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One chapter at a time, I'm translating to english my graduation work which is 90% focused on anamorphics. I hope it brings some light onto common questions as well as works as a good follow-up read after the original EOSHD Anamorphic's Shooter Guide. I'll keep updating the links to each chapter on this post, please feel free to comment and correct me along the way. There are 22 chapters/topics and roughly a hundred pages. WHO AM I AND WHAT IS THIS ABOUT? http://www.tferradans.com/blog/?p=7166 INTRODUCTIONhttp://www.tferradans.com/blog/?p=7174 LENS RESEARCHhttp://www.tferradans.com/blog/?p=7195 a ) FOCUS THROUGH (1.33x)http://www.tferradans.com/blog/?p=7204b ) ISCORAMAS (1.5x)http://www.tferradans.com/blog/?p=7225c ) DOUBLE FOCUS (2x)http://www.tferradans.com/blog/?p=7235d ) CINE LENSES (2x)http://www.tferradans.com/blog/?p=7260e ) DAMAGE AND SERVICINGhttp://www.tferradans.com/blog/?p=7278f ) DIOPTERS AND CLOSE UPShttp://www.tferradans.com/blog/?p=7282g ) LENS-YCLOPEDIAhttp://www.tferradans.com/blog/?p=7280h ) FAKING THE LOOKhttp://www.tferradans.com/blog/?p=7283 MAGICLANTERN RAWhttp://www.tferradans.com/blog/?p=7304 a ) CUSTOM CROPMARKShttp://www.tferradans.com/blog/?p=7305 ZONA SSPhttp://www.tferradans.com/blog/?p=7310 a ) LOMO: EPISODE 01http://www.tferradans.com/blog/?p=7311b ) ISCORAMAS: EPISODE 02http://www.tferradans.com/blog/?p=7317 THE PROCESShttp://www.tferradans.com/blog/?p=7318 a ) CONCEPT DEVELOPMENT http://www.tferradans.com/blog/?p=7319b ) ON SET PREVIEW http://www.tferradans.com/blog/?p=7320c ) WORKFLOW CONCLUSIONBIBLIOGRAPHY

I've been playing with the GH4 today in RAW stills burst mode. My workflow needs some refinement to get the motion blur looking more regular, but I actually quite like the filmic staccato of 12fps. The image quality is insanely nice though: Note: Plus members can download the original Prores LT file on Vimeo. I REALLY RECOMMEND DOING THIS - motion looks much worse when streamed. Vimeo blurb below: First test of using GH4 in RAW stills burst mode to make video. RAW stills converted to ProRes 444HQ and slowed to 50% in 24p FCPX timeline. Graded in FCPX and some grain applied. Also used REVisionEffects' RSMB to add motion blur as most of this was shot with a very high shutter speed. This has caused some unpleasant motion artefacts here and there. The final shot in the video (of blowing leaves and cars) used a 180 degree shutter in-camera (1/25s) and looks better I think. I will try using that setting for my next attempt. Rolling shutter looks quite severe. The GH4 buffer can only do about 40 frames in raw burst mode, so you can't really get longer than a 3 second clip. My card is a Sandisk 95MB/s U1 - I don't know if a faster card would do better. I actually really like the 12fps look, particularly when used with film grain and the really bold colours you can get from raw. I like the excessive motion blur. I think if you avoid severe camera movement so as not to draw attention to the rolling shutter and low frame rate, it can look very filmic. Obviously this can't be used for everything but with some refinement I think I will be using it a fair bit. If you like the 12fps look (12fps is right on the border of human perception of individual frames - I think this makes it rather interesting) and can live with the short burst times, there are a lot of good reasons to try this out. Yet another great thing about the awesome GH4. Check our blog for further testing of this mode: lintelfilms.co.uk/blog/ Note: I tried using 'optical flow' (FCPX's version of Twixtor) to create 'real' 24fps, but it was a mess, with lots of the usual warping around movement (even though I used a very fast shutter speed). Music by Chris Zabriskie.

Not all VND Filters can be mounted backwards. Some have no outer (female) thread at all. The ones that do, might have an even larger outer thread to avoid vignetting.

FM owners who are keen to install a protective 105mm UV or a large circular VND filter who have not figured it out already (took me too long) - It is done by unscrewing the front metal lip/hood - which reveals a male 105mm thread > install filter 'backwards' > screw front hood into male thread of filter. It's a nice little design, yet seemingly not documented. Compatible Mattebox would be a 110mm rail mount , and the FM lens has 27mm in-out travel to accommodate.

What's the point of anything, really?

Just a regular Aux-cable coming from the headphone-port on the H4N to the microphone port on the GH4. GH4 Audio is set to -12 db and H4N headphone output is set to about 45.

Hey all... I'm looking for a fantastic walkabout stills/video lens in the ~35mm FF equiv. length (so either a 16-18mm or, for speedbooster a 24mm), FAST (f/1.8 native or faster, mostly for DOF, so don't count the Speedbooster in that factor), with a great manual focus feel. I have a Nikon speedbooster but the Nikon 24mm f/2.0, besides focusing in the wrong direction, is frighteningly expensive. I own the Sigma 18-35 f/1.8 but that lens is HUGE. The weight isn't so much the problem as the sheer size - it's not subtle and it's not exactly a great "walkabout" lens. I'll be keeping it for cinema and rig use, but it's not really working for me as a day-carry lens. So, my current shortlist is: Voigtlander 17,5mm f/0.95 SLR Magic 17mm T/1.6 Rokinon 24mm T/1.5 Right now, despite the cost, the Voigtlander would be my pick solely for the sharpness at f/1.4+ for still photos, but the SLR Magic is tempting for video due to the low cost - although I've heard rumours of build quality being iffy. Owners of both lenses are invited to comment, please! The Rok/Samyang is interesting, but kind of large physically as well, and I'm not sure I'm sold on it's look for photos either. For cine use I have the Sigma anyway, so unless the $300 cost difference compared to the Voigt is really not worth it, I'd probably prefer the Voigt. I'd consider another speedbooster version for a good vintage lens, if the combined cost of the speedbooster and the lens are under $1k and the combo meets these specs. So, is there anything I'm missing out there in this length and speed that's a real gem of a lens, one that makes you want to go out and never take it off the camera? Thanks!

Nice, nice lighting design and sound too~ Had a similar idea for a short a while back but you guys executed much better. I thought some of the opening shots could have been a bit more refined but good effort overall.

i've got a cinelux and a kowa on the way along with the FM. I have a 77mm tiffen VND right now that hopefully i'll be able to use. Really like that thing. if not, i guess i'll invest in some 105mm (wow!) filters

Yet another manufacturer using the micro four thirds mount! I'm almost starting to lose track of how many camera manufacturers there are now with cameras in the pipeline with a micro four thirds mount! :-D (Panasonic, Olympus, Kodak, JVC, Blackmagic Design, apertus°, and now.... fps1000 too! And that is just the camera manufacturers, many many more accessories/lenses/etc manufacturers too) As I've often said m4/3 is the most robust and best camera system, it has so much more support behind it than any other mount.

Testing out lenses with the Iscorama 36 wide open. I really want that separation from the background. It's easy now with the Metabones Speedbooster EF. There is something to be said about full frame lenses used with the Speedbooster vs micro 4/3rds native lenses. Also the Iscorama is the sharpest of the anamorphic adapters, although there are still some lenses that don't do well wide open. Shot on a GH4 4K (before v2.0 firmware, 16:9). Iscorama minimum distance is around 6 feet, half that with the Tokina +0.4 diopter.

Vari: http://www.bhphotovideo.com/c/product/849775-REG/Hitech_HT105MULTISTOP_105mm_Multistop_Neutral_Density.html fixed: http://a2ztech.co.nz/shop/Video/lenses/filters/Formatt+Circular+Screw+in+HD+ND+0.9+105mm+Filter.html

Tito: Since you've been away, check the anamorphic forum for the "FM Lens module" as well, I think you might find it interesting, especially on the subject of "anamorphic on a budget". Interesting to see your contributions here again :)

I liked it very much, well done!

If it was, say, a mug falling to the ground on a busy street, and you had control of the set, I'd film the background on a lock down shot with everything and everyone faking moving in slow mo. Then green screen the object off the same camera lock down. In post you can use a twixtor type plugin more effectively when the object has clean/no-overlapping edges. Once you got that set, you could composite the two shots. You probably only want to hold a shot like that for a second or two before you cut to another... But I don't know what you're going for ultimately, so that might be a worthless suggestion ;-) Anyway, here's a fun website for cool compositing techniques. Just keep in mind, if you're new to all this it's gonna take a lot of hours in post to make it happen. http://www.videocopilot.net/tutorials/

Had a play with a LX100 this weekend, I liked: IQ is, in general, pretty good. It's not as good as an APS-C stills camera at 100% but viewed from a monitor or, I'd imagine, a small print, I doubt anyone would notice the difference. Tends to meter and white balance differently to my Ricoh GR, not sure which is more accurate. Dynamic range seems, anecdotally, ok but not great, about the m4/3 average. Either way, the zoom works well and can compensate for any resolution/detail issues as you can obviously zoom closer. I've never been a zoom fan tbh but I actually like it on the LX100 as the camera is still small with it. I also like that, as you zoom, it gives you 35mm equivalent focal lengths, so I know 'oh ok now I've shooting w/a 50mm' etc, that's useful. A note on the zoom, with the sensor having it's multi-aspect, in video you actually get, I think, a 26mm-81mm lens, not a 24-75mm (in stills). Prob doesn't make practically any difference but still. The 4k is good, no Cine-D/V which is a shame (and no log when that comes out presumably), but it's solid otherwise. The camera also triggers my wireless flash, which may not be useful to most but other cameras like the GH4 and the GX7 didn't. What I didn't like: Picture profiles for stills and video aren't separate despite both having their own menu option - set the video to a low contrast and you'll get the same for Jpegs. Obviously shooting RAW removes this issue but I found it was a shame; I often like to shoot high contrast jpeg b+w's (hence the Ricoh GR!) and it'd be a chore to have to unpick any settings for when I wanted to shoot video. The LCD and EVF are sufficient but not great. The LCD has a colour shift towards blue I think and the EVF is pretty small and, whilst useful as a compositional aid, isn't especially clear for critical work. Again, it's all fine but it's not great. The biggest issue I have is with the sensor. It starts as a M4/3 sensor but as it's multi-aspect when you take stills you end up with a 12mp (not 16mp image). You also end up with a sensor crop that goes from a 2" sensor to a 1.5" sensor. This means the sensor is practically similar to the 1" RX100 sensor vs a m4/3 sensor, and is therefore quite a way from an APS-C sensor in characteristics. This means if you zoom in and shoot wide open you still can get shallow DoF if you're in tight, but not really if you're in a wider shot. To be fair, you can't have it all and I don't have any 'problem' with it, just observing that it was always a bit of a challenge w/m4/3 sensors, and it's even more of one with the LX100. The other big issue is the lack of built in ND. I think above anything else if the camera had've had this it would be a truly great camera, but even on a rubbish London day with dark greys skies I was having to stop down to f/7.1 to get a properly exposed image when shooting at 1/50 and ISO 200 in 4k video, at least going by the cameras histogram. It would be such a cool feature to have an ND built in that would let you shoot wide open. That's what vari-nd's are for of course, and the LX100 does have a filter thread, but it's not an ideal shooting situation as the lens protrudes, but likes retracting in various playback modes, and looks quite fragile and I'm not sure how well it'd do as a throw in the bag type longevity if I was having to jam an ND on it the whole time. Video IQ is also typical of M4/3 cameras. Personally I was never a big fan of the GH4 video IQ as I preferred the naturalness of the colours from a BMPCC, even despite the resolution advantage. I'd say it's decent thou, 90% of what the GH4 can offer and obviously in a much cheaper, smaller, more convenient package. tl;dr great camera, lots of great features, 4k video, decent stills, good zoom, small and light and really easy to use. has issues that will either be deal breakers or simply things to work around, depending on your opinion.

Dr. Who? You mean the character portrayed by Matt Smith?

lucky you, it's winter here in Italy, nice video, thanks for sharing.

The future will be crazy, just crazy.

After looking at Kristoffer's footage, I noticed that in the bright blue areas, the colors that were clipping are actually red and green (at zero) creating a pure blue saturation area, but there was still a little detail left in the blue channel highlights. It makes me wonder if a yellow filter might be enough to prevent this blue threshold from triggering? You would then have to color correct.. not ideal but might work for blue LED lights and lasers!