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Hello my friends, Here is my first hand's on with the SLR Magic 10mm T2.1 I just received on wednesday in premiere, and also with their new variable ND filter :) SLR Magic 10mm T2.1 on GH4 4K and 96fps 1080p mode My very first impressions : solid, heavy (420g), compact, sharp at full aperture T2.1, only 8.5cm minimum focus distance. The ND filter : good first impressions, and two great options on it : lever and hard stop ! Perfect for video ! SLR MAGIC 10mm T2.1 (f1.8 eq.), most of the clips @ T2.1 SLR Magic ND variable filter GH4 4K cinema mode + 96fps 1080p mode Vcine mode with Andrew Reid presets (http://www.eoshd.com) No color correction Music : Trentemøller « Come Undone (Trentemøller Remix) »

Really nice video as always :) Loved the music too, Trentemøller are playing in Berlin tomorrow, might go and take a listen.

Well this sensor will have to be something special, because no current method they are using will give them anything near 4K. If they go with the d5200.etc method it will only reach 3000pixels wide, it would need to read out the whole 24mp sensor and downsample that data from 6000 pixels to 3840 pixels, that would be the best picture you can actually get, totally noise free at low isos. I really want that, but I doubt it. Maybe it gives 4K in DX mode...

It seems very interesting to be able to use this metadata for 3d tracking and adding models inside shots!

FU SONY! You cannot buy these Playmemories camera applications unless you are living in specific countries/regions. This service is only available in the "big" countries like US, GBritain, Germany, etc. And is really difficult to overcome this restriction (actually you have to commit fraud). And the ways I spotted in many forums, now are not available anymore (Sony is to blame for this). I think this is outrageous.

Who are these people? They probably don't have to work with one. I've spent all Summer with a C300 for an NBC show, and I hate the camera more and more each day. We've destroyed a couple top handles, three DC ports, created more Franken rigs than I care to remember, etc. Canon's problem isn't having young designers, it's having clueless designers who probably never had to earn a living with a camera. Otherwise, they'd never come out with such ass backwards stuff. They got it more twisted than Red, and that takes some effort. They still have one foot in photography and haven't fully committed to video. EVF in the rear, external 4k for 25k, XLR inseparable from their LCD in the most inane place, top heavy.......crack and work don't mix. I'll give a hall pass on DSLR's or mirror less because of the small size and all the good things that entails. But for dedicated video cams, ergonomics and simple use is king. Please Sony, get it right.

These stills look great, Dave. It looks like you got it figured it out. Odd how imprecise these lenses can be. That said, IMHO, on a 16:9 sensor the 1.41 is a more desirable. Looks like you got lucky! Fun lens.

Hello there (Sorry for my bad English) I'm the director of the film embedded above. To clarify many question talked about in this forum. I would have to explain how we shoot this. For the equipment, we had 3 5D Mark III with 1.2.3 Magic Lantern firmware installed with 3 Canon Cine Prime Lenses (28, 50 and 85mm.) few L lenses (50 F1.2, 24-70mm F2.8, 28-300 F3.5-5.6 and 70-200 F2.8) and Samyang (Rokinon) Cine 35mm. In term of optical quality most lenses have pretty good sharpness (to the point that most of the audience will not notice the different unless you are working in this field) as long as you keep the F/T above 4 (and less than 11). If you want to work on 2.8 or 3.5 (less than that are totally not recommended by any chance even you sharpen it up in post. If you want the soft look, it's better to use Black Pro-Mist filter or Fog instead of using lower F/T Stop) then you'll probably see a some different between each lenses. At 1.2-2.0, it'll probably be used only in certain situation and I never recommend anyone using this T/F range as it always hard to focus and the overall sharpness is bad.) for color rendition, Samyang and Canon Cine are on par with the color representation. We found that 70-200 and 28-300 have less saturation and luminance than the rest. But it's still manageable in Post-Production to get the color to match the rest. I prefer trying best to use the primes one rather than the zoom unless it's for the sake of fast background movement or really soft background. The good thing about Canon Cine comes to the 300 Degree focus ring which helps a lot in such a complicated shots (like 10-15 focus shift in one shot while dolly back and forth and do a 360 camera turn) Even that (with F3.5), My Focus puller cursed a lot (in Thai) !! For those who look for a cheaper alternative to Canon, I would suggest you to get Samyang (Rokinon) as it has a full range of lens (with 50mm coming up soon). For my point of view, Canon Cine Prime are mostly for rental companies to own and rent it out (in cheaper price than Ultra Prime/ Cooke i5 or Master Prime) and still give a good optical quality for lower budget type of film. this should help answering all the question about lenses. For 5D Mark III with magic lantern. How we lit the scene is that we trying best to lit it in the camera's histogram range. Most of the people I knew of normally didn't do a proper testing to see how far the camera can go in terms of dynamic range and color the sensor can recorded. Everything you see in the frame is designed to take the full advantage of the camera CMOS sensor (blood color, skin mock up, on set smoke to tame the contrast down and bring the dark part up and at the same time lower the highlight down, cloth and set color etc etc.) Most of the DPs wouldn't go that far to workout with the rest of the crew to bring the best out of camera and therefore don't get what they deserved to after long hard working day shooting it. and last the Post-Production Workflow. We work on CinemaDNG all the way from the onset DIT to the lab. Using MLRawviewer to check each and every footage after we change the CF card (Sandisk Extreme Pro 128GB, we have 2 of them). Then break the MLV down into CinemaDNG and send it to Davinci at the lab (which required a fast set hardware to work on it at 2K DCI) We did tried blow it up to 4K and the result is stunning as it still contain all the sharpness. I asked some dude from Canon Thailand to come and see this footage (in 4K) at the lab on the big screen and they were stun of how there little old camera are capable of. I'm pretty happy with the result though (as long as you put a lot of hard work in it to make sure you squeezed every bit of their capabilities out of the camera) Oh .... we shot our film in Thailand .... it's pretty humid and it's 37-42 degree Celsius most of the time. The camera got heated up to the point that we were worry that we might cooked it for our next meal break, but it didn't get any damage though. Hope all this information help : ) Hopefully I can post more of the stuff soon. Still 2 more days to go til I finish the film. After the lab work, I'll probably come up with the trailer that I can post once more to see the end result.