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Hi everybody. I was at CES today and at the Samsung CES booth where they had some NX1 cameras mounted around a photo booth with a couple of models in a living room setting. I happened to notice that the Samsung people did not have the NX1 SD card slot glued shut so I slipped in my own SD card and made some video using the Gamma Normal, Gamma C, and Gamma DR profiles that is in the 1.2 pre-release firmware. I thought that I would share them with all of you. Before I made the video, I performed a RESET ALL on the camera so I would be shooting with pristine default settings. Attached are the screen grabs of the video playing in KODI/XBMC of my MacBook Pro. Take note of how the black colors in the picture frame that is on the bookshelf to the left of the model's head perform under Gamma DR and Gamma C, and Gamma Normal. You can get the raw H.265 files from my MediaFire file share: https://www.mediafire.com/folder/63s4q7yuwp7nk/CES2015_NX1

Here are stills from my upcoming short film "Dueling Alphas". Shot with GH4 4K (firmware 1.0) with Iscorama 36.

I just tried the UV filter in the 50mm super takumar prime lens and mi cinelux 1 with FM is MUCH BETER AND BIGGER flares, thank you Hans for the advise.

Great fotos and stills! Although I am the worst photographer on the forum (internet?) I dare to post some images Canon FDn 50mm (plus cheapbooster) and mighty-little-8mm Moeller Canon FDn 28mm and 1968 Exakta Iscorama Schneider Kreuznach Optivaron and late 70's Iscorama 54 (obvisously not MC)

I'll do a detailed image comparison between the 1D C and A7S soon on EOSHD so look out for that. Even after owning the 1D C I can't argue with some of the ways the A7S is superior, but most of those relate to it as a 1080p camera. When you rig it up with an external recorder for 4K it becomes something rather different ergonomically. It isn't a small mirrorless camera with EVF any more. In fact you can't use the EVF at all whilst it is outputting 4K. It just didn't deliver what I needed. The screen visibility and battery life of the Shogun became a pretty big issue for me, whilst as a 1080p camera I had neither problem, at least with the battery grip and a few spares! So here I was in a predicament. The Shogun on the one hand was a fantastic piece of technology and I'm going to get some more use out of it for sure, once I solve the issue of seeing the screen outdoors and powering it properly, and the ergonomics of rigging it to such small cameras. But the main predicament was that although I had quite a few beautiful images coming out of the various cameras I owned, they all had practical flaws. I wanted the colour, dynamic range and full frame loveliness I was getting with Magic Lantern raw video on the 5D Mark III, but the file sizes were even larger than the 1D C for plain old 1080p. Reliability also an issue, I found the 1000x komputerbay cards kept going through slow phases (possibly due to file system fragmentation) and especially at higher ISOs the recording would keep stopping. The problem with 1080p is it isn't a future proof format. It will be consigned to the dustbin. Not like Super 8 or 16mm or film which creep back over time for their artistic qualities. 1080p will just go to the grave I feel, like 720 and SD. If it comes back as a retro format it will have a particular look like VHS in the future and so be very niche, not like super 16mm film which is more flexible in the way it looks, so can be used for a broad range of filmmaking even in 2015. The NX1 and GH4 shoot 4K internally but their images are a little too compressed. The NX1 holds onto a lot of fine detail but doesn't have a grain character to speak of in plain shaded areas. However the image isn't so much the issue - it is the lack of active Canon EF adapter to NX mount and the lack of low light performance once you get past ISO 1600. I will still be using my NX1 when I need the smallest file sizes and super 35mm sensor in good light, and the upcoming firmware will be very interesting. Good b-cam. As is the GH4, will be keeping that, just not for low light! The A7S ticked the most boxes overall, great in low light, S-LOG with minimal banding, but the need to shoot at ISO 3200 in bright light using strong filtration, the need to add a lens adapter for Canon EF lenses that still doesn't always work right, the need to add the recorder for 4K on a wobbly HDMI cable... all this weigh heavily against it for my purposes. So to the 1D C, now at around the same price I can sell my GH4, 5D Mk III, 5D Mk II and 7D for which effectively it replaces (although I'll definitely keep the GH4 anyway) it solves a number of problems. First it replaces the 5D Mark III as a stills camera so I can finally get rid of it. It shoots 4K internally and is weather sealed. It has a native mount compatible with my best glass. It works well with the IS on my Canon lenses and no bugs. It is ultra reliable. The image maintains a fine noise grain. It is capable of matching or maybe even exceeding the dynamic range I had from S-LOG2 on the A7S and ML raw on the 5D3. It has colour which is easier to get right from the flat profile (Canon LOG) much like the D750, so takes less work to grade. It especially has better colour in the standard rec.709 picture profiles. It has less moire and aliasing in 4K than the A7S to external recorder, possibly due to stronger OLPF. Yet it resolves the same amount of actual real detail minus the false detail and 4K is enough detail to last me almost forever anyway. It lacks the niceties of the mirrorless cameras though but makes up for it with heft and build quality. No EVF but I've added one without radically changing the form factor or adding too much unbalanced weight. No peaking or focus assists whilst recording but again that is solved by adding the EVF. No mirrorless mount so I can't use my Cooke PLs but these don't cover full frame anyway (so corners would likely be soft in 1.3x). I will use my NX1 for those. Very good internal 1080p in Super 35mm mode and to Ninja Star, but the full frame 1080p isn't as good as the full frame 1080p from the A7S. Those are the things I miss and the banding can rear up sometimes especially at low ISOs in C-LOG but generally I feel there's some logic behind it now at £5k, whereas there wasn't before with so many promising other cameras that I thought would supersede it. They haven't. And the main logic failing of the 1D C was always the price not the image, and the fact they didn't add enough video bells & whistles.

download doc from here http://www.transferconvert.co.uk/cinemania/HOW SINGLE FOCUS ANAMORPHIC ATTACHMENTS WORK.pdf

KineMINI just keeps on giving... http://www.robbannister.com/modified-speedbooster-for-the-kinemini-4k/

On my first shoot with the Sony FS7 - I was very impressed with the image out the camera and the ergonomics, but I was very disappointed with the performance of the firmware. It was slow, glitchy and hard to use. (The video is out Jan 29th - edit this week). I chose the FS7 again for another shoot as the client was adamant on 4k and slow motion. I agreed and received a brand new unit from my rental provider. Things were a bit different this time, as the body had the extension unit and battery bolted onto the back, plus a Vocas railing system underneath. I chose ProMist filters to diffuse the skin of our lady pop star with a matte box, locked off on a Satchler tripod. I shot the video in XAVC-I 4k 25fps and slow motion in 1080 150fps, SLog3. I had plenty of lighting such as Kino Flo, Arri and Dedolights so I could light the vast location which was a decadent seaside theatre room. I have to say, the dynamic range wowed me even more. Lighting the large interior was a smooth process. Detail is very impressive. The zebras and peaking are very good. Noise looks minimal. Motion cadence however does look a little 'video', although I can't judge this fully until the grade. Handling the camera was fine on the tripod, as expected. An annoying issue with the extension unit is that it gets in the way of the HDMI port. You have to really force it. We didn't get it to work in the end. May have been an issue elsewhere, so we used the very good LCD throughout. Firmware wise - the camera performed better than before. I'm not sure if the unit before was a bit faulty, as it was slow and crashed a lot. Still - it wasn't as responsive as I'd expect. The menus are dreadful and over complicated, it takes so much time just to change the most simple settings. As a user experience - the firmware performance and user experience is very poor. I've got used to it, but it really does need a complete overhaul. The button layout on the side of the camera is also slow and fiddly. They really need to come up with a modernised way of button layouts on these types of cameras. Finding where to play a clip was a nightmare, until I found a little button called 'Thumbnail.' Not the best name! Another issue was the Speedbooster. Changing aperture on an EF lens was terrible, as the aperture setting would go crazy and go from f2 to f16 with a slight dial. Metabones and Sony need to chat. With these issues aside, the camera is great to shoot with and delivers a lovely image. It makes the FS700 look like a toy. For the money, it is fantastic. I much prefer using this camera compared to a RED Epic and Blackmagic CC. I do miss the quicker setup times with a DSLR/DSLM camera, but you gain quality features for a better picture. I will definitely use it again and can't wait to edit the 2 music videos I've shot. When they are released, I will share! Here is me and the camera:

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.

​Push-pull lenses won't work well with a matte box and rails for a few reasons: 1. The length of the lens extends and retracts causing a shift in the matte box relative position and requiring a reset each time you change lengths. Also accidental fast zooming can break glass filters as the lens' forward extension can put significant pressure on them. 2. The lenses typically cannot be used with a follow focus because the twisting action of the focus can cause the zoom ring to slide and thus change shot framing. Also you can't put a follow on the zoom if you would want to. 3. Most push pull zooms will if swung around slightly or significantly change the zoom position over time. This is unsuitable for anything but dead level static shots. 4. The finger position required to control zoom is more difficult with rails in the way than with a ring and adding a follow focus to the mix only makes changing your focal length even more of a pain. These apply even if you treat the zoom as a series of primes "all-in-one" so to speak. In short, it can be done but in practice they are usually such a bundle of frustration for a cinematographer that it's not worth it.

​That's totally overkill doing it to ProRes 4444. Use a 1 pass encoding to ProRes LT!

​If you would've check their website... it says 'This is the new updated version which has been strengthened to assist operation when using with the Anamophot, anamorphic adapter'. Optics are probably unchanged, but the housing might allow for better mounting of a clamp adapter. I'd 2nd the mention of getting a 35mm as 2nd lens to shoot with.

There is also Catalyst Browse form sony, you can try it, it works well and have some unique features (transcoding to Prores , WB correction, etc). You can also make your own LUT with this program and export as .cube file. It will work with any program, such resolve, speed grade, Premiere, FCPX and LUT utility etc http://www.sonycreativesoftware.com/catalystbrowse

​Carl Zeiss Jenna 35mm f2.4 is a Flektogon .....its a great cheap lens that everyone should have .....its does the job and edits in well with A helios 58mm f2

​I saw one on ebay 2 days ago for £120 !! 24mm 28mm 35mm 50mm 85mm 105mm Thats a great nIkon set to have or just get a Nikon 28-70mm f2.8 IF ED (the Bourne Lens) it covers most of the above in one lens......if it good enough for The Bourne Ultimatum .....its good enough for you and me!! Nikon do a 15mm f5,6 ITS VERY RARE BUT INSANLEY GOOD!! they also do a 13mm f5.6 both these where used by Richard Edlund and John Dykstra to shoot VistaVision model shots for Star Wars!

More news from Rectilux... The lightweight model 3FF-W and ultralight model 3FF-S both feature a quick change anamorphic lens system. Rectilux has been designed for easy swap out of base anamorphic engines to allow different looks and flares as part of your shooting aesthetic, Ten scopes are supported from the get go and more are planned. It literally takes less than one minute to swap out anamorphic lenses. Each Rectilux 3FF will include all coupling rings and clamps for your chosen base anamorphic engine, with extra ones for different scopes available seperately. Of interest, is the 3FF-S model for the ISCO Animex/S8 which will include an infinity modification kit for seamless integation with the 3FF-S system. The current range below

​ 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.

Here's the Azden SGM2x on location from a b-roll excerpt. You can see my co-director in the upper left of the screen holding the shotgun about 3.5 feet from the guy at which she points the mic, and the pickup the mic gets from the woman in which she does NOT aim the shotgun. The mic was plugged directly into a Zoom H1. The audio compression of these clips I made is probably too high, but this should give you a hint at real-world performance: http://www.path88files.com/Mieko/TESTS/Chikori-San_Printer1_bRoll.mp4 Also, here's that ew100 lav wireless in action with the H1. Personally, I can't imagine a shooter not wanting some sort of wireless mic system! http://www.path88files.com/Mieko/TESTS/Chikori-San_Printer_1.mp4

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

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.

​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!!!!!

Looks better than that Drive movie. Great visuals, like something from the 70's or early 80's!

Focus Module with Isco Animex s8/2x, olympus OM 100mm @ f4

​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!

". . .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!"

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.

Canon 5d Mark ii Lomo Squarefront with Lomo 1m diopter. I like this one, some real anamorphic charater.

hope to see some finished product soon John - looks like you have been very busy!! if the finished lenses look like the VR then you are onto a winner! there is a whole bunch of ppl about to order the FM module so get something finished soon I like to Buy British !