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Here are a bunch of randoms... First 2 are Lomo, the rest are all iscorama pre36.

Deja Vu all over again. If you've ever been an indy musician all this kinda stuff gets wearily familiar. Expect it for "filmmakers" too. Lots of young people on the market struggling for a PR advantage and there will always be places like this attempting to monetize on it. Digital democracy: double edged sword. This Vimeo channel might be directed by a bunch of young earnest types, and could evolve into something useful, but I've earned enough wisdom to start with skepticism on this sort of offer. And here's a tip: If your PR video features a VO by a guy that can't enunciate and sounds like it's recorded on an iPhone, I'll take that as a clue that it's not exactly a professional service. I could be wrong. If so, good luck.

Hi guys....been away with work recently so not many posts from me recently. After a discussion with richg101 I decided to test the theory that introducing more optical faces into the Cinelux would result in nicer contrast and flares. So I mounted a 72mm cheap UV filter to the rear of the Cinelux and as you can see...it helps considerably by introducing internal reflection. It Should also help intensify other similar lenses (ultrastar etc) - although I don't have mine anymore to test. Very useful for those who are disappointed by the lackluster flares often found with these MC optics.

I get in my second NX1 camera today and it was having the exposure drift problem so after setting it to the same settings as my other one i found the one thing that is making the problem a extra menu of items with one setting that needs to be changed.. Here is what i posted on Facebook Look at the back of the camera lcd you will see a arrow at the top of the screen in the center. Tap on it and turn off auto display brightness.. that was the only other setting my older camera had changed and now with auto display brightness turned off it no longer has a exposure problem no more jumping up and down and this fixes the recorded video to..

Here you go guys. If there's a place to share this, I know it's here at EOSHD.

this looks terrible - 12 stops of dynamic range! Wait, this is shot on kodak 5219 film. but the skies blow out - but wait a second - look how they naturally blow out - how smooth the gradiation is - wait how unsmooth it is. what do we do? Do we accept dynamic range or do we fight it?

I only watched the first minute and saw that this definitely looks like a exposure compensation made by your camera, it was most clear at that door around 00:30. That " light blooming" you are referring to is that exposure shift. That is absolutely not normal behavior for a camera in manual mode. Weird thing is the camera overexposes once it hits a brighter area, if it was in automode I would expect the opposite.

​ cheers. I think the main strength of the shot is in the framing. we were walking up the hill along a path and the pathway was the perfect width for the shot. the look comes from the use of a 50mm f1.8 wide open on a apc-s sensor. - being a crop sensor the best portion of the 50mm was used and less of the edge smear at f1.8 was captured. the iscorama then provided the extra width that would normally be there with a full frame sensor, cropped. I was also pretty lucky with the light. it was just getting dark and i was forced to shoot at 1/50th sec - providing a cinematic single frame look. the processing involved just correcting wb and doing a grade in rgb curves. the scene looked very similar to this when we were there. I think I pulled up exposure on the face to make him pop a bit.

The reason why there's not a lot of info on how to get good footage straight from the camera is because lighting is always variable from shot to shot. You could set up something ideal for a building in 9 am sunlight that would look terrible @1pm. The shadows shift, there's more blacks in one shot, less in another. When you shoot with post grading in mind you source your stuff kind of generically --knowing you have flexibility afterwards. Ultimately, the most viable solution for you is to find some sort of personally-created balance on the shots to find an acceptable compromise. That's totally subjective on you, so it's difficult finding that sort of answer online. I've done this on my Lumix using STD and then dialing in my contrast and color to what I think looks best for my subject matter. The good news is that you have 3 Custom settings you can create. Using this you can make color options for 3 different scenarios you typically encounter and dial in the best color/contrast for each. i.e.: Morning C1, Afternoon C2, DeepShadows C3, whatever...

Nice tip there Hans, thanks for sharing it, that's what I got using Focus Module Isco animex olympus OM 100mm combo from different light source. I am going to try with the UV filter in the rear.

It does seem strange to have two of the same lens if working with a limited budget, but if it's when the project calls for than so be it. I would think the best idea in this case would be to get another SLR magic instead of switching brands.

​indeed. It's a rama 36 on a zeiss 50mm f1.8 I find the thing the Iscorama does best is still photography. it;s so compact and on a fast 50mm on APS-c it;s a beautiful combo. I just wish the Leica Iscorama 2004 were cheaper!!!!!

with each firmware downloaded they should take a postal address and send the user a little red sticker with a 'C' on it to stick onto their camera body...

every scene in this incredible looking movie will have been lit to accommodate for the film dynamic range. The lighting/power and associated transport will have cost more to rent than the camera and film costs. Setting up/lighting the scenes will have taken 20 times longer than shooting the scenes that made it into the movie. each scene will have looked flat and dull compared to the actual end results. i'm about to invest in some arri lighting. assuming I have 1 stop less dr on a camera, I'll light the darker areas so they're exposed 1 stop brighter to compensate. dynamic range in the context of discussion on this site generally relates to its importance when shooting in natural light. If i can't afford to add fill to a dark area, or mask windows with nd, an extra stop or 2 is going to help me out. getting a smooth image in a fast paced documentary shooting environment is a valuable asset the added dr affords.

ZF are not cinema primes, just normal lenses.

​First of all I DO NOT encourage you to do this, as you may damage your lens, don't blame me if you do damage your lens I followed Richg101 tutorial on how to do this. You can use whatever tool you feel comfortable with, I used a sort of Dremel, I protected the lens with a clean film to avoid the dust going inside the lens. Once the lips came off, I've used a grinder to smooth the surface of the cutting parts, I then cut the little iron knob to adjust the focus at the same level and made a cut in between so that I can screw in and out the knob with a screw driver, be very careful though, don't go to flat with it. Good luck and let me know how it goes. I hope it helped!

​If you need to take pictures and/or love to work handheld, a native AF lens with OS is a must.

My first test with the FM Module. This is a few BTS, I'll try and edit the rest of the video later. One note, a lot of the footage has the adapter misaligned. I had my friend take the video while I was shooting photos. He didn't tell me until later that it moved on its mount, so there's vignette and also the top of the frame isn't on the same plane as the rest of the image. First 4K upload to youtube as well, I hope it works for those people who have large monitors.

I know you don't want to do it, but the best audio solution would be a wireless lav. I don't think you'd be able to grab better audio with a shotgun in a big room. You can use a shotgun such as the MKH-416, but unless it's close to the subject it's not going to sound all that great. Cutting corners on getting good audio would be a mistake IMHO. For what it's worth, I've used the Sennheiser ew100 without any problems for a few years. Good luck regardless!

Hey, this is my new instrumental project: https://sixleavesleft.bandcamp.com/track/shadows More songs here: https://sixleavesleft.bandcamp.com/releases I hope you like it! Mauro

In my opinion they just wanted to create exactly that look. Vision 3 500 has also much more grain - obviously as 50 or 200t. And the also preserved that rough grain for a reason. They could have gone even furhter for my taste and shoot that on 16mm - would have given an even "rawer" look to it. I like it very much. It is so refreshing to see film!

". . .Particularly interesting is that Samsung will make an SDK available with the firmware update for developers to make their own apps and remote control software for the NX1, which runs from an open source operating system." Everyone together . . ."THANK YOU MAGIC LANTERN!"

This is great as Samsung Dont hang around if they smell blood in a product category and with an agressive development and iteration cycle they will get it right sooner than later. There is a lot to like with what they are doing and it just looks to get better. With Samsung being notorious spec freaks and hate getting trumped they could be hear to stay as a competitive forward thinking camera manufacturer.

The 'look' is shallower depth of field. This is most relevant with medium wide angles. You can't reproduce the look of a 35mm f/1.4 on fullframe on a smaller sensor. To get the same look (when shooting the same subject, from the same distant, with the same framing), you would need something like a 23mm f/1.0. This lens does not exist for aps-c and if it would, it would be crazy expensive. This article gives nice examples, comparing Fujifilm aps-c to fullframe: http://andrewvanbeek.com/fuji-x-lenses-and-full-frame/ It's about photography, but applies to video too. Also, full frame sensors generate less noise and typically have better dynamic range. But this isn't usually what people refer to when mentioning the full frame look. Important point: you don't need the full frame look to get the 'cinema' look, since most professional film cameras are using a S35 sensor, which is the same as aps-c. On top of that, most films are not shot at wide apertures like f/1.4 because it's very difficult to keep an actor in focus with a super small depth of field.

​I'm admittedly very new, extremely amateur at photography but I do own an NX1 with that lens. It's the only lens I've used with it (only one I own!). I like it. I can't say with confidence much more than that since I have no credibility, but there are boatloads of reviews that say the optical quality is good, the AF is quiet, and the OIS is good. To me these all seem true. I've had no problems. Even the exposure change that people are talking about hasn't been an issue with the camera--but I've had smart range off the whole time. I'm not doing tons of focus pulling or anything yet, so for the manual focus by wire I can't comment.

I can't talk from personal experience, but I've heard the samsung lenses manual focus is by wire. Setting up repeatable focus pulls and follow focus might be tricky with them. If you're shooting primarily video, you might go with the art lenses. Plus the art line can get the mounts switched so if sigma supports NX mounts in the future they could be setup for that. If weather sealing is a priority then the two samsung pro lenses are the only options at the moment. Optically either is an excellent option.

If you can't make something look good with 12 stops, nice highlight rolloff and some lights, you are need to work on your skills. That's the point you really can no longer blame your tools (and the reason I think the 5DRaw will keep me happy for a long, long time).

Ok, now I'm seriously interested. The great thing about Samsung is that they don't have more expensive cameras to protect, and they listen!

An H.264 option would make a lot of sense (with a bitrate high enough to match H.265 (about 2x)).

Very nice photos there. May I ask you guys how do I take an anamorphic photo? I mean do I have to shoot at max raw resolution? If yes, how do I go about it in post using a 2x anamorphic lens for example with a such big resolution? Do I have to apply the same method as in the video? It would be nice to hear your workflow on this. Thank you so much.

Definitely underrated. Not a person, nor living, but a model nonetheless.