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the issue causing confusing with relation to dof and fov with different sized sensors is that people make the assumption that a bigger sensor gives you shallower depth of field. This is actually incorrect. The depth of field of a lens never changes with sensor size, but rather the field of view changes with the depth of field remaining the same. The effect is a wider field of view with the same depth of field. As a result, on a bigger sensor you can use a longer lens and get the same fov, and thus create shallower dof for the given same field of view. rather than removing crop factor, the focal reducer is simply changing a lens for a bigger format into a lens for a smaller one. on a typical speed booster of 0.7x your 50mm f1.4 full frame lens turns into a 35mm f1.2 apsc lens. on this 'special' m4/3 focal reducer it'll change your 50mm f1.4 lens into around a 28mm f0.95 m4/3 lens

RichG101, mtheory, jonpais, JohnBarlow and Andy Lee you are now mods :)

Hi, just wanted to share this with you guys in case you were interested. I did a paid gig for a band and used a mark ii and mark iii with RAW during the entire shoot because our EPIC was acting up. I was extremely pleased with what came out of the camera. See for yourself: For gear, we used the mark ii for the "science" stuff, because the moire and alialising wouldn't be a problem in those scenes. The 60's living room and greenhouse were shot with the mark iii. For light we had 3 kineflows for the science stuff and used an M18 and M8 HMI light for the other stuff. Lenses were the great Samyang 35 & 85 and a Canon 50 1.2 for the in between shots. I didn't have trouble getting the width I needed because of the full frame factor. Fun fact: all the space scenes were filmed oldschool Douglas Trumbull style using glass, liquids and GLITTER. Hope you enjoy it. I'm definitely shooting ML RAW again, we had absolutely zero problems.

This is doing the rounds....

Galaxy S5 phone.

we can get some patches made up for them - EOSHD North West Lens Mafia Andrew can we get Tee Shirts ? I can see EOSHD merch soon.....haha

I've had a chance to test the a6000 in extremely hot tempratures to see how the camera behaves. The ambient temprature is 38-42 C (100-105 F) , and hot air is flowing to the backplate of the camera. The screen is flipped out, an the clips we've written are in 1080p 60fps.The memory card used is a Sandisk Extreme 45MB/s. As you can see the first take was 22:38 minutes long until shut down.We did a quick restart and the second take lasted 15:49 minutes.Again after a quick restart we were able to record 2:26min.Then we left the camera to rest for 10 minutes and started a last take before the battery drained, and it managed to write a full clip of 29:50 minutes. All in the same hot tempratures. In conclusion the problems seems to occur in very hot temps and in unexpected durations of video writing. I've touched the backplate of the sensor and it wasn't very hot. So it seems more of a firmware problem!!! I'll put another test in lower tempratures, where the problem doesn't occur. https://www.youtube.com/watch?v=3E-xJ_5Q9JY

indeed. since the focal reducer comes into its own when the wider fov and a shallow dof are desired, the benefit of the pronounced centre sharpness and these fov/dof aesthetic qualities tend to lend themselves better up close since they draw the viewer into the detail you are directing them to via dof and centre sharpness. Aim the lens at a tree at infinity and the CA will appear greater and edge sharpness will appear degraded, however this is more to do with the fact that the lens itself (rather than the optical quality of the focal reducer) is no longer having as much of its edges cropped away. 9 times out of ten, if you see CA on tree branches or telegraph poles in the distance its because the actual lens is wide open (in which case the ca would already be there before the focal reducer adds its degradation in the corners). It should be noted that using a lower power focal reducer (such as a 0.7x rather than this special version which is stronger) will yield overall better image quality at the edges when wide open since more of the lens image circle remains cropped away - as everyone knows, the image quality of a lens mostly degrades at the edges when wide open with softening, CA and darkening. Use of wide angle medium format lenses (40mm, 50mm) and a focal reducer will yield good results since the image circle is that much bigger, you're staying within the better portion of the image circle and also compressing the resolving power to obtain better lpp/mm numbers.

  You're very confused aren't you.   It isn't all about aperture and you're really highly dramatising any issues. Soft corners, vignette, purple fringing, are really not much of an issue compared to the lens used normally wide open on a larger sensor. In fact the image in the centre of the frame gets sharper. I suggest you use one before critisising!   You do get true Super 35mm rendering of the lens with Speed Booster and that means all the characteristics of a larger sensor.   Instead of using a 25mm for example you can use a 35mm lens. Longer focal length = shallower depth of field.

The banding issue was present on my NEX 6 too. It only happens for certain types of lights (namely the long thin ones)

Crop factor?

The problem with an NTG2 is that it is not very sensitive, so you will need to increase gain on the Zoom H6, which will increase background sounds. It will work better than on a Zoom H4n, because the impedance on that unit was only 2k iirc (H6 is like 6K maybe?, so you won't lose as much volume from your mic source b/c of a poor impedance ratio). Also, I don't know the specs, but I assume the H6 will provide better phantom power than the H4n. The main thing is getting your mic close to the talent. If you have a mic attached to a dslr, then your screwed. No matter how much money you spend you will be screwed. If you are a one man show, then go with a lavaliere. A $100 lav will sound better than a $1,000 mic attached to a DSLR. If you need a shotgun, I'd get an MKE 600.

yes on ebay have a look Mitakon (Zhongyi) Lens Turbo make one , its good I have the Nikon verson

Axel, the widening of the field of view allows one to move the camera closer to fill the frame and this reduces the depth of field. The depth of field a lens and sensor combination can create is at it's maximum at minimum focus distance. With smaller sensors that result in larger crop factors, like the GH4, a 50mm full frame lens gives a Fullframe field of view of 100mm. Let's bring this into the real world of cinematography: if I use my Panasonic GH4 to shoot a close up dialogue scene with an adapted Sigma 35mm f/1.4 I get a field of view of 70mm, perfect for a proper 'head and shoulders' close up. A 35mm even at f/1.4 is no bokeh monster, especially on a m43 sensor, so by using the Speed Booster on the 35mm f/1.4 I gain .71x in field of view and one stop of light, so now it's an effective 49.7mm f/1.0 instead of 70mm f/1.4. Now I can lower my ISO one stop to maintain the exposure and lower noise without penalty AND I'll reframe by moving the camera closer, thus nearing the minimum focus distance. This results in a decrease of the depth of field. If I didn't want to move the camera I could also use a Sigma 50 f/1.4, which would normally be a 100mm field of view, but with the Speed Booster, to becomes an effective 71mm f/1.0, extremely close to the previous 70mm effective view with the Sigma 35mm f/1.4 (without booster). But now I have increased the focal lengthy optically, thus decreasing the depth of field. The Speed Booster opens up many avenues for low-budget film projects. I can keep noise much lower by using optically fast lenses to reduce the ISO. I can lower the power level from external lighting like LED panels and save battery life or reduce heat buildup from HMIs thanks to the faster apertures. I can use incredibly fast, light gathering T-stops with no danger of approaching the ridiculously thin full frame depth of field that only results in most things annoyingly out of focus. Yet I can still enough beautifully blurred foregrounds and backgrounds. I can regain and harness some of the lens character that's lost due to the 2x crop that only uses the 'sweet spot' center. Sometimes the lens edges add to the cinematic feel. If the BMCC Speed Booster usage on the GH4 is worked out and deemed safe, all the above applies still and is improved upon. These are exciting times to be in cinematography.