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A short promo about studying in Rome. Shot in May 2013 on the Canon 5d mark 3 RAW when RAW had just been released. 

Lenses primarily used: Canon 35mm IS and Canon 70-200 f2.8 mk2. I only had 2 Lexar 1000x, now I use these and 4x Komputerbay cards. Edited on Premiere, ran through Adobe Camera Raw in After Effects first to get better debayer and graded on Davinci Resolve. I hope you like it, let me know your thoughts! >

Superb lens. A top quality Kowa in different clothing.

Im selling my Hacked Panasonic GH2 body with Nick Driftwood Quantum 9B updated hack plus San Disk Extreme Pro 64gb 95m/bs SD card http://www.ebay.co.uk/itm/231133066555?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1586.l2649 Panasonic LUMIX DMC-GH2 16.0 MP Digital Camera Black + Driftwood Quantum 9b hack + plus San Disk Extreme Pro 64gb 95m/bs SD card Hacked Panasonic GH2 Nick Driftwood Quantum 9B update hack plus San Disk Extreme Pro 64gb 95m/bs SD card 18 months old superb camera the best non RAW camera on the market. This camera now produces Hollywood Quality movie footage: I have added the classic Nick Driftwood Quantum 9b updated firmwear hack to the camera. This now produes a stunning 150-170mb/s image , stunning detail and colour rendition. This is the hack that was used on the famous Zaccuto Camera shoot out when Hollywood Movie Director Francis Ford Capolla picked the Panasonic GH2 with the Quantum 9b hack as his favourite over all the cameras including Sony F65 and Red Epic etc. The camera comes with the original box and all the goodies that come with it Original Panasonic OEM battery battery charger charger lead Panasonic GH2 strap and all the cables plus instruction manual and cd discs that come with it ITS ALSO COMES WITH SAN SANDISK EXTREME PRO 64GB 95 MB/S SD CARD. This is the card Nick Driftwood designed his hack to work with, its gives you 55 minuites of recording time at full 150-170 mb/s rate. The hack will only work with this card as it is a very fast read and write speed card, so I am including this card so you can use the camera straight out the box without having to find the correct card to use with this hacked GH2. The firmwear hack is very stable and Ive not had any issues with it. Hacked cameras can sometimes lock up under certain conditions, so Nick Driftwood recomcnds if this happens is turn the camera off and pull the battery out and then replace the battery and turn the camera back on , this resets eveything and you are good to go again. The rear screen does have a couple of scratches on it in the middle , this does not effect the image when the screen is on you cant see it as the screen is bright. The camera is 18 months old and is in good used condition, see pictures close up , all fully functioning and ready right out the box to shoot your next project, just add a lens and off you go. This is a PAL camera it shoots 24p and 25p hacked AVCHD

NEW DEAL: NOW THE SET ALSO INCLUDED CANON FD 24mm 2.0 Optivision 2x with rear(52mm) and front(72mm) redstan. Include caps. Canon FD 35mm 2.0 Canon FD 50mm 1.4 Two FD to m4/3 adapter 0.5+ Tamron The optivision got a modification to close focus (3 feet) and it's like new. Original box. Same sharpness as Kowa 2x Bell & Howell. With GH2 you can go at 35mm... PRICE: 990 US.plus shipment. PAYPAL Shot with the set for sale with Canon FD 35mm ( f2.0, 2.8, 8.0, 11) and also flower shot with tamron. https://vimeo.com/83403811

Hi there, i have finished a Ducati Spec Commercial i have been working on. We shot it with a small crew of 3 people in two days. The whole promo spot was shot on the canon 5D Mark III with Magic Lantern Raw! I am really excited by what the magic lantern guys did. The raw is really great to work with and grading is a blast. Take a look and tell me what you think: Here the Vimeo link:

No, there's no reason for a cine camera to do that since there's very little precedent for 8-perf motion pictures. It was a very short lived format which got a revival for visual effects plate photography. Economically and physically, it's just not terribly practical (lots more footage that has to run horizontally rather than vertically). You're better off shooting 65mm if you want large format, realistically. Super-35mm is a 24.89mm wide image area so electronic cine cameras will gravitate towards approximating that size or smaller so that motion picture DPs retain continuity with their lens preferences from film work. Arri and RED went a little larger with 27.8mm and 27.64mm sensors, respectively. RED went a little larger with a 27.65mm sensors (Epic & Scarlett). I quoted a bogus figure from the most handy table I had on various digital cameras and it had an incorrect figure for the Alexa, which is actually 23.76mm wide.

Filmmakers like David Fincher will often go with two main lenses. One for close-ups and a wide for almost everything else. This depends largely on the type of coverage the director goes for as well as their framing style. If they like longer takes and don't like to chop everything up with lots of coverage they're going to use fewer lenses and skew towards wider focal lengths. The now-in-theaters American Hustle, for instance, was shot mostly on a 24mm.

To further add confusion, there are three more parameters influencing the proper FOV for framing: 1. For storytelling, a noticeably wide angle distortion makes a scene look like a comic (Men In Black, many scenes in A Clockwork Orange, Guy Ritchie stuff). Therefore, very rarely will you see short focal lengthes in serious films or i.e. horror films. Cinema DOPs tend to use lenses above the 50mm full frame equivalent. Or they have an astonishingly small set that they want to appear much bigger. Then they use the wide lenses so that they appear as normal lenses. Good idea, one could think, but that requires care, experience and high quality lenses. 2. Full frame, as was said, has an AR of 2:3 (or 3:2, horizontally), but photography is a AR-independant art, it was and still is normal and expected to CROP the frame. We should stop to use the term 'crop factor', because we should also frame with multiple ARs in mind. The wider we go (WS, scope and beyond) the more we need to crop (I mean the framing). Longer lenses crop more. 3. If you don't use a wide angle lens in the Evil Dead way or in the reality soap way, you must stay aware that you will not capture a lot of textural detail (surfaces, fabrics), but distinguishable motif detail and that poor resolution will show, be it through inferior lens quality or sth. else. There was an old article on aliasing of the 5DMII, showing close ups of faces, where you thought you could see every skin cell individually. But then came the famous brick walls. A brick in the image was a hundred times bigger than a pore, but the camera didn't get it. What I'm trying to say: For artistic reasons, for narrative reasons, for practical reasons, you shall love crops. If you read threads about lenses and crop factors it looks as if people think they're the devil.

Very underrated lens IMO, super sharp with nice purple/pinky flare. Had pleasure of owning this lens previously (was sorry to have to let it go) - it's like it just came out of the factory, 'Boxfresh' as the kids used to say. Redstan supplied prototype internal collar (see pictures) - for extra glove-like snug fit with his clamp. Good luck with the sale Francisco!

Get the Mir 24N or 24H, 24M. Amazing lens and it works for the isco in crop s35 The letters are mounts N and H are Nikon and M is Pentax M42 About $130 and even if it says MC it flares beautifully. http://www.ebay.com/sch/i.html?_trksid=p2050601.m570.l1313.TR3.TRC1.A0.XMir+24N&_nkw=Mir+24N&_sacat=0&_from=R40 '' target='_blank'>> '' target='_blank'>>

Thank you! I wouldn't recommend my workflow for this one as I was playing around. I'm still playing around, I used to be a programmer. I noticed the Resolve debayer wasn't as good so I ended up exporting an XML back to After Effects and reconnecting every clip to the original DNG files from there, setting the correct exposure and white balance and then rendering that to color correct in Resolve (had to use Scene Detection in Resolve to cut the file up again). So I wouldn't recommend that workflow. What I'm doing now, which is also very crazy because the debayer is crap in Resolve and great in Adobe Camera Raw, is that I select all the first files in every DNG folder (the one called 000000.dng) and drop it in Photoshop. There I set the sharpening, white balance (with the eyedropper) and exposure. Click done. Bring it to After Effects using the Immigration.jsxbin script (make sure keep hirarchy is checked) and then to get all the file names right I've made a .jsx script that goes like this: //Use with “Immigration†script { // define variables var thisRender, newPath, i, j; var renderQ = app.project.renderQueue; var secondItem = app.project.item(1); // loop through each renderQueue item, checking if any are queued for (i = 1; i <= renderQ.numItems; ++i) { // check if the render item is queued if (renderQ.item(i).status == RQItemStatus.QUEUED) { // shortcut variable for render item thisRender = renderQ.item(i); // loop through any output modules for (j = 1; j <= thisRender.outputModules.length; j++) { thisRender.comp.name = secondItem.item(i).name.substring(0,8); } } } } Then render to prores4444. Like I said I'm playing around with this, normal people would just render proxies from Resolve, edit and then reconnect to the DNGs and Color Correct like that. Wish I was normal :) I don't have the drive in front of me but I'm guessing we had a bit over 1tb of data in total for this.

Sounds just like a Canon 1DC... Just add a MFT to EF smart SpeedBooster to the body... Could be a great investment.

very well put Julian a 'standard lens' seeing the field ROUGHLY of view of the human eye is 50mm on Full Frame 35mm camera 35mm on a s35mm movie film camera 25mm on a Panasonic micro 4/3 camera I end up thinking of all 3 depending of what camera Im using, 5D, 550D, G6

As someone that just did a shoot in NZ barely a year ago on 60i HD and a 5 year old Canon camcorder, I'd just like to say I'm crazy jealous that someone got to run around the country using this gear. What I would have given to have shot my assignment on this cam. Man, I know a lot of y'all never seem satisfied with limitations, but just take a breather and realize that you're looking at a camera that shoots 4K for less than 2K. I don't know, seems impressive to me.