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As a twist of fate would have it, found a used 1D C for £4999 and it arrives Tuesday. C U next Tuesday 1D C Now we will see what it's really made of vs the A7S and Shogun.

​Nahua, when I get more time I will show you how I did it, I will post some close photos on how I clamped the sankor to the FM, meanwhile I did one more video test.

http://youtu.be/-xMDxeos-QY Some 120fps stuff mixed in and more gorgeous New Mexico.

​Ok, so this is what I've come up with so far using what bit's I had lying around. Basically this setup allows light-proof and hard linkage between the taking lens and the cinelux rear, yet allows free spinning of the VND in the middle section of the ring assembly. To make it work you need to get a cheap double threaded CPL filter and remove the glass. This give you a rotating double threaded filter (in my example 72mm). The purpose of this empty spinning filter is so that the VND can spin freely when coupled together - without unscrewing itself from the other rings. Then attach a double threaded VND filter (in my case 72mm Cokin 'Slim Pure Harmonie') to the empty CPL filter. The cokin VND has a front female thread of 77mm (other VND's may not have a front thread but this one does) Attach that to a 77-72mm step down ring....Then screw into the FM cinelux 72mm rear thread adapter ring. Once assembled and all rings tightened together properly - it gives a nice VND solution that is sandwiched between adapter rings. In my case I am using taking lenses with a 49mm front thread, but that step down from 72mm can be whatever is needed. The distance between taking lens optic and cinelux rear is just under 30mm - which does not seem to cause any vignette issues when shooting 85mm + with 4:3 ML raw on canon 5DmkIII. It is a work in progress, but does allow your favorite taking lens to be 'hard' attached to the FM lens if you want. So the whole setup can be treated as if a monoblock design. The cool thing is the taking lens can twist into the lens mount as normal, as the linkage to the cinelux will allow rotation. If I were to be using a non-cinelux type anamorphic inside the FM, I suspect a good solution would be to simply have a VND screwed onto the taking lens - with a rubber lens hood attached to the front thread of the VND. This would allow a bit of light-proofing of the join between taking lens and anamorphic rear, without hard linkage or screw fitting of any additional rings.

thanks guys- really nice to hear. The outdoor shots because I didn't have ND for the lens I went to a f/8 on the lens and a 1/1000 shutter - bright bright daylight - shooting at 100 ISO - made it too sharp. Yes it looks no different than c log when you see it ungraded. Shooting at minus 10 contrast (on the camera) and -35 contrast in the wondershare transcode is quite amazing looking. This is a super clean looking image at 800 ISO. Even 1600 ISO looks great. I am excited to sit down in the my studio and do some tests with in camera vs post saturation to see what feels better. Also the newest firmware update does improve the color science and seems to make the auto white balance more responsive. And need to play more with different IMPULZ luts profiles. I'm editing the 4k files on a mac - in final cut pro 7 then taking into resolve. The rolling shutter in 1080p - I haven't tested this mode yet. I assume its doing an in camera down convert so I would hypothesize that it would be the same. I haven't done a formal test on rolling shutter but I rate it around the Sony A7S mode in full frame or maybe the Canon 5D Mark II around - just with my eyes. But again, rolling shutter can be stopped by making the camera a little bigger w a base plate like a zacuto rod system. and also my holding stance is pretty poor. I got away without having to shoot with a Canon 5D Mark II - I never learned the technique as well. Also this was my first shooting test - I just opened up the box and started shooting. My next video that I've been shooting over the past week - hopefully it's less shakey.

here's my first test film regraded - raised blacks. Reconverted properily in Wondershare. Thanks to all your feedback:

The other thread on the forum about whether to buy GH4 or LX100 pushed me to do a test about this skin tone issues I'm having with the GH4, which I bought a few days ago. I don't think the GH4 is a stinker, by any means, but I do believe there are color differences between it (the Live MOS sensor) and Canon/Nikon/Sony cameras (CMOS) that cannot be color corrected away--at least I can't do it. Obviously, skin tone is subjective. It may be "in my head" so to speak. Anyway, I used Andrew's C1 setting and then corrected best I could in Sony Vegas 12 Pro. I hope to do more test later, but for now, this test shows, at least to me, the "issue" (which may not be an issue to you, quite the contrary, I can understand why some would prefer the GH4). What I can't take away from the GH4 is the 4K gives me REAL 1080 in sharpness--love that!

The Interview has now got a limited release and is expected to be shown on Sony owned VOD channel Crackle. With the intervention of the US government, Seth Rogen is now the poster-child for freedom of expression. First of all Crackle's the wrong place for this trash. Comedians in Cars Getting Coffee, Jerry Seinfeld, that's the Crackle target audience, much better. Their regular audience is not dumb, not one whooping at butt jokes, jokes belittling race, jokes belittling gays, jokes encouraging bullying and racism in the guise of humour, which essentially is what I think The Interview boils down to, in a similar vein to The Hangover Part 2. "I do not agree with what you have to say, but I'll defend to the death your right to say it." - Voltaire "When the monkey nibbles on the weaner, it's funny in any language" - The Hangover, Part II What I discover when I talk to the mainstream about these films and Seth Rogan's brand of humour is that so many people just don't spot the jingoistic nastiness in these films nor the blatant racism. This really baffles me, why can't they see it? Perhaps they've never travelled or fallen in love with another culture that isn't their own. Different cultures have different sensibilities. What's not offensive to Americans might be much more offensive to everyone else. When a country is trying to improve ties with a rogue state in order to diffuse tension and to eventually shut down their nuclear weapons programme, the last thing you want is a film like The Interview and the potentially unpredictable consequences, not least for Sony. Creative freedom is worth defending, the question is whether the 'creative freedom of Seth Rogen' is worth defending? Look at the early reviews for The Interview & the trailer, it's not hard to work out what it is. There's plenty of nasty passive aggressive stuff in it disguised as humour, pointed out in these reviews from people who HAVE seen the film - "Kim loves basketball - with the hoops lowered so he can dunk" "Much is made of Koreans rumoured to be starving to death." "Franco mugs shamelessly to make sure we understand that he's being funny, which he's not, and the script as a whole turns a satirical - or at least farcical - premise into sour buffoonery." "It feels as though the filmmakers targeted North Korea, one of the world's least-loved countries, because no one important would object to their mocking, almost sadistic treatment of its leader." "If the would-be butt jokes and gay jokes were funnier, I'd be willing to let it slide, but they are not." It's the ultimate sign of our times that this is now a film President Obama has ended up defending, championing it as an example of freedom of expression, but then he's been put in a difficult situation as well. If he rewards the hackers by backing Sony's original decision not to show it, more hacks and cyberterrorism will be encouraged because they will have the scent of a reward, an incentive to try. If he does fight back and reverse Sony's decision to show the piece of trash, that's hardly a "win" for anyone either. The political circus around this is more ridiculous than anything because it implies that under freedom of expression, filmmakers have no responsibilities whatsoever. We do. We can't be as offensive as we want with a major release and cause dangerous diplomatic tensions under the banner of 'creative freedom' and butt jokes. With power goes responsibility and Sony Pictures need to take some responsibility for the mess and damage as well rather than blaming it entirely on North Korea. It's not fair to say "it's only a joke" when there's undertones of Western supremacism all the way through the film. The joke about the basketball hoops needing to be lowered isn't about North Korea, it's about a race of people, that the filmmakers get a kick out of portraying as weird small people who speak funny...guys this isn't humour, it's bullying and something that reinforces plenty of real world bullying in every school in the west. The Interview was always going to be a blatant publicity stunt designed to stir up a diplomatic rift between the US and North Korea and Sony should never have green-lit it. The irony is The Interview is exactly the kind of trash Sony producers in the leaked emails were so keen to stop doing. Finally, here's a quote from the review in Time Out New York - "The Interview confirms Rogen as the most ambitious mainstream comedian in Hollywood. In the unlikely event that it proves to be Sony's downfall, at least they'll go out with a bang." Not so unlikely... and really? Was it all worth it for some crass jokes at the expense of Asians and gays?

I just got mine. Man this thing is huge and heavy. HUGE! The biggest problem I have is that the anamorphic is a stressed member. The clamp they include has such a small footprint, and it's the only thing holding up everything. With the rotating front section, it makes it very difficult to support it all. And that rotating front section - damn the travel is so long. Again, hard to put a lens support when it travels that much - maybe an inch and a half travel? I got an Isco Bluestar so it works well, but I can't imagine putting in a Sankor or Kowa. Now I understand why Cosimo had to drill the aluminum tube piece - otherwise I can't see how you'd secure the small size of the other anamorphics. I'll be doing some measurements and seeing if I can get some support for the Kowa, but for now I'll be shooting with the Isco. I might get a Schneider just to compare which is better. I really wish they found a way to make the inner section longer so that you can use it as the stressed member, not the anamorphic. Overall build quality is good, but the front cap doesn't fit well and I have to use gaffer tape to secure it. For a first run I think this thing has a lot of potential. Did I say it was HUGE? LOL

I've received some messages about the setup and thought it might be helpful to post this. This is the new non-cardboard housing. I'm waiting for my 77mm achromatic diopter to arrive, and will post a new test once I get that. (Hopefully this particular achromat is good quality... it's both well-reviewed and fairly cheap. Will talk more about that once I get it.)

Thanks for the votes. Another thing I was thinking when walking is Andrew's C1 has Hue at +2. I'm going to put that at zero and also do another test with the GH4 at "natural" which I think looks good and might be much safer than Cine-D, at least in my hands! Again, love this camera otherwise, so if you guys can help me get to the bottom of this I would GREATLY appreciate it!

One more vote for the GH4.

​Lovely as always Artiswar, how did you manage to use an Helios 44 58mm? I guess A7s in APS-C mode. I love the colors and the dreamy look. Thanks for sharing.

It's definitely not as good value for money at £7k new as the FS7. It's not as good value as the NX1 or GH4 if you just want 4K. My reasoning was... £4999 was a good price so hard to turn down, compared to the £10,000 it was new just a few months ago, and it will replace quite a few of my stills cameras, especially the 5D Mark III so can use it for that quite long term, and it would be a great benchmark for a lot of other 4K cameras and the A7S with Shogun. Plus sometimes it is nice to use a camera just bare bones without the recorder especially in bad weather, the Shogun isn't weather sealed. NX1 is good for this too but you need to transcode and keep it under ISO 1600, plus I have such a lot of Canon glass I can't control the aperture properly on it with. Part of me thinks I should have just got an FS7!! But I do love the 1D C's image and stills.

I am using the Rocky Mountain Converter on my fast PC it is almost the same time as watching the clip to convert it. I am about at toss 45s gig at it i shot today. Will need to order more HDs soon.

​Wait a minute I thought opinions on this film here were closed to those who haven't seen it.

​Hans thank you for making this video! OK I'm not so scared now. I definitely understand how to do this. Now I can take my Sankor apart hehe.

​This is why you want to get Andrew's GH4 guide The simple answer is, if you're going to end up in showing in a 16:9 aspect ratio stick to UHD. And @Matt, look in your wallet, if it's empty you're running out of space on your SD card :)

​Both have the same 100% sensor image. C4k has more pixels horizontally so you can pan in post more. If you dont use or want the wider image the UHD has little compression benefit. UHD has also framerate benefit of 30P.

Saw this last night and while it wasn't as bad as how people were saying it would be it was definitely watchable with a a few decent laughs here and there.

Hey guys! I stumbled upon this thread while researching tricks and workarounds for single-focusing anamorphic lenses. Initial searches brought me to the "Fokus|Automat" project: Technically very impressive, but bulky and seemingly complicated... and it appears to no longer be in development. Later I found this thread and was inspired to have a try at focusing with a wide-angle adapter. I received my 0.6x Wide Angle Adapter yesterday and came up with this short test. Setup: Blackmagic Pocket + Metabones Speedbooster + Jupiter 85mm f/2 + ISCO UltraStar 1.75x + 77mm Hoya +4 macro filter + 82mm Cavision 0.6x wide angle adapter (More details in video description.) Stretched from 1920x1080 to 3360x1080 in After Effects, then exported at 1920x618. Currently I'm looking for a large (77mm / 82mm) achromatic diopter, which I hope will minimize chromatic aberration and sharpen things up a bit. Thanks for sharing your experiments here!

​Nahua, I haven't drilled holes to the FM itself, but to the metal tube that came with the FM (see the attachment photo), I am sure if I showed you a video tutorial you wouldn't be so scared At the end of the day only I did was taking the focus ring apart with a little screw driver like Hans said, the little screws came off easily, then you need to unscrew the 2 rings, once the rings were out I decide to put a little plastic bag around the sankor, cos was quite greasy, I went with some tape around it to secure the plastic wouldn't move. Set the Sankor to infinity by pulling the top part that moves all the way up, stopped it with more tape and infinity was fixed. After that half of the job is done, you have to find your way around it to clamp the sankor. I was lucky to have the right stuff with me. I used 2 redstan clamps , one actually is a filter clamp, ( see the 2nd photo) I put the sankor inside the FM, and from that I find my way to clamp it. The end part of the sankor was sticking out, good, so I had room to work on it, so I set the metal tube inside the sankor, then I took the black filter clamp and that went right around the metal tube, drew with a pen through the filter clamp's holes to be drilled into the metal tube,I took everything out , drilled the holes into the metal tube, I put back inside the FM, the black plastic screws now went right through the metal tube , they reached and stopped the sankor in the right position that was inside the metal tube. After that the only part I had was just the end part of the sankor sticking out, so I took the other redstan clamp the red one and I attached it to the taking lens. I hope this will help everyone with a Sankor, please forgive my english.

​That's a big shame really, as I don't have any need for 6k IMAX, 14,444 ProRes and 400,000 FPS. Lame update. When it says "Nice Shot", does it ever say "Really Shit Shot"? I was hoping for a built-in lighting setup on the sensor, where I could touch and drag up to 5 different lights and boost/decrease the ISO in my chosen areas. There would be no need for proper lighting anymore, or dynamic range. I wish everything was artificial.

new firmware is on my nx1 - was so simple to install. It has enabled 6k IMAX recording and global shutter and 14 444 pro res files and slo mo up to 400,000 FPS and made the camera say "nice shot" everytime I get a good shot. I highly recommend upgrading.