Leaderboard

So, as mentioned a few weeks back, I've just completed the first episode of a webseries shot with anamorphic lenses and MagicLantern raw. For this one, we used a LOMO Foton-A, and there's only ONE Iscorama shot. Episode 2 was almost entirely Isco, except for the very beginning. As soon as it's ready, it'll show up here too. Don't forget to enable the english subtitles, as all dialogues are in portuguese. :P

I love the way people shift responsibility for their actions onto someone else. Resolve 10 lite works perfectly on my relatively cheap 2012 iMac. Maybe you need to adjust your set up? Focus peaking works perfectly on my pocket camera. Yes, the screen is hard to see in daylight. There is a $165 Kinotehnik loupe available. You didn't need to spend anything more than a m4/3rds lens and an sd card to use the pocket camera. Everything else you bought was your own decision and can't be blamed on BMD. And honestly, I can't believe your complaining that you had to download the latest firmware!!!! How hard is that? You have to download the latest version of everything you buy these days. That's the Internet age for you. As above, I'm really loving my pocket camera. The image quality is superb, but yes, it is a bit quirky.

The version taken to LA could have been the final version of the SLR Magic - Anamorphot. We had been trying hard to change the flares to blue and we managed to succeed just before we start shipping out the units to our volunteer testers. The coating is now final and flares will be blue. Legacy anamorphic adapters usually flare white, yellow, or green. Cinema anamorphics usually flare blue streaks so we tried very hard to make the lens flare the same way cinema anamorphics do.

Download the original file at Vimeo Note: This is an early-days test I did quickly before a shoot today. A larger one encompassing more cameras (GH3, D5200, 5D Mark III, Blackmagic Pocket Camera) and scenes will be on EOSHD during the coming week. The Sony RX10 appears to play in the same ballpark as the Sony FS100. Is this the new budget king for semi-pro videographers? Read the full article here

Hi everybody,   i'm going to buy a Black magic Cinema Camera EF mount and i really need to know the widest solution i have for it.   At the moment i have a tokina 11-16  that is good on my t2i but it's not enough on the 2,3 crop factor of black magic.   Do you know if there is any wider solution for my camera that is not fish eye?   I've read about la7200, does it make a litte bit wider? it shoul be 1.33 times wider right?   and last question, my tokina has 77mm diameter, and i've found a good offer for la7200 but i've read it is 72mm what do i have to do?? i need an adaptor? will it work at 11mm or it gonna make vignette??   thank you so much!! best

Hey, I'm really happy with my new Pocket Cinema camera. It's refreshing to see RAW and Prores footage. Hard to go back to my GH2 now, even with the smaller sensor size. Anyway I was wondering to witch codec I should export footage in Resolve, to have FCPX treat my footage as RAW. I prefer to color it inside FCPX and FilmConvert plugin, bypassing Resolve as much as possible (even avoid roundtripping with proxy footage). If I'm correct I should not use a regular code such as ProRes because it 'destroys' the RAW process. Thanks!!! ps: I hope FCPX will support compressed DNGs in the December update.

http://www.kickstarter.com/projects/moondoglabs/133x-anamorphic-adapter-lens-for-iphone-5-5s Create compelling widescreen films and photos with your iPhone Anamorphic lenses were introduced for filmmaking in the 1950's to create an immersive, panoramic experience intended to compete with the widespread adoption of television. In addition to a wide aspect ratio, the anamorphic aesthetic is characterized by horizontal flares, distortion that creates a unique sense of depth or dimensionality, and oval "bokeh" or blur for out-of-focus areas. For these artistic reasons, anamorphic filmmaking has been enjoying a decades-long renaissance. However, due to the complexity and expense of the optics involved, anamorphic lenses are not readily available to most independent filmmakers. We believe there are stories best told with an anamorphic aesthetic, so we have developed an affordable 1.33x Anamorphic Adapter specifically for the iPhone 5/5S. How does the Moondog Labs 1.33x Anamorphic Adapter work? The built-in iPhone camera captures a 16:9 aspect ratio in video mode, like this: Nominal iPhone video capture format, 16:9 aspect ratio Shooting with the 1.33x Anamorphic Adapter optically “squeezes†a 33% wider scene onto the sensor, creating a raw image that looks like this (note the wider view, but thinner looking objects): Raw anamorphic video capture before "de-squeeze" When you restore or "de-squeeze" your video to the proper scaling in software, your final video looks like this: Anamorphic video after de-squeeze, 2.4:1 aspect ratio The Anamorphic Adapter works the same way for still photographic mode, transforming the native 4:3 aspect ratio to panoramic 16:9. Native 4:3 photo format: Nominal iPhone photo capture format, 4:3 aspect ratio Shot with our 1.33x Anamorphic Adapter and de-squeezed to full 16:9: Anamorphic photo after de-squeeze, 16:9 aspect ratio There are many free or paid software packages available to de-squeeze video or still images created with an anamorphic lens – for example Final Cut Pro or Handbrake for video, and Adobe Photoshop or GIMP for still images. For the best workflow, we are working with FiLMiC Pro to incorporate a 1.33x anamorphic de-squeeze in their first quarter 2014 release for full in-app compatibility with the Anamorphic Adapter. To help you through the de-squeezing process, we will post simple instructions on our website and link to them here on our Kickstarter project page. The Moondog Labs Anamorphic Adapter beautifully exhibits the wide aspect ratio and the classic horizontal purple flares and distortion that are characteristic of vintage anamorphic lenses. Unfortunately, the short focal length lenses used in mobile phone cameras lack the shallow depth of field needed to create significant bokeh in most situations, including the oval bokeh traditionally associated with anamorphic lenses. Technical Specifications 1.33x afocal anamorphic adapter Expands camera horizontal field of view (FOV) by 33%; vertical FOV is unchanged Increases video aspect ratio from 16:9 to 2.4:1 (with software de-squeeze) Increases still image aspect ratio from 4:3 to 16:9 (with software de-squeeze) Compatible with iPhone 5/5S Precision all-glass optical design Single layer anti-reflection coatings Precision CNC-machined aluminum housing Secure clamping attachment mechanism, compatible with screen protectors Mass: 49.4 grams (1.74 oz) Overall dimensions: 32 x 26 x 38.5 mm (21.32 max. extension from iPhone) Patent pending design Designed & assembled in the United States Compatible with Glif™ tripod mount Our third-generation protoypes shown on the iPhone 5S and iPhone 5 Reward Options We have early-bird pricing reward levels, and all Kickstarter backers will receive a significant price break compared to the expected retail price of the Anamorphic Adapter, so check out the reward levels in the right sidebar. Holiday Gifting - If you are a thoughtful gift-giver planning to share an Anamorphic Adapter with some lucky filmmaker or photographer for the holidays, we will have a professional photo gift card describing the Anamorphic Adapter available for download so that you can print it and wrap it in time for holiday giving. Product Status & Kickstarting Production Based on our experience with camera lens design for photography and filmmaking, we started exploring this concept in 2011. We have assembled and tested several prototype versions of the Anamorphic Adapter to refine the final product design presented here. We are confident that we have a great design that is robust for production. We have vetted domestic and international suppliers for quality and capability of each component, and have qualified sample quantities from them. The Anamorphic Adapter will be assembled in Rochester, NY by our experienced optical manufacturing and assembly partner with components from both domestic and international suppliers. We would love to be 100% U.S. sourced, but the economics of making an affordable Anamorphic Adapter require international sourcing for some components. Project funding will go toward component tooling and assembly process fixtures that will allow us to scale from small quantities to production, and will also go directly toward buying components in volume to build units for our backers. Background Anamorphic Format (Wikipedia) Films Shot Anamorphically (Wikipedia) The Changing Shape of Cinema: The History of Aspect Ratio (FilmmakerIQ) Everything You Need to Know to Start Shooting Anamorphic (NoFilmSchool) The EOSHD Anamorphic Shooter’s Guide (EOSHD) Video soundtrack by Aled Roberts Music Looks lovely hah!

Very interesting discussing. I'd like a new camera for traveling next year. Video is main objective, but good stills are a bonus too. Needs to be small. And I'm looking for an organic, filmic look. RX10 looks very promising, all-in-one package, relatively small. I assume it's better for video than for photography. Seen some footage, but what's been said here as well, the footage has a sterile video-like quality to me. A little bit the same as the Panasonics, which also have that strange sterile look to me. D5300 is a strong contender too. Quite small, even with just one or two lenses a little less flexible than the RX10, but: less flexibility stimulates more creativity. Large sensor, choices of lenses (albeit not as much as mirrorless mounts). Also a very, very nice stills camera! I'm leaning to this camera! BMPCC was my first choice but it seems it's still a v1.0 camera, which needs so much extra gear I think it's no longer practical... X100S seems great for stills, but no word on video-functions...

Have you tried viewing on some other monitors? Some monitors exagerrate certain colors while they downplay others. It's only in some certain shots where his color is off on my Macbook Pro and on my HP LP2475w monitor. On the other shots the skin tone looks correct (with his skin tone being a SLIGHT bit more yellow than the woman's). Looks like it is either 1) colour bouncing off something, or 2) wrong white balance on some shots. Canon seems to be praised for the skin colors all around the net. What I see up here in Sweden on the nordic skin tones, is that Canon stills & movies are oversaturated out of the box, and skin tones aren't people's true skin tones. It rather looks like they've gotten a fake tan painted on their faces and saturation upped a few steps. Some people enjoy that I guess. Personally I like to shoot natural/neutral colors, and that's where Nikon's profiles are closer, if white balance is set correctly. I don't have much experience with other kinds of skin tones though, people up here tend to be pale and tend to show up with their natural look, be it in h.264 clips or raw stills.

@skiphunt, I can't understand too much you choice between the D5300 and Sony Rx10. One cannot even be categorised at a large sensor camera while the other one is a Cinema 3d mm sensor size. The fix lens at 2.8 on such a smallish sensor will be more like f7/f8 on an Apsc size sensor. Compare that to the Nikon where you can add some very fast primes or the superb Sigma 17-35 1.8 zoom. Even if you put the more common extended zoom like the 18-140 f 3.5/56 you will still have more light than the 2.8 on the Rx10. There are also some very good variable ND now for not too much money. For me one is only good if you want camcorder type of image and flexibility and the other one much more cinema type quality image with a little less flexibility. For me they are very very different type of camera and for very very different use.

Nikon does a niche $ 3000 camera just for photographers without video and the world wide web of video shooters bloggers etc. erupt in anger. Predicting its downfall etc. with all type of silly argument that the company will disapeer etc. Nikon release a camera which is truly hd resolution, looks like having no moire/aliasing, very good low light that will challenge the 5dmark3 and DR in the 12 stop range. They eliminate the big problem that plague its predecessors like banding, added 60 fps at full 1080p and no ones talk about it. This shows you how silly people are, from pseudo expert and bloggers that only look at the spectacular and not the concrete things. More so that if it follow the other latest Nikon camera trend you could add an external recorder to film with 220 4.4.2 prores. The closest you could compare it to is the Canon $600/12000 C100/C300 and both of them don't give you 1080p at 60 fps. For sure they have other qualities for video but this D5300 is only $ 800 and can take gorgeous 24 megapixel photos with 14 stop of Dynamic range.

The 5300 has six picture control options. if you choose "Portrait" the sharpening,contrast,brightness, saturation and hue can be all adjusted and named and saved as a color profile. Here is a guy that has downloadable picture controls www.similaar.com/foto/flaat-picture-controls/index.html

Had a closer look at the benefits and implications of going the Canon/Magic Lantern path and came to the conclusion "not for me at this stage". Just purchased a 5300 .So far very pleased with it ,no sign of the fixed pattern noise,video quality has exceeded my expectations,great in low light ,50P is quite smooth .Interesting that Gordon Laing measured the 1080p60 High quality footage at an average bit rate of 35 Mbps wheras the 5200 was 24mbps at high. Flip out screen is nice and crisp and can still be read when you eyes are at a sharp angle to the screen, I had trouble focusing with the screen on my old Canon HV30. The user manual is 84 pages and whilst is adequate for stills photography there is only two pages on recording movies !! Nikon should get their act together they are leaving purchasers in the dark about the settings available for high quality video. Only power supply is the battery and charger ,an external power supply is available from Nikon or just get more batteries ,apparently there is a firmware update so that 5200s can take 5300 batteries. More to come in a few days,having fun !!

My D5300 will be here Nov 27th. I plan on setting it up for 1080P at 60 fps. I have a BlackMagic Shuttle II to record uncompressed RAW a Ninja II to record DNxHD 36 (probably more like 72Mbps). and a Camax HD external monitor. I will be hooking them all up at once and comparing footage to my D800e and V1.

It appears that Sony shifted the neutral gray point within the useable DR range so that there was more room in highlights, and slightly less in shadow. This is not that good for still but for film it is wonderful as highlight roll off is key to making films seem fix as opposed to video like with blown highlights. This is because when a image goes by quickly we can seen blown highlights more than we see shadow detail. The is opposed to still pictures where we have the time to examine shadow detail, Therefore still cameras are tuned so that there is more DR below neutral gray, and true cinema cameras have more above neutral gray. This is why DSLRs are tuned to blow out highlights in order to preserve shadow, and why DSLR videos suffer. And videos from video cameras tuned the same way, as a video camera. While it seems that the DR of the RX10 has been tuned to make it more cinema like. Strong move SONY. I am shocked and thrilled.

Hello, You can set ISO increments so you will have more ISO choices. Page 202 in G6 manual.