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I would think twice before shooting with this or any device resembling a gun, especially on the streets of Philadelphia.

Hey guys! So, I'm selling my last remaining anamorphics, and just keeping the two I like the most. The ones that are going away are pretty good, and rare too, one could say. They're all in great shape, no dents, dust, scratches or fungus. -- UPDATED 05/16/2014 Thanks everyone, all lenses have been sold and I've only kept the Iscorama. Should look for a 2x stretch dual focus setup after a while, but right now I'm just glad people were so honest with buying the lenses I had. :)

There's always the GM1 when trying to be innocuous. It's been working for me. Certainly no one assumes you're doing anything professional when carrying that camera around, which is great when need be.

hehe. I was just going to chip in and vouch for Tito - not that he really needs it here. I have experience with the Century lens he is selling and have to say it is an incredible lens. About 5x better than the normal ones. 3 optic design. produces real ovals (if 1.33x, but more pronounced than the modern 'copies'). on a side note, @ Julian, if you purchase tito's lens, it's indeed a wild number! One of the earlier ones. When you get it feel free to send it over for a update to current standards - Tito never took me up on the offer, but you being in the Eu, shipping means it's not as much of a heart ache. infact, it tito wants to send it over to me en route I'll give it a going over and stick a nice shiny brass badge on there too:)

Wonderful footage from the new Cooke Anamorphic/i

Hope you're looking after yourself Skip. You're a "top bloke" as we say here in North East England! Would it help if I said I really liked the narration but found the visuals a real distraction so I turned them off and kept listening? No probably not. I'm lying anyway. I did really like the story though.

Actually, I would just leave it as is. I'm getting to like it now. Sometimes things have to grow on you. I can really relate the sunglasses portion of the monologue, since the micro screw came out of my darn Hobie sunglasses a few days ago. I've got the screwdriver, but no screw. :) I hope everything brightens up for you soon, Skip. (thumbs up) Michael

Yes it's me, I was kinda worried but my childish instincts made me take the risk :rolleyes: , the d800 is my workhorse. So far everything is smoother, no more macroblocking. I will update the first post later.

FlareFactory is SOLD.

It's a camera for civilised countries.

Yup. Nothing revolutionary, but here we go again. Really, really incredible imaging products are so cheap and easy to acquire. I fully expect some 11 year old to imagine a particular piece of cinema that far exceed my talents and/or perspective. And why not? They'll easily have the gear that lifts them up to be able to do it. And to think I used to shoot on actual film and then have to go through all that post... Man, there's just hardly any barrier between an idea and implementation these days. Crazy.

Maybe to a hc Nikon luddite. To the rest of the population that sounds like a strange excuse, because [a] The Nikon model with the best video features within the Nikon line, the Nikon 1, has an Aptina sensor The Nikon model with the second best video features within the Nikon line, the Nikon D5x00, apparently has a Toshiba sensor. [c] Panasonic GH3 is using a Sony sensor, whereas the GH4 is using a Panasonic sensor. That doesn't stop Panasonic from giving great video with both models. Surely Sony are not able to dictate the sales of all other sensor plants, let alone their usage in other manufacturers' products. It simply wouldn't make much sense. Sounds more like a fanboy conspiracy theory than a proven fact. That is, without any obvious enough evidence. Besides, the Japanese camera makers are competitors, but they aren't really at a bloody war against each other. They do cross-license and allow each others' tech being used in other brand products all the time, without a need for any drama. Meanwhile, no doubt this Nikon related topic will go on for a good four pages at least. Previously I predicted that the latest Nikon topic would go on for six or nine pages, but it's still going on after thirteen pages to date. Perhaps this one is likely to reach at least six, too, within a few days. Carry on. ;)

I'm thinking, Pentax Q sensor? Super 8, probably quite fun to use, hope it is c-mount not d-mount!

As it stands now: The D4S will probably be a really fun and flexible camera to shoot with! Imagine flawless, sharp 1080/60p from a full frame with good ISO 25600! And for many of us docu/journalists the small filesizes are actually really handy, I would not want more than ProRes LT for that kind of work.

If I was gonna guess like the rest of you: Nikon has a dedicated video-team that works with improving video-features as much as possible without affecting ANY still-camera functionality and almost no manufacturing price. Thus we can see every new iteration from Nikon improving in some video functionality and quality, but it will probably continue to be smaller improvements like this. Sooner or later Nikon will have to invest in their video-department because more of their customers will get both photo and video-work and someone will offer an true hybrid pro-solution (M43 is not good enough). Atleast I much prefer it to how canon does it, and it means that even the cheapest cameras will get all the upgrades (that does not cost money). Nikon must have a few brilliant video-engineers because the quality coming from their latest cameras are really good.

the reality is that their D4s customers dont care about the lacking features you asking here, at all as Thom Hogan said there is only 120,000 D4 out there, and most of them sport shooters who are not allowed to make video in events however. what I guess is that they concluded investing in video department, wont dramatically increase their operating income, so why bother?

Did anyone really expect Nikon to step up and meet the expectations of video users? Name one DSLR they have released that has done this? Nikon is playing to the stills shooters and stills shooter think that if a stills cameras video function is too good then it mustn't be a good stills camera. A lot of photographers are stupid and Nikon goes along with it.

Hurlbut explained that he liked the C500's response to electric light at night. In his tests it just looked more video-like to me than the Alexa but that's what they responded to.

Except that most of that work isn't actually enhancing the footage, it's getting to a reasonable place to start. You can't intelligently grade your footage until you see it for what it is. That's not what you really start out with most of the time when shooting raw or if you've shot linear with a baked in LOG curve. If I was a client and I'd shot film and I got rushes back that were different every time or, worse, I was at a lab timing my film and having to sit there and watch the colorist poke around and try this or that to get my footage to simply look as filmed and as good as I would expect from rushes with house lights I would take my film and go someplace else. But somehow this is how folks are expected to work with the digital equivalent to a film negative. It's awful. Once you're really grading, I wholeheartedly agree, methodical, logical order. But it's easy enough to see in upload after upload that most folks aren't starting their grade from a good place before trying to get to their look. Just look at Shane Hurlbut's BMD tests. They're no better looking than Joe Six Pack bought himself a BMCC's uploads to Youtube. I've got this fellow's entire short shot on an Epic sitting on a drive. I look at the footage as-is in After Effects it looks just as bad as it does in Redcine-X. Just awful. Unusable for my purposes. So I'm having to linearize it all to a meaningful place to work that's appropriate for display on an sRGB monitor. That extra work is eating into time that might otherwise be spent doing my actual job on this fellow's film and it's going to be the same waste when he goes to do his final grade in Chicago because the colorist is dealing with it like everyone has always had to deal with it. At least most of these cameras seem to have decent monitoring now, even if you're going to have to work to get it back to looking like what you remember from set once it's shot. One of the most said phrases by Brian Singer on the set of Superman Returns, the first motion picture shot on the first model Sony Genesis, "it's not going to look like that, right?" We have come at least that far.

Just to double check my months earlier results, I found a shot with some blue sky with banding that I took 2 weeks ago. (4k 4:2:2 8 bit) I saved one copy as a 16 bit tiff. I saved another exactly the same but downscaled by 50% using bicubic in ps. I then opened them in ps and toggled between the images, one viewed at 200%, and the other at 400% so they would be the same enlarged on screen size. The banding looked exactly the same in both and only the ever so slightest change in contrast which makes it appear a hair sharper., but really almost undiscernible. I then applied the same amount of saturation to each image to see if i could notice a difference in tonality. Zero. One thing I must admit i forgot this time around is making sure the scaling was done in linear gamma. I can't remember if photoshop has this as a default.

3d-kraft.com managed to shoot 35mm f/2.8 on the A7R FF sensor with the Anamorphot 1,33x - 50 http://3d-kraft.com/index.php?option=com_content&view=article&id=152:anamorphic-project-slr-magic-anamorphot&catid=40:camerasandlenses&Itemid=2 Please note not all 35mm lens combo works on FF.