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I have the same math. The only thing I'm having trouble figuring out is how the powers interact (ie, what power glass would shorten the distance of movement required to focus) Just got a hook up with an optician that works locally and has some tinkering toys at his house. Hopefully I'll gain more info there.

All these new anamorphic options are exciting in theory but where is the exciting footage? I think if this and the other newer options want to really move units they should have a DP do something impressive showing the results they can achieve when used well. The bent jello cam tests aren't enough when asking people to part with $800-4000. That never seemed to come with the letus or the slr 1.3x and I don't hear much about those since they have been released except FS posts.

My fantasy camera would not be constrained by optical or sensor limitations. It would capture all light waves (visible and invisible) and combine them into an exploding HDR video rainbow that would instantly create world peace and harmony. It would heal the sick, feed the poor...dispense ice cream and winning lottery tickets for all the poor children in this world. Or an Alexa 65.

I received my BM Pocket last week (after buying it in the summer sale and waiting aaaagggges for it). Anyway, I haven't had much time to play with it so this is my first attempt (RAW and ProRes 422 mix): Graded in FCPX (Resolve to convert the RAW) I love the camera already. The image is just so rich and full and happy to be pushed around. The moire bothers me a fair bit, but it's not a deal breaker.

I was just pointing out your that giving 4.5 stars for image quality because you got excited with monitor's resolution is big mistake. Value for money you're talking about here is another thing and your rating for it is correct. Time to get things straight?

It is completely fake. They are posting such videos every time new camera is released. (They say they use Panasonic 12-35/2.8 lens on both cameras :D )

From one of comments on the Facebook page: I'm assuming that the "rings for mounting" are what you are looking for.

Yes it's a native 4k crop recording pixels 1:1. The size of the sensor area used is the same as the GH4. The "max resolution" of the LX100 sensor is cropped from the true full sensor size, making all the equivalence numbers a little less straightforward. You're close though. Panasonic lists it as 26-81mm in 4k 16:9 crop. Truth be told, the difference between the two in use is very subtle, but attention to detail is important so I appreciate the specificity of your questions.

I forgot to add that they have innovated with the smooth aperture or ISO, which adjust the exposure automatically like for example when you walk into a room or outside the camera does it automatically and in a seamless way. This will be boon for event shooters like wedding videographers when they follow the bride from outside to inside of the church.

I agree, but TN really is a dealbreaker imo. The Dell screen you really have to use with dpi scaling. Works fine on Mac OS. Not very good on Windows. For viewing 4K content it'll be still great though. The 4K options are still a bit limited right now. Personally I'm interested in 21:9. The LG 34UM95 is a great screen (34" @ 3440x1440, IPS, around €900,-), Ive used it for a while. You might think 34" is huge and you end up with a low pixel pitch, but that's not really the case. Can't compare it to 16:9 monitors. In height the screen is not even as big as a 27", it's just wide! Which is absolutely great to work with....

The "Compulsory Viewing" title was intentionally provocative to encourage debate. :) As you say, the video makes it clear it's a complicated issue, particularly at the top of the filmmaking ladder. But I think it also makes it clear that it's not necessarily top of the list. My personal take on it is that I wish Panny and Sony had offered really robust in-camera HD (i.e. 10bit 422) before jumping to 4K with their prosumer cameras. It doesn't take a genius to see that it's a company-wide marketing strategy rather than an obvious fit for hybrid cameras. I'm not too tech savvy, but I don't really understand the argument that 4K is great because it avoids line skipping etc. The A7S outputs 1080 from a high-megapixel sensor, as do a lot of camcorders like the C100, without any such image problems. I know they are compressed codecs but then there is the 5DIII with ML RAW - superb HD image from a superb stills camera (I assume this does line skip?). My point is that it can be done. Blackmagic aren't making hybrid cameras, but they've proved camera size and cost is not the problem with the Pocket. Robust codecs can be put into small cheap cameras - even hybrids. I'm not against 4K personally - in an ideal world I would choose it. But not at the expense of the other stuff. A genuinely robust image, with real filmic dynamic range, colour depth and grading latitude are much more important to me than a 4K compressed codec with 'decent' levels of the above. Don't get me wrong - the GH4 is an incredibly great camera. I just don't think we should pretend that 4K is the answer to our prayers. AFAIK there's no reason any of these companies couldn't have brought out a hybrid that shoots nice, sharp ProRes HD if they wanted to. For most of us - other than the reframing aspect - 4K is a workaround. I say call a spade a spade! :)

If he's left eye dominant then he wont be able to do this, if he is right then he is already, so this is a redundant sugestion. I'm left eye dominant and can literaly not se with my right eye through a veiwfinder unless i completely close my left eye. Which I dont do because my vision is blured for about 5 mins after I open it again.

Cool. Is it $599?   :D  B)

Too late I already have my A7S.

This guy is doing the best work I've seen with the GH4 so far. And he's only using the 12-35mm f2.8 lens!

Dell Ultrasharp UP2414Q. Starting around €650. Even more Retina with 4K @ 24"

Thank you Damon, I agree with you as we know the reasons of shooting anamorphic nowadays. Those reasons are different from the ones when the cinemascope method was invented.

I have to disappoint you, but Rec.2020 is just a recommendation for UHD and has nothing to do with actual monitor colour gamut. That Samsung is not bad (especially considering it's TN panel) and almost covers sRGB (similar to rec.709), but it is far far from rec.2020 colour gamut recommendation. Don't know its colour accuracy (which is as important as color space coverage), but overall it is just avarage monitor (good for TN) in terms of colors.

I know that you said color reproduction wasn't exactly 100% accurate, but just the fact that the UHD color gamut is Rec.2020 instead of crappy Rec.709 is a major improvement...

those schneider cinlux lens will blow the single element slr magic 2x out of the water. nice look as well no contest mr slr magic man gonna have to buy this fella out just like he did with the noktor guy : ) out of interest any one got a a super quality link to an slr anamorphot clip?

  I don't know what you are suggesting there John! SLR Magic have been working on the 2x prototype for a while, it didn't just pop up within the month.

  Just light for a narrower dynamic range.

yes. it seems the discussion changes direction very quickly and almost argues against itself. Never the less an enjoyable interview which brings up lots of valid points from old men (in a good way) with lots of real world knowledge. cheers for sharing :)

bravo FM module. Test samples and price are both attractive. I have two cinelux 2x schneiders I grabbed very cheap this week. being able to focus these badboys is gonna be a dream.

Price announced, €550 http://on.fb.me/1uiTplk SLR Magic 2x, FM Lens Focus Module, Rectilux.. the heat is on!

HD should be up soon but here it is. I'm using plano-convex lens mounted to the front element of my anamorphic. On the rails, I've mounted a plano-concave lens (pretty ghetto set up, but works enough for proof of concept). Moving the rail mounted lens further away gives me closer focus, in fact, pretty fucking close. Sharp as can be too. All I need to do now is figure out the power of the lenses, buy larger elements, and house them. Baby steps.

  Given the sensor size and megapixel count are not exactly like the A7S, the ISO 3200 sample is ok and on par with a Red Epic.   The noise reduction setting in-camera is crazy high which makes it hard to judge sharpness from these hastily shot JPEGs before they glued the card door up to stop exactly the kind of post you just made slamming the camera based on a bad test!!   The guy who shot these didn't even get the model's head in focus and you are claiming her hair looks soft... no wonder.

It's not that simple. They did it in GH4 - 200Mbit 2K. While the image is great, downsampled 100Mbit 4k is still better. There is one more thing - these all are hybrid stills/video cameras. That means they just can't go lower than 8 megapixels in 16:9. For 2k video the best sensor would have 2 megapixels - 1:1 full sensor readout with best DR you can get. But nobody would buy still camera with 2-3 megapixels :).. So 4K video looks like natural resolution for hybrid stills/video cameras. Sony did a 12 megapixels A7S and it is the lowest limit for photographers I suppose. And GH4 example shows that it's better to output that native 4K image than try to downsample internally.

They said it all. It's not about whether 4k is too detailed or cameras have too little DR. It's about lighting. 25 years ago they had to have tons of equipment to shoot a scene at night. Now cameras are powerful enough to shoot with minimal other stuff. You have to remember that these guys are professionals. Their frame of reference is different. They were using high end cameras anyway, not soft Canon/Nikon/Sony DSLR video. 4K is another step up from those high end cameras. It's detail that they see as unnecessary. Also I think it really depends on what you're shooting. I think 4k consumer cameras give us the flexibility. If you're shooting 50 year old actresses then yeah sure, by all means use a diffusion filter. If you're shooting landscapes, you might prefer to have a tack sharp image. And besides the Sony a7s and Canon RAW, the hybrid cameras with the most dynamic range for video are the Panasonics (GX7 and above). And they just happen to also be the ones that resolve most detail. I also find the image pops more because of this detail.

One of my adapters went wonky on shoot recently, but with no client over the shoulder dealt with it and the result looks great. It was a $10 adapter though ;) Ideally the FS7 should have a changeable hard mount, like the Epic.

Thanks bud! I think it's hella productive to hive mind these DIY projects. Who better to play with than a community of filmmakers who thought it was a good idea to strap a projector lens onto their camera? I've got nothing against the folks selling their wares, I'm sure they will work amazingly well (and judging by the tests, they do). But for those of us who can't afford the thousands of dollars for adapters or iscoramas, a couple hundred on achromats and old wide angle adapters let's us in on the whole "being able to focus my lens" rage. So let's play people!

Wanted to share my first video shot with the V2's burst mode. I used in camera JPEG for this video. My girlfriend and I are on exchange to Singapore for half a year and I had to leave my desktop workstation behind. My 4 year old MacBook Pro doesn't have the power to cope with raw burst sequences and since I'm on holiday at the moment I didn't want to spend too much time editing this. Premiere Pro already crashed on me enough times during this project xD Next time I'd like to make some more 'longer' shots using e.g. Twixtor. I rendered a 4k ProRes proxy and uploaded the 2gb video to YouTube so 4k is available for people with a 4k monitor.

They'll care if the footage is shaky and the audio is bad. Use a tripod and get good audio and most brides will be crying regardless of overall IQ