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Today Metabones release two new Speed Boosters for Blackmagic shooters. I've been using some demo samples for this special review and I'm absolutely stunned. Metabones and Caldwell Optics have given us a Zeiss / Kubrick / NASA special! These adapters are completely new and purpose designed to fit only the Blackmagic cameras. Offering super bright apertures as fast as F0.74 and finally some great wide angle possibilities, I put both new adapters through their paces... Read the full article here

Sorry this is junk. Thread locked.

the baby hypergonar should not be tampered with any attempt to tweak will possibly destroy the optics leave it alone is best. the optics are sealed into the housing . a few of these have been destroyed during attemps to take apart. the only way is to cut the body into 2 pieces you then run the risk of horrible vibration damage to the optics. be thankful you have a rare lens or sell it on if you are a seeker of perfection.

What are you using for a taking lens? I believe that it is common to see this distortion when using wide angle lenses with anamorphics I have seen it on a couple my self with my Helios 44 on panning shots. I serviced a few different anamorphics and I can tell you that the slightest misalignment in the anamorphic elements will result in a blurry image, especially wide open. If the image is sharp then there is probably nothing wrong with the lens.

Great article Andrew and great news for us. Is that a Leica R lens you adapted to Nikon mount (not M or LTM mount), correct? Metabones is taking advantage the added space in the BM cameras since they don't have mechanical shutters, like the GH2 and GH3 do, correct? I skimmed through the Metabones documents and despite seeing warning as: BMCC version can only be used on the BMCC is there and reason this version couldn't be used on the BMPCC? Did Metabones indicate there would be physical interference or vignetting with this version on a a GH2 or GH3? I do see the BMPCC version has the deepest protruding rear element and is specifically made for the smaller S16 sensor, so it's obvious to me there that version won't work on anything but a BMPCC. Thanks for your replies and all your good work!

Just look at this test between the D7100/70D at about 17.50 min on moire/aliasing between the two. I think it is telling. You cannot get more organic than a hippie style community shot during golden hour LOL. I think the reviewer himself shot some other video and he was a bit critical about the moire/aliasing and low resolution image. For me one of the secret of the Alexa vaunted film look is the highlight roll-off. Many have speculated and analyse that Arri hss put a diffusion filter like the tiffen promist filter before the sensor. There are many thread on reduser forum about this and I have bought a 1/4 promist to test it. I would have preferred a 1/8 but I got a very good price on a used one on Ebay. I wanted the lowest number because I don't want the filtered look too much. Just a little bit seems to make wonders but in the process you loose some resolution. At least with the higher resolution Nikons I can afford it for a much more film like image. Some good resources http://www.hurlbutvisuals.com/blog/2012/06/diffusion-for-the-digital-age-the-use-of-glass-filtration/

Correction to my post of 24th November."The D5300 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." This evening I had a look at the CD that came with the camera, there is D5300 Reference manual on it as a pdf 280 pages including index.This goes in to far more depth than the printed booklet. I am very happy with the camera though shooting video on it is taking some getting used to coming from a camcorder background.

I've started a thread in the forum of the vimeo D5300 group: vimeo.com/groups/d5300/forum/topic:261256 You may have to join the group first: vimeo.com/groups/d5300 (sorry no hyperlinks because it tries to display a video) :angry:

70d is definitely a new sensor. I've watched a bunch of 70d video -- and I generally like the video images it is producing. Pair that with the amazing auto-focus -- and I think you have a camera that an average person can use to create some really great video.

I think the reason many here expected a review of the D5300 is because you where one of the people that showed the capability of the D5200 to the film community. Until now it is still the reference to show the fantastic low light capability of the Nikon D5200 that rivals the $ 3500 5dmark3 full frame camera which itself is hailed as a very very good low light camera. Now you have told us that you don't want to review it and I respect your opinion because it is your site and your time and you can decide your priorities. I will just tell you why I am interested in this camera, it might just be for the sake of discussion and comprehension. I am not in anyway trying to convince or confront you. The first thing is that I am a pro Nikon photographer that is always interested in Cinema. Contrary to those pseudo pure photographers that can't photo their shoes I am a big fan of the hybrid concept. So for the last 5 years I have bought a Canon 7d and a panasonic gh2 for video because Nikon was behind. Then I bought the D800 for my photography and it was much better than the 7D and previous Nikon but still kept my gh2, the moire/aliasing of the D800 (much better than the 7d) was still a little annoying for me. http://www.dvxuser.com/V6/showthread.php?286855-Sharpness-test-between-Nikon-D800-Panasonic-GH2-and-Canon-7D Then came the D5200!!! What is that thing a $ 800 Nikon camera that had no moire/aliasing with fantastic lowlight and about 12 stop of DR and you could even record in high bitrate 422 with an external recorder. Further test showed that it had one downfall and it was the FPN. There was a solution with neat-image but it was a bit cumbersome if you pushed into the shadows for some shots. In the end I bought its sensor brother in the D7100 as a second body to my D800. It took me some time because the logical choice was the D600 but I wanted so much the better video image. There was report that the D7100 image in video was sharper than the d5200 and I did test against the gh2 as you can see it was blind test and most did not commit and some got in wrong, so close they where that I sold my gh2. I can also confirm the the hdmi output give an even more detailed and sharper image. http://www.dvxuser.com/V6/showthread.php?310503-Nikon-D7100-vs-Panasonic-gh2-sharpness During those time I had to chose at first between the D7100 and the BMC camera (I already had my D300 as backup for my D800) and then when between the Ninja and the BMCC. For some it is like heresy but everybody would have drooled on an APSC size sensor camera with gh2 resolution, about 12 stop of DR, low light of the 5dmark3 and 220 mbits prores image with a Ninja 1.5 years ago. the only prayer for me would be 10 bit output for now until raw can become mainstream. I also have to think in terms of production environment if I want to do film that I have to have reliable cameras (at least 2) and reduce the maximum number of point of failure with native set of lens, no adapter that can fail etc. etc. To have cameras where I don't even know how much space is left on the disk etc. or moire/aliasing and in the end things like lighting will make so much more difference than any raw. To come back to the D5300, why I am interested to get the d5300 is because the FPN is annoying, I can live with it but an FPN free image would be much more than a simple upgrade. I like to get in those deep deep shadows that the Nikons have to get the most out of the DR of the camera. The second thing is the 60p, for filming my fashion shoot it will be huge. even if for now until we get external recorders that do 60fps 1080p out of the hdmi. But I think next year we will see in next atomos ninja with the number of 60p camera with uncompressed hdmi coming out. So in the end we might be getting very close to Canon Cinema EOS line of image quality for $ 800 and even getting 60p. The last thing I will talk about the industry in general. What many video/slr website don't take into account is the vast vast vast Nikon world. Contrary to what many on here were talking about the demise of Nikon, they have survived 6 long years to Canon dominance between 2000 to 2007 until the Nikon D300 and D3. One of the big reason is the lens and ecosystem. I can mount 50 year old lens on my camera if I want or if I buy a lens tomorrow I know that I will be able to but it on a camera for decades. This market won't just disappear even if tomorrow cell phone kills the low end. The enthusiast semi pro and pro are not going to cell phone any-time soon and both Canon and Nikon will still be billion dollar company in 5 years. They might adapt but they won't just disappear overnight. So what about this huge Nikon slr market, if only 1 out of 5 Nikon users cares about video it might be more than lumix users. That is why you will more and more Nikon users because they will start to push the video button and the image will be so good that they won't be interested to buy other equipment, but will search for Nikon related test and info on the video capability of their camera. The one who understand that will get part of this cake.

Hi Tito, I have the idea to sell before, but i can't.... The image is just beautiful...   Samples... https://vimeo.com/76351311 Password: North