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Hi guys, We just shot this video with the BMCC, Metabones Speedbooster, Nikon Lenses and Iscorama 54MC. RAW files were developped in After Effects CS6 (with Camera Raw) to Prores444 2400/1350. Color grading was done in AE. Please let us know what you think, we'd love to get some feedback. Cheers, Mihnea

Picture: EOSHD Forum, by Orangenz Panasonic have confirmed that the GH4 (quite amazingly) outputs 10bit 4K 4:2:2 from the onboard micro HDMI port without the YAGH external HD-SDI unit. However there are still benefits to using the HD-SDI outputs. Here I have more details on how this whole thing works and what external recorders might be in the pipeline to offer 4K recording on the GH4... Read the full article here

Pre-ordered earlier today, very excited. Also, I emailed Jordan from The Camera Store in Canada/TCSTV, who said: "Panasonic was unable to get us the new UHS-3 cards, so we used Lexar Professional 90MBps [600X - jurgen] cards. They allowed us to shoot any of the 100Mbps modes, but the 200Mbps recording stopped after a few seconds." So, 4K to the top level Class 10 UHS-1 cards, it seems, or at least the Lexar ones, at least in Canada, at least on the pre-production models. Ordered a couple today as well, so I'll test them when I get everything together.

The 5d3 with RAW isn't setup for serious production. It's a hack, it can be unreliable -- and yes, the video it produces is glorious. The Gh3 and soon-to-be big sister, the Gh4, are production-grade cameras. You take them to a shoot, hit record, know they are getting the shot, take it the edit suite -- drop the video on the timeline, edit, render, upload and get paid by the client. All in a day's work. No muss, no fuss. I own a production company. If I want to spend a weekend making music videos with my friends, I'll grab 5d3 and do RAW. Mmm... I love grading RAW. But during the week, when I have a paying client that needs video crafted for their website or products -- and wants it done yesterday, I need tools that can move video through the production pipeline quickly and efficiently. The GH-series rocks for this.

i am often concerned by how warm the pocket gets. in order for this type of heat to be generated so quickly I imagine the battery is being drawn at much too high output currents - way more than the nikon cameras the batteries are running from. I find this video ridiculous though. 1. I doubt any flames were present. 2. would you not think to remove the ssd and the lens? 3. what type of wimp runs out before ensuring the fire is extinguished? I'd have carried the camera out of the building at arms length via the tripod. 4. looks to me like a lame attempt to get more hits on their crappy kickstarter project.

Old rule of thumb, to get the best bang and performance for your buck, hold-off buying gear until 1, you have a big project ready to go on the horizon, and 2, the platforms and workflows are reasonably understood, tested and stable. This worked for me when Andrew detonated the GH2 on the scene and craftily paired it with vintage anamorphic glass. I am now very happily (and gratefully) editing a feature with some beautiful ProRes footage transcoded from the GH2 source. A top pro colorist here in SF has no problems, and reasonable latitude, working with our 8 bit ProRes 422 HQ. A year from now, 4K production and post should be stable for we mortals who live to make movies. And yes, I think 4K 10bit should be amazing...

Whatever they paid you to make this, it probably wasn't enough. :D Fucking masterpiece. Looks like it was shot on film. Great story, great lighting, great shot composition. If forced to nitpick, i would say that the opening shots in the graveyard were not as strong as everything that followed.

My first anamorphic test, any advice and critic is well accept

With the caveat that any list of influences I make is highly incomplete, and that I try to draw from anything that may be a good reference for a shoot, here's some of my choices. 1. Fight Club 2. Bringing Out the Dead 3. M 4. The Wrestler 5. The Departed 6. Girl Shy (Harold Lloyd is known for his comedy, but the photography and storytelling in this are as close to perfect as I've ever seen) 7. Dodsworth 8. The Terminator 9. Paths of Glory 10. Dark City

Here's a "low-res-for-web" video I did as a quick favor for a friend a few years back. Shot on a Rebel Ti, no lights. It's far from perfect, but shows how available light can be utilized with some shooting strategy and concessions:

Less than that from an iscorama 36. this will be measured, but it's expected to be less than 1/3rd of a stop. The glass surfaces are designed to accommodate more light transfer than a f2 aperture requires. the only loss will be from optic reflections, but being modern multi coated this wont be much. One of the main criteria in the brief is for the sections to deliver similar optical degradation to what you would expect from a rama 36. - which even on full frame, the degradations are almost nil

it's a bit cloak and daggers at the moment, but they are completely new designs I've been working on with a well known optical wizard. the 38mm front is slightly stronger than .7x and the 25 is slightly stronger than .45x. it was the only option since no existing product like this exists for the full frame format. Manufacturing is happening as we speak. assembly will be undertaken here in the UK. Schott glass. Uk metalwork, proper job:)

Does my piccy help?

I agree. A lot of hardcore forum users come across as 'camera spec geeks' who do nothing but moan the camera or lens is not good enough, when really, it is usually themselves that isn't. There is a very good reason why they spend a lot of time time on forums as opposed to actually shooting (and yes, cats and shots of bushes don't count!). Ignore them anyway and believe in what you think is worthwhile. :)

Very good looking and you did a good job on focussing as well. Fun to watch. I liked the zebras and the next shots with the shadows... and all the others as well. Also waiting for some new clips with your rare Cinegon :)