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Oh I don't know. Perhaps you do. It's worked for over a hundred years so far...for a reason.

Ok ladies and gangsters, the verdict is ready, anamorphic shop announced: EOSHD forums society will get 10% discount. Please inform your group that on the sale date which will be announced on FB page your members have to contact me personally and they will have an opportunity to buy an FM Lens first of all others with a 10% discount, having in mind that the first stock is limited. However we are interested by supporting your group with other Anamorphic Shop products in a future. Thanks to everyone.

Hey guys, I threw a sample video together for you... pass: jockjams It's a compilation of some paid work I've done with the A7s. I'm really against shooting s-log2 with this camera. I've never been able to get anything but weird results from it. Maybe I'm just not a good enough colorist, but I haven't seen many other people get good color from it, either. My current favorite shooting mode is the creative style Autumn Leaves with contrast -3, sat 0, sharpness -3. I set wb manually to compensate for a7s's tint problems. Then I grade in FCP X.

Here are the two pieces I made today with the Sony FS7. This camera is going to be a giant hit. Everything about it is amazing. Charlie Chicken: Small Moments (180 FPS):

Well, by having an aperture ring on the lens and always having live view with Zebra and a histogram, it can't be really faster to adjust the exposure on the spot.

Thank you :) I'm going to try to find time to add closed captions showing gear info as the video plays. As you can see from the top of the thread tags, a lot of different stuff was used ...

Thank you. G6 with Micro-Nikkor 55mm f2.8 AI-S (and extension tubes I think). Can't remember if this shot was in Ex-Tele (3x MFT crop) or not. Also video monopod was necessary as focusing was done with tiny movements forwards and backwards (rather than using focus ring which though really nice wasn't subtle, fast or stable enough. I might upload a closed caption file that lists camera and lenses as the video plays...

Thanks for sharing! I'll turn it off too. I had noticed that the import charges were too high.

It's a complicated subject. Since both lens designs are from a similar era, the materials, manufacturing processes and tolerances and optical knowledge of the day will have been very similar. Glass types which are now illegal due to lead and other 'dangerous' substances. Without using this type of glass it's impossible to get quite the same look. It's also more to do with how lenses have been looked after/maintained through their long and busy life. As American lenses designed for and given a hard life day in, day out they will have been opened and cleaned very regularly. They'll have been assembled in non controlled spaces multiple times - usually leaving optic faces not quite as clean as when they originally came out of the vacuum tank after being coated. Wiped quickly in use, resulting in micro scratches to the soft coatings. Add all these factors and I think this makes up the 'Baltar' or similar lenses from the era. I do think that it's more to do with the way Super Baltars will have been used close to their operating limits that dictate their character back when they were new. As well as being used with FILM! And now our modern perception of the lens is that it adds character to a digital image. I imagine if the zeiss Otus was used for over 50years on film set and serviced once a year, it would share some of the aesthetic we see from Baltars. Overall I think an early helios 44 will match a B+L 50mm Baltar more closely than any other affordable lens since their manufacture date and optical construction coincide so closely. Using on a full frame sensor or with a speed booster helps since you;re using the lens closer to it's optical limits and this is where the beauty comes from IMO. This is one of the main reasons I decided to develop the FF38 WA attachment. a 4 element design. Highly corrected, using as few elements as possible with glass bordering on illegality - as in, I imagine at one point or another those glass types will be sanctioned due to some of the materials they're made up of. The unit literally sharpens the helios 44 and widens fov but 1.5x. no ca or softening even on full frame. it does however apply barrel distortion which actually adds to the swirly bokeh caused by the helios 44. HAving the ability to use the helios in various fov's is magical since the helios/biotar 58mm is IMO one of the best lenses ever. That said, If I had lots of money i think a set of zebra baltars in immaculate condition would be bought just for display on the mantel piece!

we should buy one an EOSHD work horse !!

I just got my Atomos Ninja 2 today and did some test with the D750. 1080p 23.976 with the internal codec vs Ninja 2 Prores HQ I also did a test with 1080p 60fps internal codec vs Ninja 2 720p 60fps Prores HQ with up-scaling and some light un-sharp mask in CS6 Premiere. both at ISO 800 and with the Flat profile. For 1080p 23.976 the Atomos is not a huge leap in video sharpness,( since the codec is doing a very impressive job) and its hard to tell the difference, especially compressed for web. But I am noticing some better color reproduction and saturation since its 422 compared to the 420. It slightly sharper with the ProRess, less blocky, and noise looks more organic and natural. For the 60fps I was surprised that the Prores HQ at 720p could be up-scaled some sharpness added and almost match the internal 1080p 60fps codec (and look far better than the stock 1080p on the 5D mark iii.). I used to have the 5D mark iii and shot with the magic lantern RAW. Though I love RAW, it was so much of a pain to use the hack that I don't regret switching to the D750. Photography and video is by far sharper, cleaner, much more dynamic range, and very accurate color science ( which is a huge advantage going back to 8bit video from RAW, I barely need to color correct as long as I get the exposure and white balance correct in camera). And before Andrew's review about this camera I would of laughed at anyone who said you should shoot video on a Nikon. Now if this camera could just get some love like the Canon DSLR have had from magic lantern, or Nikon really make some serious firmware updates for better video features, this thing could out beat the current competition, except for the low light capabilities of the Sony A7S (the D750as good or little less than the 5D Mark iii). Also not to mention for photography it has 12bit compressed RAW option, just imagine if Nikon used that for RAW video.

You need severe learning difficulties to struggle with the ergonomics of the a7s. I mean so severe you've got close to zero motor functions and need a full time carer. It's nearly impossible to struggle with the a7s. I love stupid trolls since they donlt even have the ability to upset people vie the internet.

  AF for cinema?... WTF? And it isn't actually bad at all. Pretty fast for stills given live-view on a full frame sensor. You want to see Canon's live view AF speed?... have fun with that.   And what Canon are we talking about here exactly? A DSLR? They have terrible ergonomics for video. Fine for stills.   When an idiot wanders onto the forum... I'm always wondering why they say the things they do... must be a reason. Weird.

They are pushing the boundaries of what's possible creatively with this sensor. Look beyond the specs, impressive though they are, to what they will enable.   Completely agree with Rich... its going to be wild.

Yeah, I just found out that a lens I ordered on eBay is part of this Global Shipping Program when I went and googled what the 'UPAAB'-tracking related to. But so far so good, it got shipped out promptly and I'm getting regular status updates, so fingers crossed.

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.

Right tool for the job my friend! If it is digital zoom you want, shoot 4K and crop in post. Sorted.

Glad to see that you guys still make stuff with the V's. Here is my last burst video: http://youtu.be/Nw8H4v0zN_0 This time I used a Kowa anamorphic lens attached to my 35mm f2 Helios. This is the V2, therefore it is 5K. Specially good for the job as it shoots 4:3, so you can get proper anamorphic aspect.

I like this film. the shot of manhattan island from the boat in time lapse or high speed was thrilling. Very good shots in this film.