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We've been there already. Andrew had a brief look at the camera - see this thread: '?do=embed' frameborder='0' data-embedContent>> It looks like a great camera. The best evolution of the D5300 is that it doesn't suffer from banding like the D5200 and has a slightly higher bit rate, so grading looks like an option now. Unfortunately Andrew overlooked this which is a shame because it looks like a very solid, worthwhile update. New and 'innovative' cameras are always going to be sexier than modest, worthwhile evolutions of already great cameras. A shame. Andrew's footage with the RX10 is really nice, but there's no way I'm paying £1000GBP for a camera that has aliasing problems and mushy 60p. Not in late 2013. Not when you can buy a G6 for £450. The D5300 has no aliasing or moire problems, and as you say it uses H264, so 60p will hopefully be better than the RX10.

Found an anamorphic lens on eBay and need advice?   Is it a good buy? Need more information? Want to share unusual discoveries and finds?   Post here.   No advertising of your own auctions please. No posts with only a link to eBay.

Andrew, Did you shoot your 60 fps footage with SteadyShot? From the slashcam.de review and others, it looks like SteadyShot Active Mode uses crop out for roll correction, which is responsible for moire and loss of resolution. But the SteadyShot standard mode is entirely optical, with no moire or loss of resolution.

Well yeah, I'm genuinely sorry that this is off topic and won't pursue it any further on this thread. But you do have readers who are interested in the camera for legitimate reasons (and you had 2 people asking for a review before me on this thread!). No I don't have any "proof" the banding has gone - that's what I want you to do! But if you look at the 5300 thread you'll see there's pretty compelling evidence that the FPN has gone. As for "show it" - I did, to the best of my ability (considering lack of D5300 and appropriate skills) - see the stills I posted in the thread. I don't want a "purely" low light camera. I want a good all-round camera that performs excellently in low light. The 5200 has banding issues, so I don't want that one. Genuine apologies though - I was just hoping I might change your mind. I'll leave it alone now.

I'd love to see you pick up the new Nikon d5300. You liked the d5200, this new model keeps all the good stuff from the previous, but removes the anti-aliasing filter and adds support for 60P... AND it uses the h264 codec just like the GH3. You don't often mention Nikon because of the lens mount, but there's tons of great Nikon lenses extending back a long way. What do you think, can you do a review and comparison?

After a week with this little thing, I've found the ProRes to be the best thing from this camera & the RAW will be useful for a few difficult to get shots. As far as lenses go, wide open isn't the way to go at all (& never was really with any camera) - for me, the Super Tak 35mm f3.5 is the only lens that will perform well wide open. Because this thing needs light, coupled with the native 800ASA, you can easily stop down to get a sharp picture & if you're still not satisfied, you can sharpen a little in post. Its not too bad in low light, but if that's what you need in a camera you should look else where - RAW could help here, but won't solve everything. For the FOV arguement, i like the fact that you've now got room between the camera & any subject - never liked being right on top of things. Also, it will encourage a different way of filming & should teach people that the wide shot isn't something to be abused - but i do like CUs! The speedbooster will help give you some breathing room as well. Its quite obvious by now that this camera isn't for everybody & will really challenge you, especially with your lens & shot choices. I also think that this camera should be used in conjunction with another & maybe not solely on its own.

The KineRAW cameras take standard SATA 2.5" drives, the S35's second slot can hold a notebook hard drive, like 500GB or 1TB, that you can dump the SSD to when it get full to re-use it in the field. The main issue is that the SSD be fast enough to record all the modes to, the KineMAG are qualified not to drop frames when recording, if you use other brands of disks then they may not work all the time or may get slower with use, the KineMAG are high quality drives that have been tested through repeated record and erase cycles. I have been using their prototype 60GB drive for more than a year and as far as I know it has not dropped any frames yet even recording 2592x1104x12bit@24.000fps in their S8 prototype and shooting 220fps in their S8 prototype, as well as shooting both Cineform and DNG 2048x1080x12bit@24.000fps at the same time in the S35 model. But you might find some other brands of SSD that work, they kept in mind that as time goes on other brands that are fast enough will fall in price and so there will be more options, but for now, if you want them to assure you that the camera will record without glitches their disks are provided as tested and known to work right.

Thank guys for keeping this thread going. The D5300 hadn't been on my radar until now. Thanks for the mentions, too. If FPN is truly gone, this camera looks like a great upgrade from the D5200. I might sell my current D5200's (now quite devalued) and get a D5300 instead. I like that it's smaller than the D5200 with 2 stops of extra ISO gain. I also like the 1080p60 option. Plus Nikon has a great Standard profile that works for almost all my shooting with minimal need for color correction in post. And I do miss the articulated viewfinder when shooting with the 5dMKIII. That said, the AF looks useless in live video recording, and the bitrate is barely adequate for slow motion; you'll likely still see motion artifacts at 1080p60 even at 35mbps. Just bear in mind that the GH3 will deliver much cleaner 60fps footage in that regard. Of course, the clean HDMI output may change all this. I'd be curious to see how much finer the noise structure is when recorded uncompressed to an external source. That could also be a means of bypassing the 20 minute record time limit, making this an excellent camera for extended interviews. It's a crowded marketplace right now with no "perfect" camera. In my mind, the best thing out there for me would be a C500 (sorta small + compressed raw + slowmo + Canon color science)...but that's the price of a Prius. So nope. I'm still hooked on shooting 5d3 for my fun projects because I can basically do anything to the image in post. But the D5300 looks to be a solid workhorse and quite gradeable in post. I'd be curious to see how it stacks up next to a C100 in terms of sharpness, latitude, and low light.

A project I recently shot with the Sun Anamorphic (80%) and Nikon lenses (20%).   https://vimeo.com/80152537

I got an email from Jihua yesterday and he says they have a Mini ready to send me now to re-calibrate the color balance with, I originally calibrated the color using the S35 prototype #3 and then they made some changes to the sensor and or OLPF that invalidated the color calibrations. Hopefully I will be able to re-calibrate the look groups to resolve complaints about the color balance. Anyone who has purchased a S35 or Mini should send me sample frames as TIF or BMP files showing what they find unplesant in the color balance so I can see what kind of lighting was used, please tell me the workflow you used to get from DNG to TIF or BMP so I can know what part of the camera was involved as the conversion to Cineform or conversion from DNG in various workflows can give different looking results because of peculiarities unique to each program that is involved with each workflow option. My email is: tempnulbox (at) yahoo (dot) com My in box can only accept about 25MB so you need to send each sample image frame TIF or BMP in a separate email. I may ask you what settings you had the camera using, such as K and Light type, output range override, monitor limits, look group, and analog gain override. You should note that only the analog gain settings get burned into the recorded data, aside from that the RAW data recorded in the DNG files reflects the sensor ADC output for the most part. Where the color problems come from is the program converting the recorded RAW data to match the monitoring LUT to get results that look like what you saw on the camera's monitor when you were shooting. There are 3D-LUT made to go with the Cineform and be used by the Cineform codec, if you don't load those right you will not get matching results. The DNG workflow is more complex as there is a way to use the 3D-LUT the camera generates for each shot, but only some workflows support that, otherwise the DNG header matrix values are used and those may cause off color results depending on the program that is converting the DNG files. In my free de-Bayer program I ignore all the DNG header values and use files derived from the camera's monitoring tables, but that only works when the camera is fully calibrated something that was upset when they revised the camera, in that case my software allows for ignoring all meta-data and calibrations and re-calibrating each shot from the recorded RAW data, so any color issues don't need to be an issue if the workflow used can allow overriding everything and being manually calibrated to the recorded RAW data (in that case the camera settings don't matter much as well). Hopefully after re-calibration the color issues will be less noticeable, but in order for people to be happy with the results you should contact me directly so I can send you some experimental LK5 and LT5 files to check out an comment on, maybe, so I get some feedback, having you complain to Jihua and him to relay such vague complaints back to me does not help me understand the exact signal processing path you used to get messed up looking results and since there are many possible workflows, each person's workflow will give different issues to deal with, so I need to know exactly what happened to try to reverse compensate to avoid it in future shots. People should understand that the look of the camera's monitoring is OPEN, anyone can use my free programs to control the internal workings of the KineRAW cameras, they read two files called *.LK5 and EQUAL.LT5, those make internal adjustments to the camera's sensor and monitoring path and 3D-LUT generation when you set the K and ISO menus along with the analog gain override (as well as EI ISO curve in "expert" mode being active). Those settings for gain and curve as well as matrix and saturation are all user programmable, although it takes some skill and knowledge to program the camera's internals correctly to get usable results. The camera can shoot at native sensor balance, but the way the current three look groups work is to set the analog gain in the sensor's preamps to get neutral white balanced data, that has the advantage of giving a full 12 bits usable for all three colors, unlike cameras that record unbalanced data then clip one or two bits off the red and or blue to get white balance giving maybe only 10 to 11 bits of used data for the red and or blue, with the equal RGB signals in the KineRAW cameras you get 12bits all the time when the camera settings match the light on the subject. That way of operating can result in fewer histogram gaps and smoother image tones. So my points are: 1) The camera setup LUT are open and can be generated by anyone and installed into the camera to influence the monitoring and results. 2) You do not need to depend on Kinefinity.com (sm) to provide you with more camera "looks" you can make your own if you have the skills required. 3) You can share any LK5 or LT5 files you make with other KineRAW camera owners or users, as far as I know the S35 and Mini firmware both support the same LK5 and LT5 files so ones made with one camera will work the same in the other camera. 4) If they do send me a Mini I can try to make some extra look groups in addition to revised Kine709, KineCOLOR, and KineLOG so that you have more choices. You should tell me what changes you are interested in. 5) Various workflows may not match the camera's monitoring and show clipped or off color results in spite of the data actually being recorded, there is no way to prevent users from messing up the conversion of DNG to RGB as that is outside the control of the camera or the camera's maker or myself.

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.

  The first rule of Flight Club is that you don't talk about feature making on the EOSHD forum ;)   My future plans involve returning to shoot in Asia. But it won't be a feature, instead it will be pieces of cinematography, portraits of the place and people, with a message behind that. And I will try and make it as innovative as possible, through the visual techniques, the message and the audio. Berlin for me is like a base to refine and hone my technique. When I go back to Asia I'll be a better cinematographer and actually have something meaningful to film. That said, I am still working on music videos & trailers here in Berlin with a cast, and some more to come out in the winter. Here were the last 3:         The problem with making a feature is that it would be the end of EOSHD. I'd have to commit 100% of my time to the feature and they are years in the planning & making & promotion. A short narrative piece would be more doable.   I don't think people should see 'feature' as the main event anyway.   People tend to think of features as the ultimate goal of a filmmaker. Why? It's just one genre. Like pop is of music. An animated short is just as big of an achievement, and can take years to make. Cinematography on it's own is as much of an art form. A sensitivity to the material and personal take on the world has as much meaning as a fictional narrative from the best writers. Then there's the documentary area of filmmaking. For me those are the ultimate goal for me as a filmmaker. To make something like Koyanisquatsi which is basically a documentary told purely with images. A mixture of the art of photography and filmmmaking. Great sound track too, very important.   Feature film is just one sub-genre of filmmaking and no more of an achievement, often in fact much less of an achievement if you look at 99% of them!!!   Some of my shoots I enjoyed the most creatively and not just technically, were not actually tests although in the context of EOSHD they were presented that way...   This one is about the struggle of Taiwanese people to maintain independence from China...And it had a subtext about war...   https://vimeo.com/12472000   This one was about the disappearance of history from Chinese culture, with the new tower blocks looming over one of the last remaining temples in Shanghai...     This was a play on the themes in The Machine by Pink Floyd.... the people obsessing over mobiles, stuck behind a black mirror, trapped in a transport system, the drunk on the U-bahn, a study of Berlin....   https://vimeo.com/72605257   And this is about the modernisation of a small island in the Philippines (which thankfully survived the recent typhoon intact)...   https://vimeo.com/9853081   And this is about love lost... but living on in memories... That's what the padlocks represented for me, at that time in my life...     And my very earliest stuff, shot on the GH1 and 5D Mark II...   https://vimeo.com/14534844   https://vimeo.com/11349060   So if you have only followed my shootouts and tests, hopefully that puts it all in perspective a bit.

Hello, I'm selling a Mosaic Engineering VAF 5D2 Anti Moirée Filter for the Canon 5D MK II. Price is € 250. Andrew Reid wrote about it: http://www.eoshd.com/content/7120/canon-5d-mark-ii-mosaic-engineering-vaf-5d2-anti-aliasing-filter-review   PM me if interested.   Thanks and regards.

I think it works yes, I can focus way beyond 10 meters. Are you able to focus very close, less than 1m? If you are not able to reach infinity then the other end of the focus must be shifted as well.

As some of you may know, Im about to buy a new camera to play with 4K RAW videos. Since I have to wait until the end of September/October for the release of a possible new version of that camera I decided to do an exercise to understand where I am, and where Im going to. So I did some comparison test shots. With the same camera and the same lens I shot the same scene with different settings: 1st shot - 1080p h264 - FULL AUTOMATIC CONTROL (Exposure, Picture Profile etc) and no post processing. 2nd shot - 1080p h264 - FULL MANUAL CONTROL + Custom flat Picture Profile (Sharpness, Contrast and Saturation all the way down) 3rd shot - 1080p h264 - FULL MANUAL CONTROL + Custom flat Picture Profile (Sharpness, Contrast and Saturation all the way down) - USING HDR CORRECTION IN PREMIERE PRO 4th shot - Compressed 4k - FULL MANUAL CONTROL + Custom flat Picture Profile (Sharpness, Contrast and Saturation all the way down 5th shot - 4K RAW - 13 stops of DR - FULL MANUAL CONTROL ............................................................................................................ . I did SEVERAL tests in many different conditions, but I only uploaded 3 of them. . [media]http://www.youtube.com/watch?v=AOLz1bnQXkg[/media] . ............................................................................................................ . ORIGINAL 4K VIDEO . https://mega.co.nz/#!4p1DHZoA!UXV36VwTFy_KpA_cvMLPNg5ssupI74e7h7MNj-zVkFU . MAKE SURE YOU DOWNLOAD THAT TO SEE THE REAL DIFFERENCE BETWEEN 1080P AND 4K . ............................................................................................................ . MY CONCLUSIONS 1. After doing that test I realized that I will never ever again spend more money in a new 1080p h264 camera. NEVER EVER AGAIN. 2. As everybody knows, the Dynamic Range of the RAW is AMAZING. BUT, if you have a video with a good compression method and if you use MANUAL MODE and a good PICTURE PROFILE, in scenes where you dont have EXTREME CONTRAST, RAW dynamic range is not essential. 3. The color reproduction in the RAW file cant be matched. The compressed 4K have great colors, MUCH better than your average AVCHD video. I could live with that color depth. But the RAW is simply BEAUTIFUL. 4. The color reproduction in h264 videos is bad. They look artificial and they lack color gradation. 5. When you use h264 + picture profile + post processing you can have a much better dynamic range than when you shoot full auto videos. The problem is that when you process the video you bring A LOT of artifacts 6. A 1080p RAW video has much more detail than our ordinary 1080p AVCHD. I couldn't see the difference in detail between the 4K compressed and the 4K RAW, obviously because im using a 1080p monitor 7. I've seen people saying that when you shoot RAW, you have to watch out for blown out highlights. They say that its better to underexpose. THATS WRONG!! Its easier to recover blown out highlights than shadows. When you recover the shadows you bring a lot of artifacts. When you recover the highlights you bring NOTHING. So to have the best Dynamic Range in your shot, using RAW, you should OVEREXPOSE a little bit your highlights because you can ALWAYS recover a good amount of blown out highlights ............................................................................................................ All the videos were made with a Sony NEX-5R. I used some tweaks to extract a really fast 4K video. Its a low frame rate video, it lasts only 1 second and it overheats the camera, but it was a nice exercise.    

There's an Isco II 16:9 Video Attachement lens on ebay Germany.

Hi, Can anyone recommend a widest fast taking lens for a GH3 and 1968 Iscorama? I was going to get the 28mm Canon FD mount f2.8 but would like the extra stop of this lens: http://www.ebay.com/itm/Mint-KIRON-28mm-f-2-0-Fast-Wide-Angle-Lens-Canon-FD-Mount-w-Caps-Lens-Bag-/151062512798?pt=Camera_Lenses&hash=item232c07049e Anyone tried this before? Is it worth the buy? Thanks Erik

Well done for pointing this out! Its amazing how many people don't look at the 'Bid History' & this is exactly why you should always have a look during the bidding process. Both those Iscorama's had people raising the price & it is becoming a real shame that so many people are being scammed. Its also becoming a real shame that people are willing to hang their brains in the closet & pay so much!

Investigating the recent Isocrama 36 that went for $4,600 on ebay as I received an email saying that it was up for a "second chance" purchase as I bid on it for about half of the final bidding price. http://www.ebay.com/itm/200926249978?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1438.l2648 There is also a private bidder with little to no history named (o***u) who bid on these two items and another similar lens for a very high price that might be driving these prices up to scam money from everyone. Here is the second Isocrama 36 that was "sold" for a high price http://www.ebay.com/itm/261226754104?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1438.l2648 I emailed back the first lens seller who I originally bid on to see if they would reply and find out more regarding why he is offering me the lens for a lower price. Will post feedback on these items....hope this will give everyone some insight to ebay Isocrama purchasing online as it is a hunting ground for possible scams when dealing with these item prices.

Nobody interested? Secure payment via Paypal only.   Cheers, Andreas 

It looks pretty sweet Mondo, haven't heard of it though, can't tell you more about it. I like the typography on this one :P Looks not very practical though. Big and fixed focus. http://www.ebay.com/itm/PRISMATIC-HILUX-264-ANAMORPHIC-LENS-VINTAGE-/300916810177

Just came across a lens called "Manon Anamorphic-8" on eBay and couldn't find anything else about the lens. It has a 1.5x squeeze though, which got me intrigued. Anyone know anything about that lens? Looks like it can't focus closer than 5 feet but I may be wrong.

Hello, the filter is still available. Can be quite useful with recording RAW in the 5D MK II. Check it out!    Thank you.