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Shot this tonight - frame grabs: http://eddavid.tumblr.com/post/107859567039/screengrabs-from-upcoming-film-shot-on-samsung-nx1 http://eddavid.tumblr.com/post/107859626819/screengrabs-from-upcoming-film-shot-on-samsung-nx1 http://eddavid.tumblr.com/post/107859682869/screengrabs-from-upcoming-film-shot-on-samsung-nx1 Very excited by it's night capabilities. and in two weeks with the new firmware - will be even more amazing. added grain and heavy grading.

Got the final chapters done, but can't edit the main post! Are we gonna be able to edit stuff again, or is this a permanent change? c ) WORKFLOWhttp://www.tferradans.com/blog/?p=7370 CONCLUSIONhttp://www.tferradans.com/blog/?p=7371BIBLIOGRAPHYhttp://www.tferradans.com/blog/?p=7372 *weirdly enough, I was able to edit THIS post...

The storm hit Tel Aviv on the weekend. The tension was high. Shot with Panasonic GH4, 4K photo mode (3:2), Rectimascop 48/2X anamorphic lens, Helios 44-2 taking lens. Music by me. Edited with FCPX, graded with FilmConvert.

Hello Izhar, that is a wonderful video. I really like it very much. Great with your music - kudos!!! The image of the GH4 is great. I often read it is not 'cinematic' (whatever this means?) but a lot of your shot look like film (depends on the stock though - maybe old Revue/Agfa). GREAT! I will definately upgrade from my GH3. You are a strong man... carrying around the Rectimascope-monster. I did not know it would work that good. I use one for projection which works great though. Thanks for making my decision against NX1 for GH4 easy

It's heartbreaking seeing no one suggesting to avoid the picture profiles altogether. PP - OFF! go neutral creative style, dial down contrast to -3 and sharpening to -3 and set wb correctly. then notch the 4 way wb adjustment away from green and towards magenta slightly. shooting using the camera exposure meters and all will be good. your editor will love the images. s-log aint worth the time and effort in its current implementation on the a7s IMO

The words SLR Magic Anamorphot and A7S (Full Frame Sensor) undermines the whole point of this topic. Get an iscorama 54, a 50mm f1.4 and fit that on your A7S and the drawbacks are worth it. this combowill resolve 4k onto a full frame sensor without any problems. The SLR magic wont even deliver 480p on full frame with any nice aesthetic. it's a pointless piece of glass that should be outlawed, along with any discussion about it. Throw it in the bin.

I've searched for official docs and specs for correctly processing the A7S's custom Slog2+SGamut implementation (not the same as the Sony Pro versions). While the Pro LUTs get close, colors aren't quite right, especially skin tones. Slog2+SGamut with the LUTs found so far can provide very cool looks. If one is looking for something accurate for skin tones, I haven't found LUTs which can do this. It's puzzling that Sony hasn't released tech specs for the A7S's custom Slog2+SGamut or official LUTs (as they do with the Pro cameras). I found the best all-around stock PP is PP6. Example here (stock PP6, auto ISO, auto WB, auto AF- event style shoot with many different skin tones and multiple colored lights): https://www.youtube.com/watch?v=aq8m2FaVL1U . You can bump saturation a little in-camera and along with carefully set WB, get good out-of-camera footage. Indoors, PP4 isn't too shabby after dialing down saturation. I'm putting together a tutorial for matching A7S to 5D3 RAW with an emphasis on accurate skin tones. Currently testing the results on models/actors- so far so good. Will publish the results when done.

It's more an aesthetic choice than anything. While you can fake the look (poorly) using string and an oval aperture cut-out, the flares, distortion, and character of the image don't really look the same. Then again, eBay adapters don't really look like Panavision anamorphic lenses, either. But it's always been an aesthetic choice (at last in recent history). Look at how much was shot in 2.35:1 two perf as an alternative to anamorphic in the 90s and oughts. Michael Bay is an interesting example... shot Bad Boys II in 2.35:1 spherical then moved to anamorphic exclusively until he switched to shooting on both digital and film. Some DPs don't like the unnatural look of anamorphic lenses (Roger Deakins never uses them, while he does shoot 2.35:1 at times); some directors just like the nostalgia (JJ Abrams). There's a bit more resolution, sure, and a finer grain structure on film, but it's primarily an esthetic choice, rather than a technical one, and has been for decades. When digital became popular, it was difficult to shoot anamorphic because of the 16:9 sensor size resulting in a 3.5:1 image, so shooting anamorphic became rarer on digital formats and perceived as more "high end." Every element of anamorphic has a totally different look, from the bokeh, to the distortion, to the flares, and some directors (Anthony Mandler) even embraced the 3.5:1 look. Meanwhile only the Alexa Plus has a 4:3 sensor so between renting that and anamorphic lenses you're spending a lot of money. So it's a way to make your production look high end... check out the new Total Recall (Epic) and Ninja Turtles movies to see digital anamorphic photography on high end CGI-filled features. Check out the Lego Movie (or, Wall•E) to see an anamorphic look on pure CGI... total aesthetic choice here, but it makes it look more "real" and more high end. The weird lens artifacts take off a bit of digital sterility. On the ultra low end hobbyist side, the Iscorama (still hoping to buy one) seems particularly nice because it gives you 2.6:1 and lets you focus and use a variety of lenses, but we'd all rather be using an Alexa Plus and Panavision lenses in theory. But anamorphic could give you the right look for the right project. If I'm doing a Spielberg 80s homage like Super 8 or something I'd much rather be shooting anamorphic. If a director wants it you should be able to provide it. If you're the director and you don't care, yeah, pass. I think the 1.33:1 adapters seem odd. Treat it as an aesthetic choice, not a technical one. Ultimately, every choice is. Fwiw, a lot of anamorphics are decently sharp at t2.8. And sharp isn't always the goal. 1080p is enough resolution to let you focus on texture and grain, not just crispness. If you watch the Dark Knight blu ray (not my favorite movie, but whatever) you can see that the IMAX portions are way sharper than the anamorphic portions even at 1080p! But the anamorphic photography has a good look. Very organic. Those are some nice looking movies. Kaminski doesn't shoot anamorphic (at least not much that I know of) but he softens and distorts the image in a really organic way through other means while still getting a sharp enough image for projection and blu ray.

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

As a full frame owner - 5d3 - I'm way happier with anamorphics than I was with standard spherical. I also took time (and money) to get Iscoramas, and 50mm taking lens plus 1.5x stretch is wide enough for almost everything I ever needed, covering the whole sensor and getting 2.66:1 aspect ratio. MagicLantern also allows us to shoot 4:3 raw, using the sensor's full height and get the best out of 2x anamorphics, My goal is not to have the best lenses available, but achieve the best balance between cost and picture quality. Some day, if I win the lottery, I'll go after LOMO roundfronts. hahaha

Ah yes it was indeed. Would love to hear what Rich says about the mod. Here she is not quite rigged up but the 1D C is ready to provide some competition Very impressed with the changes they've made over the old Mini so far. 4K image looks amazing and the camera is 10x more responsive. Much nicer feel to the all important command joystick and record buttons too. Start up time has been more than halved, down to 20 secs. More pics... https://www.storehouse.co/stories/r3hpj-kinemini-4k

Hi just a short mood piece I wanted to share shot on the Panasonic LX100 with a Baby Hypergonar attachment. I'm yet to read the camera's manual though and think I'd benefit from doing so...!

The great thing about the d5500 is that the price of the d5300 will go down even further.

Thank you very much for your effort. Very intresting read and enjoyed it a lot. I tried to write a comment and some additions but that did not work for some reason. Second try: Maybe Ernst Abbe deserves a mention as founder of the patented anamorphic lenssystem. (He also invented the triplet later called "Cooke triplet") Therefor it is maybe a little bit harsh to say Isco have stolen a russian formular. Isco Göttingen were already in the anamorphic business since the late 1950's. Isco Göttingens concept with the Iscorrama being able to split depends on the fact that the anamorphot has to be used for projetction (was not a discovery by users). Therefore the Iscostat was used (available for all sizes). The Iscorama 36, 42, 54 were targeted at the Super-8 enthusiast. They had also cooperations with Bauer and Beaulieu resulting in the Cingegon (taking lens was a Schneider Kreuznach Macro Cinegon 10mm 1.8). Isco Göttingen put a big effort to make their lenses popular: In 1979 they offered a journey to Israel accompanied by anamorphic experts and lending out Iscoramas to the interested film enthusiast. Unfortunately all this did not prevent Isco from breakup. Maybe the Isco's achromatic diopters especially built for the Iscoramas are worth mentioning too ? Again thank you very much for your work!!! Very inspiring. I wish I could afford more stuff like Lomos and 5D III (I am still on GH3 and mostly Super 8) Tonight I am looking forward to wathch Zona S. SP.

From HFR, to dynamic framerates, to space operas..

These kinefinity cameras are so tempting. Just annoying that nobody speaking English seems to use them!

John, I wrote you a PM a month ago and never get response from you.

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

Really beauty. I saw here the results: https://www.flickr.com/photos/125986580@N05/sets/72157646313357302/ Looks very impressive . John, I'll be in Europe three months shooting for TV work...I want to buy the 3ffs model. Would be really great if EOSHD can do a review about Rectilux. Best.

Well I guess its what appeals to you at a certain point. I only own a GH4 and a couple of other cams, not the A7s...but as the A7s in full frame although smooth at ISO 3200, it is certainly not smooth when you move it, everyone knows that it has really bad rolling shutter at full frame, you really need to use it at APS-C if you want to move the camera at all. So it depends where your smooth priorities lie...smooth movement or smooth ISO. All the talk of cinematic full frame on the A7s really means it has to be on a tripod and still to get that happening. Plus there are lots of posters on DVX-user that own both cams as well as the EOS-C line of Canons that really like the GH4 and appear to use it more than the A7s because its more convenient and they get good results, many of them cutting with Reds and EOS-C cams...so it doesn't really matter, maybe to Andrew, but not so much to others. I agree with most of rygenovas post...at the end of the day no average watcher is going to go WOW!! at an A7s piece of footage and not so WOW at a GH4 piece of footage. Doesnt mean I dont want to see V-Log on the GH4...I do, but for me, its more than I need right now and if I cant produce good results with it, then I probably need to give up.

also inspiring... "Hands of Bresson" depicts the way robert bresson films peoples hands...pure poetry in motion.

Those are mine when I used to be a musician, I did it long time ago, never went anywhere though this 6 years ago: and another