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FM test with Moller anamorphot 32/2x

Depends on your definition of "too wide" :) It is a sort of internal "flare"/optical imperfection. But if we're talking anamorphic, optical imperfections are a bit of a grey area (pun intended). It's not too wide, it has image corner-to-corner. But when it gets hit with light, flares in a sort of grey "vignette". Even the "real-deal" lenses from Panavision, etc. can do this. In the land of anamorpnics, I think "everything in moderation" is an excellent rule of thumb. I've seen this optical nuance used both well and poorly, just as I have with horizontal flares.

Heres a short clip from a documentary i'm working on. This was shot probably 50/50 full frame and crop mode. The opening slider shot was in full frame mode. I am not finding the rolling shutter to be an issue at all

@comurit Rack focusing seems to be not possible with the FM. Nonetheless, count me in for the discount.

Just waiting patiently for the FS7.

I love this comment, by which i mean its just plain idiotic. Everything you've seen from the FS7 has been shot within the first 5 minutes someone has had the camera. Let's wait a few months before making such a wide declaration. Early A7s footage/GH4 footage also looked pretty crappy. Give people a few shoots with a camera - then make your judgements. Now to your "video" point. It has zero to do with frame interpolation. Its called over-sharpness. What really annoys me is people who shoot a digital sensor camera that isn't a RED, want a "cinematic" output, and yet use no softening filters (RED deliberately keeps their image as soft as they can get away with). None. An Alexa can look over-sharp shot poorly. 35mm film can too. When we shoot film (too rare!) we often have 3 layers of softening in front of the lens. 3 layers! When shooting a commercial or drama we have a range of Tiffen softeners ready to go for the Alexa or the F55, and we often will soften the highlights again in the grade. However - if you're shooting for broadcast, and you're matching $150k studio cameras which are horrifically sharp, being able to look 'video' is actually a plus! Sony and Canon and Panasonic understand this. You want a more pure 'filmic' camera that's value for money? I can't recommend the BMs enough. You need a camera that can shoot reportage, TV interview, a feature doc, a music video AND an indie feature? Better to start off hella sharp and adjust to taste. I tell people all the time: A Swiss Army knife is actually a pretty terrible hunting knife. Unless you NEED that flexibility.

I am going to send the list tomorrow to the anamorphic shop and negotiate if that is possible for the best discount price. I will let you know how it goes, x fingers, ;) I am going to ask them if they can provide a coupon code for the ones who are in the list. If any of you have any suggestions please do not hesitate to let me know. Feel free, you are welcome. thank you.

Yeah, I am not a 100% sure whether it is too strong or not - unfortunately I ordered it before you updated your post :) Maybe I will swap it also with the #3 Nice video btw!

Nice test :) I don't think you needed to sharpen it though. It makes the compression artefacts stand out too much. This is my entry for the HitRecord competition by Joseph Gordon-Levitt. The objective is to take cinematic, handheld footage of your city. And it needs to include some walking shots as well as a shot with the camera on myself. The afternoon and early evening shots were done on Saturday when I received the Ultra Contrast 5 filter. As I mentioned I think it's a bit too strong and so used the #3 for the rest of the footage which I took over the next few days. Really like the image I get with the filter on. Just a shame about my terriby shaky hands :p

that looks fantastic IMO. Very excited!

magical. just imagine that with a 85mm f2 on full frame!

How about this?

Nice test

Yes, that's what I get a full-frame sensor for, to crop it. Its not crippling, but when you're in that early phase with any camera anything that 'catches' you turns into a huge problem. Pans that I have been doing for the last 5 years on my other DSLRs were unusable on the A7s. Then i'd remember I had to crop it. Over time you'd plan for that. At this point its not worth me investing the time. Let me repeat - the A7s LOOKS great. I just found it too annoying to learn to love, especially for 1080. Once the 4K recorders are out, my opinion may happily change :-)

Very well written Andrew and complete. This is not the first time Ive read about people using the GH4 as B-roll for the F55. I know someone who did that and it was for SONY who hired him to do an F55 video. For me its about over-all GH4 ergonomics and the flexibility 4k gives me in editing. I Love the A7s image but Id rather wait for the FS7, which I have the cash for, but Im not ready to move there just yet. Meanwhile the GH4 will be my 4k training ground. Its the best value to feature ratio Ive ever seen.

Agree with your review Andrew, but I can't shoot 1080 anymore. My two main broadcast clients now demand 4K acquisition (I work in LA). I rent an F55 a lot, but also bought a GH4 as "my" camera to replace my trusty Canon RAW/Nikon setup. I was very reluctant to even try the GH4, but having worked with it daily now for about 2 months, I can't go back to non-4K. I'll put up with its many quirks for that frame size. I've dealt with worse in the past :-) When a range of 4K recorders are out I'll try the A7s again, but to be honest I'll probably get an FS7, with the GH4 as the B cam. And one day the A7s II will be out, which will hopefully address the skew issue, which is also a deal-breaker for me. The image from the A7s is lovely, but only if its not moving, and you're ok with 1080. The S-Log2 implementation is odd, and it tilts WAY Magenta.

The GH2's learning curve was almost flat, especially with the high bitrate hacks. I learned to get great results in a matter of days. The GH4 is a different beast altogether. I've had it for over 4 months and I'm in a constant process of learning how to shoot great video, learning new tricks everyday. During the past week, I've been experimenting with a Rectimascop 48/2x anamorphic lens. I'm glad I've waited all these months before buying it, getting to know the camera and it's behaviour and of course the great new 4K photo mode. Anamorphic on the GH4 is what I've wished for since being seduced by the DSLR revolution, over 4 years ago. There's still so much to learn, but here are a couple of my first tests.

I don't see dual system recording as a hindrance any more, at least now with the built-in sync features in FCPX. If you are committed to audio quality, it is actually an advantage. I film a lot of long-form interviews. The Sony FS100 is my workhorse, but control over audio is so much better with a Zoom H6 as it records my microphones on independent track files and it allows an audio person delegated to the task to monitor it more closely. Unless you desperately needed SDI connections, I don't get why anyone would buy the overpriced, impractical, externally-powered YAGH interface. What a colossal waste of money! I suspect far more people in the GH4 price bracket need XLR inputs rather than SDI outputs. Buy a Zoom and use the money you save for augmenting your audio solutions. My GH3 gets used as a secondary camera on interview shoots. Most people who comment on these forums must not run long times, because I don't see many comments about how It's the ONLY DSLR style camera that will record over 29 minutes without restarting. Ever interview anyone "important?" They don't abide multiple takes for BS camera geek reasons that could otherwise be avoided with advance planning. Get your shot right and let it roll. The battery life is at least 2 hours of running time. Just a whisker under 2 hours on a 64GB card in the highest bitrate. So yeah, I'm thinking of buying 3 GH4s for a 4k multicam setup, slapping my ZE primes on them with speedboosters. If the A7s recorded chained files, I'd consider it instead. Oh, and no internal 4k, but at least finally an improved codec from Sony. There are always tradeoffs. GH3/4 will never do low light like my FS100. You can't push it around in post like a Blackmagic. I find myself using longer focal length lenses to approximate the look of a bigger sensor when using mft. It's just the geometry of the glass and sensor, and sometimes it is a hassle. But whatevs. Light it and shoot it right and the Panasonic will do its job. Panasonic should be applauded for delivering so much for so little. And heck, spend a few days with FilmConvert. It's not a bad option for color-matching different cameras.