Leaderboard

I feel like I've been punched in the gut..I have been a fan of all of Glazer's work for over a decade ( commercials, music videos, films ) and when I saw this absolutely ugly video mixed with his trademark creative directing/editing style all I could think of was how good the commercial SHOULD have been with proper cinematic visuals applied ( better camera / grading ). This actually made me think how much equipment DOES matter, and how much that shitty digital camera look can rob an amazing filmmaker of his visual style...man I will need some time to recover...ughhh... This is how Glazer work is supposed to look like.

You can check out my night shots on Vimeo. All 4:3 mode with Kowa B&H 2x anamorphic shot at F1.4:

I love our C100s. I still resent Canon for making anything faster than 30fps a premium feature and lower resolution. No excuse!

Yes it is now averaging 95mbits for me. Seems to be even more detail now, even in the shadows. Need to test it out more, but there is more detail, especially in the 4K Photo modes.

This was a total experiment, as i hadn't really road tested this combo too much & definitely not in a chaotic run'n'gun situation like this. The main problem was allowing the band to take care of recording the sound, which they inevitably messed up, yet again! So the sound is from another gig... BMPCC (ProRes) 1 GoPro shot RJ jinfinance Focal Reducer Mir-24M (35mm f2) + Isco Widescreen 2000mc x1.5 Anamorphic Adapter Genus Eclipse + Hoya UV/IR cut filter (30mins of Battery & Card space used during filming) I think i've had it with doing live music videos on my own.

Would the upcoming SLR Magic anamorphic adapter work with the LX100 or is the adapter too big/heavy for that lens?

Did they add some more framing guidelines for 2.35:1? I continue to steal rubber band from my daughter's bracelets, but I really miss this function on screen! :)

It does look pretty good. Better than I would have expected for sure. But at this point in the game, I don't really understand the frustration with the ML workflow and file sizes. Why not just use a program like MLRawViewer to quickly and non-destructively color balance your shots, apply a LUT if desired, and export to ProRes 22 or ProRes LT? Sure, it takes some time to process your files. But at least that way, the massive MLV raw files never even have to touch your hard drive, and you've got a cleaner starting point. Also, media is getting more affordable. I was surprised to see that KomputerBay 256GB 1066x CF cards have come down another $100 and can now be purchased new for $300. Unfortunately, there is no hack for the lack of an opposable LCD screen on the 5D. In my opinion, that is the most frustrating thing about the 5D3.

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.

FD fit Zeiss are the cheap Sigmas made in Japan and branded Zeiss - these where sold in Jessops style camera shops 20 years ago avoid - they are called Carl Zeiss Jena II and have sky blue lettering on the lens caps and lens barrels they are cheap and Ok but identical to their Sigma equivilants.....no way near as good as the Yashicas ML range and Zeiss C/Y range. the Canon FD 35-105mm is the perfect partner for the Canon FD 24-35mm L Series they are very similar in look so work well together Plus the 35-105mm is a great lens and cheap

yes its a great lens and cheap on ebay

buy the book 'New Cinematographers ' by Alexander Ballinger. http://www.ebay.co.uk/itm/New-Cinematographers-by-Alexander-Ballinger-Paperback-2004-/331151390404?pt=Non_Fiction&hash=item4d1a2936c4 it is a gold mine of infomation on how to shoot films and what lenses and f stops are used , with drawings and breakdowns on big Hollywood films and how they did it . you will see most Feature films very rarely shoot above f2.8 or f2 max in low light mostly shoot lower f5.6 etc Darius Khondji shot Alien Resurestion at f2.8 , he lit all the sets the whole moive for that stop. the Great Freddie Young didn't like going over f3.5 - (read his autobiography its very good) if you want bokeh - use a telephoto lens to isolate the subject from the background that way . thats how these guys do it - have a read of the book!! and dont forget Movie Cameras (Alexa, Epic, Super 35mm etc) are not full frame !

Panasonic G6 is superb for stills and video -do have a good look at that too I use the G6 alot is is a superb camera