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https://www.dropbox.com/s/oa3tmrtw8d3stn6/Screen Shot 2014-12-22 at 9.43.18 PM.png?dl=0 https://www.dropbox.com/s/6v9z5z6eim4kc88/Screen Shot 2014-12-22 at 9.42.56 PM.png?dl=0 https://www.dropbox.com/s/9rcnqo8etwrcwfh/Screen Shot 2014-12-22 at 9.43.27 PM.png?dl=0 Screenshots and the video should be live below shortly.

looks like 'Real anamorphic'. Like real lenses shotting on 4 perf 35mm film. the locations are wonderful. And the weight of the entire rig appears to be translating into a rather solid look to the handheld shooting.

I've managed to fit the Sankor 16D inside the FM.

Biggest part of the year for me is not getting sidetracked by the latest technology, and just shooting most of my stuff with what I've got - a GH3 and loads of FD & M42 lenses (and an SLR Magic). Not a single complaint by any client. ideas made this successful, plus hard work and preparation. Next year will see a few major upgrades technologically, but again, strong ideas and creativity is the No.1 focus. Always.

Yeah MPC-HC can play H265, but it needs CPU power. I downloaded the UHD files from imaging-resource.com when they first came out. My i7-3770 can play them, but all the cores are used up to 100%, and the playback is not perfectly fluid. I don't have a dedicated graphics card, but I guess it wouldn't help. EDIT: just downloaded the newest 1.7.7, they made a huge improvement in HEVC playback. Now the core usage goes up to 60%, and NX1 UHD plays perfectly!!

For me it has to be upgrading my cameras. I got a BMPCC for £366 in the summer sale and a GH4 for £899 on black friday weekend. Together that's the same amount of money I paid for my D5300 and G6 a year ago. But I've moved from two excellent enthusiast hybrid cameras to two professional video cameras. It really has been a big and worthwhile leap for me - not least because I'm done buying and researching cameras for at least a couple of years now. I'm going to focus completely on making actual films for people other than fellow camera boffins. That's the big moment for me. Merry christmas and a happy new year everyone! I hope 2015 brings good filmmaking to you all!

Hans and Rich, So interesting that you picked up on the weight. That has always been a huge part of this whole DSLR takeover for me. Adding weight makes SUCH a difference. Thanks for all of the compliments! Stoked on what I'm getting out of it. Being in New Mexico definitely has its pluses.

Great stuff Jesse! If I did not know different, I'd be assuming this was shot on 50 and 80mm Lomo Anamorphic. Also agree with Rich - rig weight is such a great thing as it translates into a more filmic aesthetic. No wobbly headache inducing microshake Cmount baby anamorphot here!

just one word, ​marvelous!!!!! it looks very cinematic, I love it. Thanks for sharing

Good ambition. You're onto something, you just need to refine it. I also did sketches (a looong time ago) for fun. My ideas and my comedy were pathetic, but the process of making mistakes while filming was invaluable. My advice is this: you're trying to fix the wrong problem. If you want your work to look better you need to worry about a bunch of other things before lens selection. And, honestly, a slightly wide lens is ideal for comedy stuff. You're already set. I'd fret most about lighting and knowing how to create strong balanced exposures on subjects. Your lighting is uninspired and kind of distracting. If you can't learn to do it well, maybe hire someone that can...or is at least willing to try hard to figure it out. It's heavy lifting, so you need to love the challenge or find someone that does. I can't emphasize it enough. The thing that separates good shooting from bad shooting is not the gear, it's using whatever gear you got with the right light. Good shooters chase good light or make good light. They combine it with numerous others imaging skills to make something special. This is why, in filmmaking, you'll see a talented 17 year old kid with an old Canon Ti making films incredibly better than some camera-gear-head with a brand new [insert latest expensive and popular technical camera here] and every lens at his/her disposal. The deal is simple, if you want to get better than everyone else running around with a great camera these days (aka: everyone with a vague interest in DSLR/mirrorless video), then get better where it actually makes the most difference. No lens can salvage a poorly lit frame. And in case it needs saying: exposure is not about pumping enough light into a shot, it's knowing how to place or remove the right amount of light where it needs to go for pleasant shots to result. It's like music. You don't make nuanced music by playing a cacophony of relentless sound. Good music happens in the space between notes. Lenses? A very important tool, however they're only a part of everything --And this only addresses the simple technicalities of production! Governing the artistic performance side of it all is another consideration altogether...and your camera is one of the main characters! ...Of course, you could be like many and just buy camera gear as a catalyst to some creative motivation. I've done it...

I spent the past hour trying to find a person to reach out to, a contact at Samsung Cameras, a pr person, to talk to about some changes for the NX1 - has anyone had any luck? Here's suggestions I have: 1. Enabling uhd in 24p in NTSC. They have it in 25p in PAL, but to NTSC users - that would be amazing. 2. Also a flat, log-like profile for video like slog2 in the Sony A7S. 3. zebra control - seeing what IRE value it's set at.

​This makes me happy and sad at the same time. Nice that you made it fit. But the work that went into it...damn. I really hate taking apart lenses, and this looks like a nightmare for me. Please post some tests. I'd really like to see if it's worth hacking it to fit or just going the Isco/Schneider route. BTW Cosimo thanks for all your hard work - deals and hacking!

​I am sorry, I do all my video work on PC(I used to be a Mac guy).....sooooo much cheaper

https://www.youtube.com/watch?v=9KvdklMpGLE Atomos Shogun + GH4. I've been looking around for images shot from the combo. The image looks really clean even with Youtube compression.

The way it usually works is they have communications managers with a sub team and they gather feedback per region (Europe, US, Asia, etc.) even per country and filter this back to the base, where the Japanese or Korean engineers work to prioritise and finally implement the most requested features so it is very much about consensus. What they really need is a guy like Steve Jobs using the products at base and whipping the engineers into getting it right, based on his dictatorship. Sony and Samsung should simply hire 1 guy and as long as he's the right guy (filmmaker AND technical) they will dramatically speed up the process or improving & designing their cameras. You only have to look at the basic handling flaws and imperfections present in all cameras to see that the design-by-comittee isn't working. And they spend millions on extra staff to collect all this feedback For every good guy giving great feedback like Ed there is the counterweight of some idiot giving bad feedback or irrelevant feedback, like "this dial needs a lock because I'm too idiotic not to knock it by accident in my bag then not check it before shooting!" Or "video is a waste of time, move the record button the shoulder on the A7!" Having said that I do have a contact at Samsung responsible for collecting feedback so I'll send him ours.

​Ok, thanks It's working now

Seeing shadows cast by the moon in this A7s video will I reckon stick in my mind for a while to come:

Apart from realising I would like to try and shoot video of live bands in addition to stills A) getting a Canon 24 3.5 TS-E lens and using it on an A7 and B ) an hour ago when my A7s turned up!

​I wish they actually tried different lenses to see which really fits. I saw the demo so I kinda knew I'd have to get an Isco or Schneider. Still my anamorphic collection is growing. I'd really like to pare it down and I sure hope the FM works well.

​Database has switched to UTF unicode character set so yes some characters have been corrupted. You can edit your display name. Try putting the ñ back in and save the name. If that doesn't work let me know on here and I'll edit you in the admin panel!

- RIP http://www.bbc.com/news/entertainment-arts-30582761 Coincidentally, with no key on his illness, I had been watching the video of this concert earlier today: Truly sad... : (

I also bought the Tokina 28-70 2.6 as Mr. Lee considered (his suggestions are priceless - thank you very much!). I immediately liked the lens very very much. And it is a wonderful match for the Isco 54. This combo brought me back from small gauge film to have some (much cheaper) fun with my "old" GH3. This brings me to a point: There are so many discussions about 'filmic' look and the lack of it - particular with the GH4. I also think the GH2 looked better than the GH3 but maybe I will buy the GH4 as this Tokina makes me trust more in the lens for some look instead of the camera. So with all my old lenses (Canon FDs, M42's) it could be possible to have a nice and warm look (or whatever filmic is...) with such a modern camera like the GH4 or am I totally wrong? Again thanks a lot for all the great infos! PS I thought the Tokina is an old lens - but mine (I bought it from ebay) was sold new in a store last year (according to the bill in the box)?!

New Mercalli is so amazing that we can almost forget that the rolling shutter exists in 4k cameras. Also easy to get tripod-like shots and pans handheld.

The Hawk in the photo it's huge and expensive, FM it's only heavy ,​ you are welcome Nahua.

Dismantling the Kowa (or similar) to fit inside is far from ideal - but can be easy to do and straightforward to reassemble without incident. The most important thing is to use correct sized screwdriver - and not to loose the screws! I think it may have been optimistic of the FM makers to state compatible lens brands to fit inside - it is far better to follow the maximum 71mm diameter rule. Some digital calipers (cheap) to check the widest diameter of the anamorphic beforehand would be a good investment to those who may have a selection of lenses they might want to try inside the FM housing.

yes it logged me out - Im back in all ok

for utmost resolution you wont really gain anything better than the slr magic lenses you currently own. particularly from 135mm format lenses like the contax g series. this is because the contax leses are designed to deliver their resolution onto a 35mm frame so you'll only be using a small proportion of that area. a good investment would be a speed booster since this will compress more of the optical capabilities of contax zeisses into the smaller area. -and will equal a higher resolving power onto your m4/3 sensor. the resolution benefits depend on the quality of the optics in the speed booster so I would suggest waiting for the ultra version in m4/3. this in combination with a zeiss 50mm f1.4 will outdo the contax G 45mm in resolution terms, and will allow you to run at f2.8 rather than wide open for the same light transmittance and with a slightly wider fov than the 45mm on its own. £1000 should just about buy a 50mm f1.4 contax and a speed booster ultra..

  Not all the users of this forum are doing commercial work for clients. Some are doing creative personal work, some are shooting features, shorts, documentaries.  Personally I'd rather try and push the envelope and get a more unique look - with anamorphic on a full frame camera, in low light and with S-LOG for a fraction of the price of the C100. Though I can fully see why you might not want to do this on a commercial for a bank. Feel free to setup a new topic about that.

  Yeah you're wrong I'm sorry! Right from the start of the blog I was more of a Panasonic user because the GH1 at the time did video properly, and it was more accessible / much cheaper than the 5D Mark II.   Canon slipped ass backward into DSLR video, and whilst proclaiming to be great supporters of independent filmmaking and creative consumers with higher than average knowledge, took DSLR video out of our hands and decided to start charging $15,000 for it.   And indeed, when I haven't got an axe to grind, there's not much point covering their newest releases because they're so boring anyway.   Not just in terms of video but stills to.   Let's discuss the G1X Mk II vs LX100 shall we?   The G1X Mk II is such an awkward, ugly, minimal effort by comparison... it's almost like they don't care.

If I had to guess, I think Andrew is always slating Canon because he loves his gear and the technology - and Canon have held back when everyone else hasn't. Because his site is named EOSHD and he owns lots of Canon lenses, he is frustrated with the company who were a great influence in starting this blog (I might be so wrong). The C100 MkII seems awesome for it's purpose. Anything more and you are looking at an FS7 (much more suited to my type of work). Cameras like the A7S and the GH4 are not 'alternatives' or 'better' than the C100 MkII because they have more impressive specs. The C100 MkII is a totally different tool for a people who need it's features and nothing more. I still make a living from my GH3. Nobody ever asks what camera I'm shooting on. They comment on the ideas. Just make stuff and use the most appropriate and helpful tools you can get your hands on. :D

For the price of C100MK2 one could get a much better Cine kit with: Sony A7S Body $2,499 Metabones EF Adapter $399 DJI Ronin Stabilizer $2,999 This setup will significantly minimize rolling shutter, lights investment and provide a better post experience with a 4K upgrade option for the future. Plus, you can swap out the body for A8S or 5D4 when it comes out for example. Much more modular.

Hmm. A feature - shot using lights and graded to who-knows-what degree - then uploaded to youtube. Not the best situation for assessing image quality. You could tell us this was shot with a GH2 and we'd hardly be able to dispute it.

For the record, I sold my C100 and 5D3 and went with an A7s and A7r. Way happier with the results for stills and video. I'll have a review on my site next week that I'll share here

This camera is not a good sign for 5Dmk4 :(