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Hello, During the past week, I've been testing my new Rectimascop 48/2x anamorphic lens with my GH4. Here's the third test, shot on the road. Shot in Tel Aviv, Oct. 25th, 2014 using a Panasonic GH4 in 4K Photo Mode, 3:2 aspect ratio, Cine D. Lenses: Helios 44/2 58mm, Rectimascop 48/2x anamorphic. Music by Jimi Hendrix. Edited and graded with FCPX.

So I bit the bullet over the week and bought the filter. From what I had read the filters work by spreading the light around the image, which is different to simply using a low contrast lens I think. And besides that, I don't want to add another lens to my collection when I already have three superb ones. I started with Ultra Contrast 3. It had good effect but I thought I'd go further so this morning I received the #5. The filters have an immediate effect of making the image look way more filmic. The reason for this is that really do spread the light around the image - but it's not so simple. They take in more ambient light and thus ambient colour. The result is that you get a much more balanced picture in terms of colour and tonality. These filters really are something magical. I have been shooting a fair bit with them over the past few days and will be putting together a video, but for now here's a few images: No filter, Standard iDynamic: With FilmConvert: Tiffen Ultra Contrast #5 (no iDynamic): With FilmConvert and some additional saturation. Each filter costs just over £100 for the 77mm sizes. I do recommend getting the strongest one (the #5). After further consideration I think the #3 is a better choice because the #5 washes out darker midtones too readily.

Give any camera a little time and you'll be able to master it. IMO the GH4 is very versatile. I havent used my BM cam in months bc Ive been able to dial in a look that i love more on the GH4.

Hi all, A footage with the GH4 in 4K anamorphic, using the baby Iscomorphot 8/1.5x. In only one shot, I used a Tokina +0.4 achromat diopter. All shots at f/2.8! Lens was the Nikon 50mm f/1.8 Series E, along with the Metabones Speed Booster. Both this lovely anamorphic & the Tokina are for sale. PM for details. Enjoy!

Hi. I just wanted to show of my latest short film STORM. I shot it on the Panasonic Lumix GH4 with Kowa/Bell and Howell Anamorphic Please let me know what you think. //eric

Hello, I was looking few locations for a short film we are making, and I made few clips on beatutifull mountain Mangart in Slovenia. I hope you like it:

you can get the same look just by using a Tokina RMC 28-85MM F4 - the glass gives you this look as is with no filter , its a very very low contrast and low saturation lens - also very very good on a speedbooster too.....and very cheap on ebay .......

Indeed, thanks for sharing! Ordered one :)

Cool test. I really like the look you got out of it in the end. Thanks for sharing.

The good is its HD resolution. Weight is 1.2kg. Closest focus marks as 17ft/5m. I think this lens might be used for 70mm film projector, it could be used up to medium format cameras, too big for M43. For FF uses, it needs 100mm or above taking lens. IMO, in 90% case use, ISCO integrated lens is better than it, wider, lighter, the resolution also matches taking lens. BTW, this is my first anamorphic lens, got it @ $120, local pickup. I will still keep it forever.

To be fair theres nothing un-cinematic about sharpness, sharpness is often mistakenly accused of giving a video look but the best vintage lenses are as sharp as any modern ones.

As a GH4 owner I'd put it's colors far above and A7s and just below Canon. I think it's features and versatility and performance outweigh any concerns over colors.

I haven't had any problems with vignetting on the Tokina but I have the 0.71x Nikon to MFT speed booster (not the BMPCC version), so I'm using less glass from the edge of the 11-16. Personally I'm not usually bothered by a small amount of vignetting or edge softness for video. Axel, I know you use a BMPCC and G6 too, and I'm really finding the combination of those two with the Nikon D5300 (which has the same image as the D3300) to be really very effective. The three cameras cover most scenarios and resolution is quite close on all three, so they can be matched well. I hardly ever use the D5300 outdoors in good daylight (too soft and the colours, though pleasant, can be a bit thin I think in daylight) or for wide shots. But indoors with ambient lighting, and/or with long/fast lenses in grey weather the Nikon is beautiful (the colours really come alive). In poor light it shines where the G6 and BMPCC do not. Can you load the Flaat profiles onto the D3300? I use Flaat_11 all the time now, as I don't think it causes any problems with grading and the colours and dynamic range end up looking much more filmic than the standard profiles (though Neutral with contrast and saturation right down is fine too). Though I really like the Nikon colours, I do think that with the other standard profiles they can look quite smooth/unreal/plasticky (sorry, can't describe it better).

To be honest much of what I think is cinematic comes down to the following: 1. How the movements of the camera align with the subject(s) of the frame 2. The competence of the creator in terms of their color grading and editing 3. Lens choices (anamorphic is king/queen) 4. Camera body ( some do better jobs in terms of color and detail/ISO etc.)

Hi Guys, just want to show you some car 2 car footage of the A7s i got last week. Filmed with a selfbuild brushless gimbal, canon 24-105 on a speebooster in aps-c cropmode. I'm pretty happy with this camera. if somebody want to see the real quality, here is the original file: https://dl.dropboxusercontent.com/u/1127100/zebraworkz/mydriver_car_to_car_selects.mp4?dl=1 cheers Marcus

One of my favourite independent directors has started testing the GH4 against his RED. http://danieljohnpeters.com/2014/05/14/gh4-2/