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Hey there, I wanted to share my first test with my SLR Magic Anamorphot adapter and see if anyone else is using this adapter and what lenses they've found work well. Specifically for EF mount. I shot this with a Canon C100 using the Sigma 35mm f1.4 Art lens, which worked beautifully. I'm looking to find other lenses that will work well which I've had little luck. I think it works best with lenses that have a narrow front lens element. Any info would be greatly appreciated! Here is the video:

The new GoPro is out. As planned: 4K 30fps 2.7K 50fps (great for fast action with good quality) 1080p 120fps (great for slowmo) Interesting stuff: Protune in video but also now in photo Edit : max iso only .. FULL MANUAL control in video (ISO, Aperture...) Surprising: Black edition get the new features but the silver (no 4K 30fps ...) gets a touchscreen ... The bad: 1150mha battery, it will be 30-45min in 4K / 2.7K 50fps ... Video:

FM Lens test with Isco Ultra-Star 2x anamorphic

Coming straight from the camera (no grading) handheld with a olympus 45mm 1.8 lens, I wish Olympus is giving us 24 and 25 & 50 and 60. But I do like the stablisation and the colors (also the skin color) On you tube there is a1080 file.

Hi guys, I took my G6 to my karate gym so I think the result looks good I am glad it survived :-)

Thanks for sharing this. I truly love the way your camera handles skin tones and handheld with a 90mm eq lens is amazing. I like to ask how you were holding your camera? Were you using the "optical" viewfinder against your face? I'm considering getting the new LX100 for it's 4K photomode, and this camera is about the same price for the body and I already have the 45mm lens and it does render people beautifully. So I hope I'm not going to miss out on something special here. I learn much more about a camera from seeing this kind of footage over dark streets or green vegetation.

There is a solution posted here: http://www.dvxuser.com/V6/showthread.php?329145-a7s-movie-high-iso-problem "I can reproduce the issue on a color ramp chart and it appears to be a significant discontinuity that only exists in the blue channel a few stops before clipping, right before the point where the highlight primary color shifting issue takes place. It is different from the highlight primary color shifting issue* which I have seen in nearly all Sony cameras. The issue seems to occur in all picture profiles with all gamma curves and all color modes even including Black & White. It also occurs in PP OFF if creative style is set to Standard, Vivid, Neutral, Portrait, Landscape, Sunset, and Night Scene. The issue does NOT seem to occur in CLEAR, DEEP, LIGHT, BLACK & WHITE, SEPIA, and AUTUMN LEAVES. Alternatively, the issue seems most greatly affected by white balance, where in my tests the issue was greatest around 2500K and quickly diminished as WB was adjusted upwards and the issue seemed nearly imperceptible by around 4700K. Currently I'd say if you are in situation with strong blue lights and are experiencing the issue first try increasing your whitebalance or switch to PP OFF and a creative style of CLEAR, DEEP, LIGHT, BLACK & WHITE, SEPIA, or AUTUMN LEAVES. *I also see the normal primary color highlight issues that Sony cameras have where blue highlights go cyan and red highlights go yellow etc. Interesting that particular issue seems to be solved by using REC709(800%) gamma, though it seems to fix the issue simply by clipping off all the highlights where such lights would be an issue... Oddly the issue is fixed in my FS700 by using slog2, but while Slog2 and Sgamut seem to minimize the issue on the A7s, it still exists. Also I would caution against using Color Depth B+7 to fix the issue as it doesn't seem to remove the crazy blues, only to bring the entire blue channel up to the clipped blue saturation level that occurs in the issue. It will likely make your colors look ridiculous like anything blue is a bright flat blue cutout. In my test, Color Depth just shifted where the issue seemed to appear in the luma and WB range."

Aside from the anamorphic goodness... The camera shoots at 96fps, so there's many frames per second to spare, could it be hard to them to make an HDR mode like the one on Magic Lantern but with the final file made on camera? This would be great and a stand point over A7S.

Of course it is, no argument there. The learning part works for me, too. But at least to me consumerism is not the same as GAS, and vice versa. To me consumerism is the kind of "shopping is a feeling" attitude and behaviour. Shopping for the sake of shopping, whereas GAS is something different, the urge to get a newer, better tool we want and sometimes even need to do what we do, even though not having one right now wouldn't kill us. I for one will openly admit that GAS did have a small part in my buying a BMPCC, along with those four or other somewhat similar reasons. That's why I added the fifth reason in that list. It's as much an edited list for myself, as it was a friendly pun towards you. I think it's quite healthy not to take ourselves too seriously all the time. GAS aside, I don't regret getting the damn thing. The only thing I sort of regret is rushing to buy the cheaper LCDF loupe for it instead of waiting for the pricier Zacuto loupe. Only because the cheaper loupe was available immediately, and the Zacuto wasn't. The price difference was significant, but not critical. I actually like the simplicity of the camera, along with the 10-bit 422 ProRes HQ it delivers as default. The two major things I don't like too much is the quality of the lcd screen and the structure of the settings menu. There should be better shortcuts for some settings and functions. I wish it had better battery life and built in ND filters, too, but one can't have everything in such a small package, for such a price. Now I just wish I had more time and opportunities to play with it. This fall has been a bit of a disappointment, in many ways.

Matt, It's because for whatever tech reason, the GH4 doesn't process colors the way 5 years of 5D2 have spoiled us. 10 bit isn't going to help that out of the GH4. The G series are very sharp, but have the video/bad skin tones out of the gate. You can post it, but it still doesn't look great (to my eyes and many others). Main reason (besides sensor size) you read ad nauseum about people returning their GH4's to B&H in droves. Go and search examples for yourself. The new Nikon D750/D810 process colors beautifully..really gorgeous video with a nice cinematic look..much like a Canon EOS camera. The GH4 fails in this department miserably. $25K and lower Canon and Nikon rule colors. Have tons of cash? Buy an Alexa/Amira and be done with it.

I agree with jcs's points on the benchmark, but Andrews counterpoints ring true for most who can't handle the workflow and HD space needed for raw. I can't say I am ready to sacrifice image though. I think the GH4 and a7s in particular match or best the 5d3 raw in some areas and this has yet to be seen with the brand new d750...like I said I would love for andrew to have static human subjects and compare the a7s, gh4, and d750, maybe even ML Raw for kicks. That would truly give us a picture of which system is where.

Absolutely, raw is still a benchmark for ultimate image quality. Let's be clear, I'm not denying that.   For me, now it's all about how close we can get to that beauty....but with more practical solutions like the GH4, A7S and D750.   I am over regular raw shooting now, as I ran out of space at the local aircraft hanger where I stored my hard drives.