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We can get a little bit bogged down with the tech side of stuff, sometimes its nice to get back to what we are all about.... images! So for a bit of fun I propose a thread of just images using models. (Anamorphic of course) Feel free to post your own stuff here, it would be nice to see different styles and techniques. Have a dig through your drives, or grab your camera and see what you can come up with. Here's one to get us started. Canon 5d markii Lomo Squarefront 85mm.

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

​ If I were a lens tech / equipment procurer for a rental house in LA I'd see no problems hitting buy it now on some of the higher prices if it means i can just buy it and have it in a few days for a client that I know would rent it, then have it in stock for future clients looking for something different. nothing else does what an iscorama can do, and for the price of a single crappy boring compact prime (a budget lens for rental to film school final productions) the iscorama is a rather amazing item. The rental houses are dictating the buy it now prices. the guys with enough time to sit at the computer and snipe are the ones who get the irregular bargains. People are paying silly prices, but probably paying with a company credit card knowing 10 days of hire will pay for the lens outright.

I like this one because it doesn't require anything placed underneath the camera like a lot of flip-up loupes do, which allows me to use a quick-release plate of my choosing (in my case, I like the low-profile and anti-twist features of the Really Right Stuff arca swiss plates).

I use this one: http://www.kinotehnik.com/products/lcdvf/overview I have been pretty happy with it, and the price was right.

Was just messing around with what (if anything) I could do with 4k video (FZ1000) on an iPad2. Surprisingly, I could import the 4k footage via Apple Lightning SD card reader. I figured IOS would downsample it to 1080 but it didn't. It stays 4k and plays back fine. The trouble is editing. iMovie doesn't support it, but a couple of other ones will at least let me import in, change frame rate, do a very basic "grade" and resave as 1080. Then it can be imported into iMovie, etc. Anyway, almost kinda cool. The iPad2 appears to be robust enough to handle low-end 4k clips, but the apps aren't there to at least do basic cutting and 4k output yet.

I guess everybody was spot on, except for that one guy that was foreseeing a 'messiah' of some sort. But I guess us mere mortals just 'got to have faith' a little longer. Or not and just go with Panasonic, Sony, Nikon or perhaps even Samsung already.

85 and 50mm are focal length were you don't have to spend a lot to get good images. The samyang 85 1.4 is the best performance/price wise, and for 50mm there are billions of cheap options. Of course you can also go out and buy a summilux-m 75 1.4 but...

The upside is that when choosing a camcorder, it doesn't really matter which one you pick. It's not a camera system like a DSLR where you need to match your body to your lenses. For anyone happy with Sony's or Panasonics' offerings: go for it! Why wait for Canon?

Good idea. This was my initial thought as well though my lens was almost brand new when I got it so not sure if it'd been serviced before. But I will try to test another EF mount lens to make sure that it is indeed the focal reducer that creates the problem.

Hitfabryk- in my tests PP4 works best in lower light conditions (as does PP3), PP5-7 in brighter light conditions. In their examples, IMO the A7S looks best in a few cases: color & noise. toxotis70- I found this test via a search. Here's the full info: http://www.keyframe.tv/wp/2014/sony-fs7-alpha7s-and-canon-c300-color-science-comparison-part-1/, http://www.keyframe.tv/wp/2014/sony-fs7-alpha7s-canon-c300-color-science-comparison-part-2/

I shooted some video clips in light festival at Helsinki, Finland. There was fire circus in the dark cold night (-12 deg celcius). GH4 has good dynamic range and I was able to get some details in difficult bright fire flames in the show. With my previous cameras the flames was usually just bright white but GH4 can capture lights better. GH4 has so many useful settings to adjust image. I used 14-140mm II and other settings was 4k 30P f3.5, ss 1/30s and iso500-iso1000. Natural profile, contrast -5, sharpness -2, NR -5, color 0. Shadow/Highlight +2/0. iDynamic Low and master pedestrial +5. I cant share clips but here is some frames down sampled from 4k to fullhd. There is some noise in these frames but when the video is playing the result is quite clean. With GH4 I can shoot with a kit lens at f3.5 in dark places, that is big improvement from GH3 http://***URL removed***/forums/post/55048456

Andrew can you please share the criteria of ranking the list? Because if we are talking about bang for buck tools for the entry level filmmaker, considering the additional gear needed to operate the cameras, the 1DC comes dead last, and the difference between dumping that cash in the camera, and using it for your film... I'd back the guy putting more money into his film.

​Not the first thing I would adjust if it's a used lens you bought. If you adjust the adapter to this lens it could be off to any other lens you attach. If you have several lenses, first check the others to see if they can focus properly. If that is the case adjust Contax Zeiss instead. Chance is that it was cleaned before shipping and put back together without checking infinity. If the lens looks similar to a Contax Yashica (judging from some potos on the net it does) it should be fairly easy to do so. Here is a link with photos http://forum.mflenses.com/infinity-tune-for-contax-lens-t7011.html The three screws let you turn the focus with the lens. If you loosen the screws some you can turn the ring without moving the lens. Rotate the ring 1or 2 degrees fasten the screws and see if infinity is in reach. Don't overdo it or you will loose minimum focus distance.

Had to pick up the Nikon ED AF 80-200mm f/2.8D from the post office today... Wasn't at home last week (still 2014), celebrating new years in London and all, so I was quite excited to get my first piece of 2015 filmmaking gear when I saw the post office notification this weekend telling me to come pick it up next work day. Wasn't expecting to pick up another little piece of Nikon gear as well... For some reason, last night I was just surfing around on the web... and then some wave carried me to a site I would browse for a bit when suddenly I stumbled upon a very very good deal (MediaMarkt is celebrating 25 years anniversary over here). The Nikon D5300 with 18-55mm II for 499 EUR with additional 50 cashback at checkout, coming in at 449 EUR total! That's a very sweet deal, considering I checked Geizhals.eu and getting this combo would normally set me back at least 628 EUR excluding shipment. I saw they still had it 'in stock' at my local store, couldn't resist and ordered (paid) one! Logged in there this morning to see if it wasn't in fact a dream and really a this good of a deal. Yup. There it was sitting in my purchase history for 449. However, I did notice they were advertising it a bit differently all of a sudden. Now it advertised the kit being 499 AFTER applying the 50 cashback, listing the camera for 549 (still a good price though). So, before they would cancel all the already placed orders (not sure if they can just do that, but I imagined they could), I just went ahead and picked it up. So a little more than 24hrs ago, I still had no idea, that the Nikon lens wasn't the only bit of Nikon gear I was going to pick up today. I've been recommending the D5300 to people looking to buy an entry-level stills camera for quite some time (can't really recommend them the 700D, now can I?) and had a secret little crush on it myself, but was never really tempted to get me one. But now that I have the 28-70mm f/2.8D & 80-200mm f/2.8D, already have the Nikon mounted Tokina 11-16mm f/2.8 and Sigma ART 18-55mm f/1.8 lying around, actually because of the aperture controle possibilities when combined with a regular adapter or focal reducer/speedbooster/lens turbo and mainly the GH4 and BMPCC; it actually kinda made sense. It will be my first steps into something bigger sensor sized than micro four thirds. Since I'm a hybrid shooter, I'm sure the D5300 will be great for me and can't wait to try it out as stills & motion camera. Ah... http://www.nikonusa.com/en/About-Nikon/Press-Room/Press-Release/i49ohklf/Inspired-Photos-with-Flair%2C-Ready-to-Share%3A-New-Nikon-D5500-DSLR-Helps-Creatively-Capture-the-Moments-that-Matter.html So let's see... monocoque structure... touchscreen... flat picture control... $999.95. Sensor... processor, AF system etc seems still the same though.

If I work on a set where the camera is on sticks the majority of the time I usually measure the distance with a tape, plus all of the other distance related info. I'd say its a good habit to keep. Depends on the shoot though. Usually one of the AC's will do that anyway. Sometimes lenses can say your focus point is 7' away when its really 8', especially on older lenses. If you're buying $$$$ vintage cinema lenses I would make sure they are properly calibrated

​Not sure which focal reducer you have but, the RJ has an infinity focus adjustment. I also have GX7 and Contax Zeiss 50mm f/1.7 with the same problem you have. RJ sent me this picture so that I can fix it. But I just didn't have time to do it. Just be careful though; mark the current position and rotate it in small increments until you are satisfied. In my case, I can focus to infinity but I just have to dial it back a bit. This is to fix it so that when the focus in at infinity sign, it is actually focused to infinity. Hope this helps.

Yes, the omission of the FS7 seems weird. I've got the A7s + Shogun, but the FS7 is clearly a breakthrough 2014 camera, whereas the 1DC is not.

Awesome! Tried with tele adapter on a Sankor 16D and it works too. Thank you so much for this thread! I think just need a wide or tele converter with 2 components,the wide and the diopter,dissasemble and use the wide one to get in focus. I would like to do this with my Lomo square front too. So,the issue is get a huge lenses with the same power (in opposite?) -10 and +10 for example,right? Perhaps here: http://www.edmundoptics.com/optics/optical-lenses/cylinder-lenses/

I have always ranked the 1D C's image in the top 10 of all the modern cinema cameras available. This was from nearly 1 year ago - http://www.eoshd.com/2014/02/video-quality-charts-february-2014/ It is a £10,000 camera available now for £5000, in some cases £3500 (James Miller and Dan Chung sold theirs for around that amount). I don't see how this is so upsetting for those browsing for a new camera in 2015. I think it's a total bargain.

the best camera of 2014 is the one that earnt you some money ......now go and buy some lenses , thats where the 'look' is really created I think some of you are forgetting this is Andrew's list and if he wants a Canon at no1 then so be it , it is his forum after all........

S-LOG on A7s XAVC-S , this codec is so good you can basically grade it how you want....... As soon as you learn and understand how to grade using RGB curves you will see exactly what it is you need to do. Two frame grabs from a project I am editing which I also shot in S-LOG A7s Iso 3200.

​DxO doesn't test 'feel' or 'general performance'.... Also, I don't think anyone can just look at color and say: camera A is better than camera B. That just comes down to personal preference and/or image processing, not something like actual bit depth. You can disagree with the 'total' score of DxO, but just click trough to the tab 'measurements' and compare all the details. An article on 'how to read DxO scores' would be helpful for a lot of people though It's important to look further than the total score and decide for yourself what is important for your photography (and photography only, DxO Mark is completely irrelevant for video).