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We agree on 1.33x lenses in general and I'm also with you on smearing in real life... 'The Mission' is a great inspirational example of this for me, Academy Award Winning Anamorphic Cinematography...edges look like an LA7200 all the time. I know companies can't control what random people put out but these guys got preproduction GH4s and free Letus' to play with and I just think it's a waste of everyone's time. I see enough bad LA7200 videos and know my own results that I suspect the Letus may work for me, but I'd like to know for sure before dropping $2,700. I know people hate Panasonic lenses sometimes but I swear I'm getting a lot of mileage out of a 12-35 and an LA7200. If I had a damn way of using the 35-100mm reliably I think I'd cave for whatever the solution was...even if it means having more than one adapter or some kind of diopter solution. I'm just afraid of being light on close-ups shots and cheating some in and cropping is fine but it's not the same as we know well.

Y'Know, I am a great fan of the minimalist approach :)

it does make me chuckle when big companies try and capitalise on a current fad without really understanding why the fad actually became so. They've done what BMW did with the MINI. Take the essence of something great then remove all of the qualities that made the original great in the first place. Just how purists laugh at 'New MINI' owners driving around in their oversized Fisher Price car, The guys with the humble Sankors, Kowas etc and Helios 44's will laugh at the guys running around with these nasties on the front of their L lenses trying to get the look and feel of a lomo for a movie about a financial services corporation or tacky wedding.

Isco 2000 has one area of separation on the rear element but is otherwise in great condition with very little dust. It's a metal bodied solid lens that can work on full frame and crop sensors. Separation is common on Isco 2000s and this shouldn't affect the image. Comes with front and back caps and original projector mount as pictured. I've taken a pic on crop sensor and could borrow a full frame if you'd like to see a sample. Or if you want any other samples let me know and I'll see what I can do. Photo was taken handheld on a 58mm helios. £450. '> '> '> '> '> '> '> LA7200 - in great condition with very little dust (easy to open up and clean what is there) and no scratches or marks on the glass. As far as I know this is the 1.33 lens that goes the widest. £550. '> '> '> Bolex Moller 8/19/1.5 - this is almost as new with very few marks on the body. Front and rear elements both totally clean - no marks or anything. I've only spotted a couple of specs of dust. And very rare for one of these lenses comes with front and rear lens caps. Pics are here: " title="External link"> " title="External link"> " title="External link"> " title="External link"> Photo on 550d taken with this lens: " title="External link"> Can send you the RAW if you want. I'm looking for £900 or thereabout for this lens.

The red dragon has out performed the mighty d800e sensor. According to dxo mark it has the best performance, beating any dslr and medium format camera. And that is at 6k ff at 82 frames per second. http://www.dxomark.com/Reviews/RED-Epic-Dragon-review-First-camera-to-break-the-100-point-DxOMark-sensor-score-barrier/Overall-score-Epic-Dragon-takes-first-place-101-points -As the new leader in this category, the prototype Epic Dragon surpasses the Phase One P65+ and P65+ HR models in color sensitivity, and it marginally exceeds the mighty Phase One IQ180 digital back in our rankings. -While every effort was made to ensure the Epic Dragon adhered to our rigid testing protocols and that the results passed all the tests we performed, it’s clear the scores reflect a significantly different approach to image acquisition. -It’s also worth noting that the Dragon’s native sensitivity is ISO 250 and measured at 104, while all other sensitivities were obtained by digital gain. -For the tests, the camera was set to full 6k resolution at 23.98 fps, 16 bit and RC 5:1 compression. -The highest color sensitivity ever measured: exceptionally low noise at the base ISO. -The headline news is, of course, that of the Dragon’s exceptionally low noise levels. The SNR (signal/noise ratio) curve shown above is simply outstanding - it’s higher than the Nikon D4’s curve for the whole of that sensor’s signal response. The shape of the response curve is interesting as well. -Close to saturation point, it shows a kind of plateau or leveling off, which indicates that the SNR is mostly limited by some pixel response non uniformity and not by the photonic noise. This noise curve, coupled with a good color response, leads to a very high color sensitivity. At the pixel level (screen mode), the color sensitivity is simply the best ever measured. We normally calculate color sensitivity using an 8-bit output sRGB colorspace. In this case, however, the 8-bit sRGB color space was not large enough to accurately represent the color sensitivity of the Epic Dragon. As a result, we had to switch to a 16-bit sRGB color space! -Conventional DSLRs benefit from Analog gain that seems to amplify read noise and fix pattern noise in a smaller way than a pure digital Gain. This explains, despite its quality, why the Epic Dragon has lower low-light performances than the top DSLRs. So for cameras, where the lighting can’t be controlled, analog gain is preferred. That’s not such a high priority with a cinema camera, but the Epic Dragon produces very clean looking files and can be used safely up to nearby ISO 3000, with an excellent image quality.

NAB is only a month out. I'd wait.

I was reluctant to sell my LA7200 but I swear the SLR Magic Anamorphot is the better option. If you have the money then I would say own both. LA7200 is excellent for super wides, but you can use diopters so easy on the SLR Magic. Plus the two diopters they sell are really worth it. Very sharp, although heavy, glass that really does wonders for closeup shots. BTW I never got smearing with GH2/3 with the LA7200 unless I went over 180mm. I just got the 12-35mm X lens and I really like it too. Has to be at F2.8 to even get close to shallow depth of field, but I really like it. Great fast focus, IS works great and it's sharp too. Not clinically sharp like most Panasonic lenses but really good. I think Sean (BR) should really reconsider selling that old 14-42mm and get the 12-35mm X lens instead. Footage looks way better and the IS helps a lot.

Hi there, Check out my Iscorama 54 non MC shooting kit that I'm selling: http://www.ebay.de/itm/291092214806?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1558.l2649 A fresh test that I shot with it on the BMPC 4k: The price is 2800€ on ebay (with all the extras i think it's a good price) For direct Paypal you'll get it for 2600€ + shipping (we'll have to figure the best way/ price according to where you live) Please read the full description on ebay and watch the pictures carefully. I'll be happy to answer any question!

Well, they can't control what folks put out there really. There are plenty of unfortunately bad demonstrations of the GH2 and months of consistently bad examples for pretty much any model of Blackmagic camera that has come out. Let's not forget the well-meaning but face-palm inducing fellows uploading un-graded LOG footage. That's just Bad Idea Jeans. 1.33x adapters can have great character relative to spherical but getting there maybe isn't as "gimme" as with higher compression lenses. At the end of the day there is still great value in being able to avoid cropping for a "scope" aspect ratio. It maintains maximum use of your sensor, has some resolving benefits and, in the case of AVCHD or 422, reduces artifacts of both compression and color sub-sampling. If it did nothing more that would still be an advantage but there are aesthetic benefits if you shoot to play these up. In the case of this video the shooter just didn't, for whatever reason. The Letus does seem to make some of them a lot harder to do. I'm not getting rid of my Century Optics when I make a permanent acquisition of the Anamorphot, because the CE works well on my 14-42mm Lumix @18mm and can even auto-focus just fine. But the CO smears at the edges, like the LA7200 and like the Letus seems to in several examples. There might be times where this is useful as part of the aesthetic. That might shock a lot of VIMEO all-stars but it happens in the selection of cine anamorphics all the time.

Have they scored the Alexa? I don't think so. I guess it's because the Dragon is marketed as stills also? They might as well run that test too.

Fairly regularly I see posts on here (and have on similar sites too) asking whether there's a forum that focuses more on the creative side of filmmaking rather than tech/gear. Because I've wondered about something similar myself for a while now I've decided to have a crack at setting one up. Nothing ambitious - just a bare-bones forum that is weighted toward the creative in a very open-ended way. Obviously for a forum to work it needs a reasonable number of enthusiastic members to begin with, so of course it's possible this won't even get off the ground. I think it's worth giving it a good try though as I think there is a gap online in this area, and it could be very useful to a lot of people. Let me know your thoughts please. I want to start a few threads on the forum before I direct people toward it. Does anyone have any suggestions for topics you might find useful/interesting? Threads similar to this one perhaps, or threads focused more on creative issues within your own work. Like I say, the idea is that the forum's agenda is very open ended. Thanks. :) P.S. If anyone is very keen on the idea and would like to talk about being involved with setting up the forum, let me know (perhaps send me a personal message). The more it's a collaborative thing the better IMO. EDIT: I ran this past Andrew and he's fine with this being discussed here. It seemed polite to ask ...

Here's my video to share. Had some trouble nailing focus shooting T2.8 on some crap BMPC LCD screen, but here you go! EXPERIENCE I enjoyed using this. This is a final production prototype that I am testing. What makes it great is that the setup was really light, pretty well-built, and the learning curve is pretty easy. It can resolve sharp images, especially with the achromats. On the small LCD of the pocket camera though, getting focus can be a crapshoot. Focus peaking does not always work and I had to guess a lot. I did have to tell Ying to slow down a couple times because there was no way I could pull focus, especially on a fairly fast aperture of T2.8 and pretty much 100mm equivalent lens. Really should have a large monitor. But then it's not really a run and gun lens like I was using here though. I don't feel like anamorphic in general is normally for documentary style work. Neither is the pocket camera. Hope this helps you. Erik