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https://crashthesuperbowl.doritos.com/gallery/submission/2589 Roommates Revenge filmed in Banff Canada on Sony A5100. The quality is for you to judge. The camera is a little small to hold but on a tripod and steadicam it worked well. The new codec and full pixel readout are a huge improvement. If you like the commercial 5 star ratings might really help my chances of making the finals. That is my little plug but I really wanted everyone to see what the camera's quality was like. I opted to buy the A5100 because I could not afford the A7s at this time and I like the Sony's because I shoot my stills with an NEX 6 which I love.

Screen grabs from a short sci-fi film I'm directing. http://alexeymarfin.com/blue-eyed-me-coming-soon/ Can you can tell apart which shots are real anamorphic shots and which are spherical + pseudo-anamorphic aesthetic done in post? ;-) Any feedback welcome :-)

I love lenses with character. I prefer to use vintage lenses as they come with some character, whether that be weird bokeh, lens flares, distortion or close-focusing wide lenses - a lot of this stuff you don't get on modern electronic lenses in exchange for AF and IS. I love lenses that flare like crazy such as the Helios 44-2, yellow coated Super Takumars (like the 55mm) and the strange Mir 1B 37mm - all very creamy, odd and unique looking. I absolutely love wide lenses that have a very close focusing distance, so you can get this rather intense, beautiful close-up with a massive, shallow background. The SLR Magic 12mm is a favourite and I believe (although not used) Contax Zeiss 28mm 2.8 "Hollywood" achieve this. Modern lenses such as the Samyang/Rokinon Cine DS line are fantastic for having gears, de-clicked apertures and almost the same filter thread size across the range (very useful stuff I want) - but having never used them, are they worth the punt for a guy who much prefers some personality in the glass? What lenses do you use that have some kind of "character"? Speak up!!

Hi, When you watch the video below, you'll realize that I am not a video maker, but a programmer.. There are artifacts in the video that I couldn't get rid of.. Oh, by the way, don't play with your receiver's settings, there is no background music :) Hope you find it useful Melih

Thanks :-) Will keep you updated! Yeah frischluft is great. Also just the default Defocus/ZDefocus nodes in Nuke does the same thing for oval iris. I also simulated subtle anamorphic lens breathing during a focus pull too (just by animating horizontal and vertical stretch). PS Here's a purely in-camera shot (Kowa B&H with a 28mm taking lens) that i used for reference '>

No wonder the footage is so jarring. Those values are insane. They might make some sense if you are using 4K photomode and only want to extract a single frame, but for video footage, that is fairly useless to look at. In this case, it would have made much more sense to run at 1/60 (since it is 30 fps), and the aperture should be a higher value to ensure all the footage is in focus. (Again, if it is all indeed on a narrow plane across the frame, and the intent was to look at a single frame for sharpness problems on the side, that makes sense, but looking at this for video quality makes no sense at all). If it is too bright still at say aperture 5.6 or 8 w 1/60 shutter speed, put on some ND filter. It looks like a bright day. It is also clearly oversharpened, so he should experiment with less sharpness for sure. It is fine to give opinion if it is based on a good foundation, I think. However, this clip, once I look at it in Premiere, shows: -Oversharpened due to settings -Corners seem a bit soft, but it could be the aperture chose makes this to be out of focus. In any case, while I have found this camera has good corner sharpness, it is not incredible. It can't compete with my gh3 and Nocticron there.. -I don't see any significant issue with moire. The little I see is likely from the fact that he shot very fast shutterspeed, and did handheld, so the jittering between each frame makes is stand out. -Generally unpleasing picture, but again, due to settings. Conclusion: Don't base anything on this footage. Have you tried it yourself?? Have you seen all the great footage out there?

I shot a set up last week with the Tokina RMC 28-85MM f4 low contrast lens : we wanted to go for that 1940's Pinup Girl on low contrast film stock look for this set up. frame grab of Tokina RMC 28-85MM f4 on Lens Turbo speedbooster Panasonic GX7 no processing image is straight out the camera low contrast lens 1/50 sec 400 iso f4 wide open '' target='_blank'>> '' target='_blank'>> it gives you a similar look to the Tiffen filter discussed here but its all done in the lens and as its a 28-85mm zoom its very useful as you can do the whole set up on just one lens , 28mm for the wides 40mm for the coverage and 85mm for the close ups

Jazzbox ... I find watts confusing also in regard to brightness for camera work. If you click on the link in my post above yours you can get an idea of brightness of these 85 watt CFL globes (go to the table about half way down) Note the 85 watts for a CFL globe is different to a normal globe so you need to take that into account for whatever you are looking at. Maybe this can be of some help. He is using six globes in a soft box.

It is certainly not a toy for photos, I prefer it over GH3 for instance. For video, it is not a replacement for the GH4, and nobody ever said that. It takes almost equally fantastic 4k video, but lacks the features (that you must have repeated about a dozen times at this point). You seem to have a problem grasping what the term "Compact camera" means. This is overall, everything considered, perhaps the best compact camera ever created. (At least if you are a hybrid shooter). If you want to lug around a GH4, or even a FZ1000, that is a whole different segment. The FZ1000 cannot compete on stills, especially lowlight either.

Well, with the smallest system I know, the Velbon QRA-3, you'd be looking at something like this, so forget using any Q/R systems: And mind you, that's mounted sideways even. If you put a thumbscrew through a hole next to a cage cutout you're looking at something like this: You can just barely get the SD in and out. If you'd use it like this, you'll be needing a screw that doesn't block the cutout, but it could work. But then you're stuck with the camera on the cage more or less, because you haven't got a Q/R system and the screw would probably require a tool to remove.

Here's some quick sample footage of the RE Topcor 35mm (2.8) and RE Topcor 100mm (2.8) on a Sony a7. (Other footage a6k+kit). You're right Andy, these are some nice lenses! Glad I took the plunge! Wikipedia says they were manufactured between 1963 and 1971. Here's a 100mm still > And a 35mm > Both have some mild PS work.