NTG2 and NT4

My HD Hero 2 does 24p (& 25p & 30p) 1080 so I am sure that the newer Hero 3 & 3+ models do as well.

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.

Aside from Blackmagic there's only one other company endeavouring to give us affordable cinema cameras at the moment and that's Kinefinity. The MINI is a smaller cut down version of their S35, shooting 2K uncompressed raw to SSD from a Super 35mm sensor. It has an option for 4K to an external record (Q1 2014) and it's a powerful piece of kit, though I have some reservations about usability. Is the KineRAW MINI the early stages of a new Arri? A Chinese cinema camera industry? Read the full article here

CineMartin are the first company I know of to give us H.265 HEVC (High Efficiency Video Encoding) conversion with the just-announced CINEC v2.7. It supports up to 4K resolution and you can try it today. In case you live at 12 Under Rock Drive, the H.265 standard is the biggest codec of the decade. It supersedes today's most common codec for encoding and internet delivery of video (H.264) and makes 4K recording to SD cards possible on DSLRs. Read the full article here

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

Hi friends, sorry if this was posted already, I just need a place to express my disappointment. I am on the verge of cancelling my BMPCC-order. What could be seen of 'test shots' of the Pocket's raw so far didn't convince me at all, whereas the Miii's raw just shines. Am I missing something? If not for the different price tag, what other reason should I have to look forward to the final arrival of that camera? Please share your thoughts.

For your Photoshop grading pleasure here are some original Cinema DNG frames hot off the newly updated Blackmagic Pocket Cinema Camera. "A raw video monster in your pocket". Read the full article here

I guys i been going through my huge collection of videos that i keep for inspiration came across this video shoot on 60d and 35mm and 100mm lens that always inspire me to be better. I know raw is cool right now but i believe no about of raw and cc can replace bad story line or video that was shoot bad you know cam movement and framing. I have my black magic 2.5k still in he box not open, wont open it until i do few more project with 60d,

The new SLR Magic anamorphic lens now has an official title and price. Dubbed "ANAMORPHOT 1,33X 50" - it will cost $799 for the anamorphic adapter. [url=http://www.eoshd.com/content/11290/exclusive-slr-magic-anamorphot-1-3x-50-pricing-announced]Read the full article here[/url]

My first few shots from my Dubai trip. Used the EOSHD 5D raw LUT in Resolve and it worked like a charm. I love how it lifts shadows without sacrificing black levels. I exported the clips from resolve with the LUT and then did additional grading on top of that in FCP X.

Hello all, I am new here and am looking for some help from experienced videographers. I have experience shooting stills for about 3-4 years now, but this year I have started doing a lot of video work and had surprising success. It started with a friend wanting me to shoot a wedding video for her and now it has turned into an almost every weekend gig. I think that with more practice/learning It could develop into a full time profession that I love. I need help with budgeting money and getting your advice on what equipment I should most intelligently choose to purchase/upgrade. I'll start by telling you what I currently own and I would like input on what my next step should be and why. I will give a budget that I am looking to spend. Currently own: Canon 5D Mark II (With Perfect LCDVF) Canon T1i w/ kit lens (I am going to sell this and put money towards new body) Manfrotto 561BHDV-1 Monopod Canon 50mm 1.4 Canon 50mm 1.8 Rode Videomic Zoom H1 I also have access to use Canon 70-200mm f/ 2.8, and Canon 16-35mm f/ 2.8. Everything else I rent. What I am thinking about purchasing: Canon 60D Canon 7D Black Magic Pocket Cinema Camera Panasonic Lumix GH2 (for hack) Panasonic Lumix GH3 What it will be used for: Wedding Highlight Reels Music Videos Short EPK work for Musicians A documentary about my hometown starting next summer What I need from my new upgrade: 60 fps (preferrably @ 1080p) Very sharp IQ (I can get lowlight and DOF out of my 5D Mark II) Easy profile for grading in post (This is what I need most help on, my grading skills) Budget: $1500 I know lighting/location/style have alot to do with it, but which sensor of the 5 listed above gives the most cinematic look? BMPCC? I have been extremely impressed with what I have seen out of the GH series. Keep in mind Lenses and Rigs will be a priority too. I can continue renting lenses if I go for a more expensive body, or I could get a used GH2 and buy good cinema glass. So if it were your decision and you needed a second body used PRIMARILY for video. How would you use your money? Thanks and looking forward to hearing from this community.

Download firmware v1.5 from Blackmagic Just a heads up (full post to follow when I've had some shooting time with it) - the eagerly awaited firmware update from Blackmagic Design which gives the Pocket Cinema Camera raw video has arrived. This will allow you to shoot 12bit Cinema DNG in full 1080p. Blackmagic recommend the Sandisk Extreme Pro 64GB card for raw. I am going to be using the LOMO anamorphic rig shown above, which is mounted via an OCT-18 adapter to the Pocket Camera. I can highly recommend upgrading from Resolve 9 to Resolve 10. There's no reason to keep the old version. The new one is much better for editing Cinema DNG raw. You may also want to give the EOSHD Film LUT a go with Pocket Cinema Camera raw. It should give you an instantly appealing film-like look in Resolve 10 with no grading effort required. Full article later in the week!Read the full article here

Hello ! Here are some stills taken with OM-D E-M5 + Qioptiq MeVis-C C-mount 35mm f1.6 (most of them taken at full aperture f1.6) + baby Berthiot Hypergonar 1.75X anamorphic lens (+ Tokina 0.5 diopter sometimes) More samples here : http://www.eoshd.com/comments/gallery/album/108-qioptiq-baby-hypergonar-stills/ and here : http://www.flickr.com/photos/43243778@N04/ Here at f1.6 at 1,3 meter with diopter : crop : here at 5 meters, no diopter, at full aperture f1.6 : crop : Thanks for watching, any comment is welcome :) More samples here : http://www.eoshd.com/comments/gallery/album/108-qioptiq-baby-hypergonar-stills/ and here : http://www.flickr.com/photos/43243778@N04/

http://www.youtube.com/watch?v=YdXRc9syInQ   Enjoy! (hopefully...)   Dave

Yeah it's great news! Did you download the original mov files? They look pretty damn good to my eye ... The RX10 certainly looks like a very, very useful camera for the right kind of shooter. Not for me though, I want a low light beastie that can take my fast primes!

Wow thanks Zach! The ding effect at the end might not have been necesarry indeed, but I'm sure there are some people who would miss it if it wasn't there and that would ruin the whole film. So I thought, better to be safe than sorry :) Thanks for the nice reply.

Cats are perfect for tests, they don't move, and their hair are perfect to watch the sharpness ;)

So by the year 2020?

The feature people are going to like are Pro-Res and Raw, not so much a particular camera or company. Once an affordable Sony or Panasonic camera offers pro-res 4-2-2 and raw (without hacking), I think people will dump their pocket cameras. It's a finnickety camera to use, it has QC issues, and is expensive to kit out due to the standard features you get with Sony and Panasonic that BMD have left out.

http://www.youtube.com/watch?v=Aa9O5M7d17M&feature=youtu.be Shot in beautiful New Mexico with an Iscorama Cinegon in front of a Dog Schidt Optics FF58 (2.8 ovoid aperture). Some additional shots are with the Iscorama + a 200mm Vivitar lens...

  This makes me extremely scared to keep using it :)

Greg, I don't think this will change the market for isco's. To me (and many others) the 1.5x stretch is more desirable because of the more pronounced bokeh. That's still the biggest downside for me regarding this SLR Magic lens. The bokeh just isn't that special. Also I still think the flare is a bit harsh/extreme. It should send the price of Panasonic LA7200's and Optex/Century 1.33x anamorphics crashing down though.

However silly it might seem to you, H.265 does 4444, at 8-bit, 10-bit or 12-bit: http://en.wikipedia.org/wiki/High_Efficiency_Video_Coding#Profiles Prores is a lossy compression method, so is H.265. The difference is that H.265 is a recent codec with a lot more focus on compressing filesizes, for the cost of requiring more computing power to encode/decode. This means, for the very same level of quality as with Prores, you'll have far lower bitrate, 4444 included. Also: "and much better quality than H.264". Yes, a Prores 4444 will be higher quality than the H.264 4:2:0 at 8-bit we see implemented in most cameras. However, did you know that there are also H.264 profiles for 4:4:4 at 10-bit color (the specs even support up to 14-bit)? With proper encoding chips, there's nothing stopping cameras from having 10-bit H.265 4444 (or even H.264) that compress far better and has same quality as Prores 4444.

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.

I've created a Nikon D5300 Vimeo group. Please add any videos you find - or make yourself ... vimeo.com/groups/d5300 (sorry - no hyperlink because it tries to display a video)

I got an Audio Technica 4047 mic and an Audio Technica 4053B mic. One is much longer than the other one but they cost about the same. I set both up to record dialogue between two people for a video I was shooting and the 4053B sounded MUCH better than the 4047. The 4047 sounded like I was in a soundproof studio and nothing else was around. When playing the video with the 4047 audio, it didn't fit right at all. But the 4053B sounded so natural and made me feel like I was actually there. It didn't sound closed off and isolated like the 4047. Why such a big difference?

Half the things I try with RAW end up no-where--just can't figure it out. Then one day it clicks. Last night I was finally able to create a video that shows the bayer pattern recorded in RAW, before debayering. I hope to do more in the future. I wish I had seen a video like this early on, so I would have visually grasped the importance of what de-bayering algorithm is used. Also, would see why one dead sensor pixel is insignificant. https://vimeo.com/79857693

Honestly Canon is still years ahead of Blackmagic anyway. The C500's sensor is already in the C100, only the processors to deal with the 4k RAW are different. If Blackmagic looked like it was going to truly revolutionize anything Canon would just release a version of these same processors (or whatever their next one down the pipeline is) with all the RAW high bitrate stuff enabled. In a few years it'll be cheaper too. Meanwhile Canon's colour science, how they deal with IR, egronomics, ect are all very much superior. Canon's just reading the market, and their entire Cinema line has been super successful and from a business standpoint they're doing what the market wants without breaking the bank producing more than they want. That's always been the key to their success. Are they over priced? Could they do better? Yes. But from a research standpoint they're ready for anything the market will demand, probably. I'd say the phenomenon you're describing would probably apply more to something like GoPro, which has carved a niche in the market that Canon would probably have a hard time breaking into, due to all the tech that little company has come up with. Blackmagic's doing a great thing though, hopefully they'll find their niche too, with their future cameras. But in a world where the F35 used to cost 250,000 and can be bought for 8,000 now, it's easy to assume that in 4 years the script will be flipped completely, again. How the camera market looks after April will be very interesting.

I plan on getting the sigma 18-35mm f1.8 in a nikon mount as I plan on getting a blackmagic cinema MFT camera in the future and using it with a nikon to MFT speedbooster. However I am currently shooting with canon cameras and was wondering if this adapter will work even though the tech specs for the sigma state that it uses a Nikon F mount. http://www.amazon.com/Fotodiox-Adapter-D-Type-EOS-Camera/dp/B008BBIBOM/ref=sr_1_1?ie=UTF8&qid=1384817119&sr=8-1&keywords=nikon+g+to+ef

The full frame Sony A7 and A7R are disappointing for lacking 4K and a high bitrate codec (the time is now...), choosing to stay with 1080p and AVCHD from the last generation. However Sony have pushed on in other areas and are promising "pro-quality" video. Marketing speak or genuine breakthrough? Let's take a closer look... [url=http://www.eoshd.com/content/11324/look-new-video-features-new-sony-a7-a7r-rx10]Read the full article here[/url]

this thread was actually quiet interesting and there was ZERO patronising posts until you joined in with the crap'o vision post. time to get banned again i guess. you should really consider guest posts, as this place is quite cool but your single mindedness isn't... your gear lust and canon hatred stops it from being a good place to visit. apart from the occasional good review, you are the worst part of EOSHD, quite strange that. bye bye

But you must understand that some people on here might look to you for direction. They see a nice video, then see you saying it was a bad choice to use the 60D which is "Crap O vision" or whatever you said. They can't afford a raw workflow pr a kitted out BMCC, so put off their project until EOSHD deems whichever camera they buy next as worthy.

First shot with Lomo fisheye for mtf. Did someone else buy this kit? What do you think? Rip off or awesome toy? https://vimeo.com/79974211

Acoustic music video with i Shot with a Kowa 8Z and SLR magic 35mm on a GH3.

no bullshit here andrew what am i sayin. i said it will not be based on the focus century as complexity would mean cost would be at letus levels. both lens will be good but they will not be cemented corrected doublets. they are simple single element optics with an airgap. try a moller at f1.4 try these new lens and tell us about state of the art optics. user friendly with a good price yes but nothing nasa here. since nasa is dead it is up to china to take us to the stars but not for a few more years methinks. but what a price not many can beat it. "We are the slr Borg.  letus Lower your shields and surrender your ships.

http://www.youtube.com/watch?v=SBqv8hSwhKw     After using my Canon 550D/Rebel t2i for shooting different project the past months, I decided that I wanted to test it even more visually. I made this film, for a film project at my school. The story is very open and "artistic". As a viewer, you can interpret it as you want really. Its about life and that you can just go outside and do something instead of sitting inside and be bored.  We filmed everything during two days with the Canon EOS 550D on homemade shoulder-rigs, and used only natural light (the sun and the existing lamps on location). I planned to use a Quadcopter for some shots, but because reasons it didn`t show up in the film.  I hope you enjoy the film, and give some feedback!    Directed/Shot/Edited by: Fredrik Winge Main actor: Andreas Brechan The "not so angry guy": Brage Wichstrøm ------------------------------------------------------ Music by: Philter Song: Insomnia Check out his work here!: http://thephilterlounge.com/