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Canon 1D NA?

I would suggest something like the Sony RX10 or Panasonic FZ1000 if you don't want to go with a traditional video camera. Both use the same sensor, have mic inputs, the Sony has the faster lens, the Panny shoots 4k and had a fully articulating screen. If you're dipping your toes into doc work, these are great options. Bob Krist is a National Geographic photographer and he shoots a lot of his stuff with the RX10. Here's a couple good reads from him. Check out his Vimeo page, stunning work, lots of it shot on the RX10. http://www.oldmaninmotion.com/four-great-still-shooting-feats-my-sub-1k-mirrorless-can-do-that-my-3k-dslr-cant/ http://www.oldmaninmotion.com/mirrorless-mirrorless-on-the-wall-2/#more-538

Save up for a used Canon C100. Can't beat it for Docs.

Found this post on BMCuser and wanted to bring it here. Hopefully BM will introduce this sensor tech into new cameras down the road the specs look incredible. THIS WAS ORIGINALLY POSTED BY JOSHUA CADMIUM ON BMCUSER.COM "Fairchild Imaging, the maker of the sensors in both the Pocket and Cinema Camera, just announced a new sensor on the front page of their website, the LTN4625A. Preliminary data was found here:http://www.atdelectronique.com/our-offer/bae-systems. It looks like it will have the same dynamic range of the Pocket (14.5 stops), but it does so using a smaller pixel size of 5.5um (the Pocket and Cinema have a 6.5um pixel diagonal.)This is huge. The CMOSIS CMV12000 sensor in the Production and Ursa cameras also have a pixel size of 5.5um, but can only do about 9.9 stops. This Fairchild sensor would be sucking up over 4.5 times the amount of light. The Fairchild sensor is also bigger, and arguably much more usable resolution-wise than the CMOSIS. The Fairchild maxes out at 4608 x 2592, which is a 16x9 ratio. The CMV12000 maxes out at 4096 x 3072, a 4x3 ratio (although only 4000 x 2160 is currently being used in the Production and URSA in raw).The new Fairchild sensor would be a true Super 35mm size, with a 29.08mm diagonal at its maximum resolution.The Fairchild is also speedier. The CMV12000 can only do a maximum of 90fps with full image quality (URSA currently tops out at 80fps.) The Fairchild is listed at 240fps.I have no idea when Blackmagic will implement this and in what final form it would take, but I would wager a guess that it is only a matter of time. This is a very attractive video sensor, and something I've definitely been waiting for from the company."

Hello everyone I'm trying to decide on a second hand camera body for some documentary work, low budget, probably short docs (though I hope to progress to full length, though I'll invest more money when that day comes). I'm kind of half settled on getting the Canon 5D mk ii, but only when I see it at a particularly good price second-hand, for example recently I saw it going for (body only) £440. This may have been a one off, I'm willing to spend something around £500 for the body. I want this to be something that will last me quite a while, hence why I'm not going for the much cheaper body's available, I feel like the 5D mk ii is perfect in this sense. I'm open to other ideas, for example, the GH3 has had so many recommendations all around the internet. I kind of wanted to stick to Canon, mainly because of the functionality that comes with Magic Lantern. But maybe someone else has a better recommendation, maybe a different model of Canon. I'm concerned about moire, I've seen the Mosaic VAF-5D2 filter which combats this, though I can't seem to find it for sale in the UK. I would like the body to have a full sensor, basically I'm looking for as much of a cinematic look at possible within my budget. I know this is all very vague, it's just a general outline, maybe some of you have some questions that I can answer which will lead you to recommend something to me. Any help with be much appreciated! I'm sure you must get people asking for camera recommendations every day! Thanks again, Sam

Once again MX Mount is getting no love :-/

Works fine for me and is very useful. I have the original, not the MKII - you really need to do some tests with the unit - my meters are very conservative, and if I set levels at what seems proper, I have pretty weak tracks. The self-noise of the 60D is fine, but I'd really like a beefy waveform. Set it to really hit the peaks and use the minus-6 backups. The limiter is very natural sounding - I use it all the time. It's not a total brickwall, but it helps. One of those Anker USB phone batteries will power the DR-60 for hours or days. The the 60D is very picky about internal batteries and will report "dead battery" for batteries with a lot of juice left, esp. with rechargeables. Any USB power source (like a little phone charging brick) will power it via USB if necessary when you're in the studio. One final tip - just do the quick format for cards - the full format, myself and many people give up after ten minutes or so and disconnect power.

the key dfference here is that all other adaptors rely on the pin itself to stop rotational play. as the leaf springs become older they seem to loose their strength and dnot pull the lens in tight, and the play in the pin shows itself even more. I'd been eyeing up Lockcircle's range or PL mounts for nikon / ef. As a fellow fan of ciecio7, these adaptors are the only thing tempting me away from the lockcircle offerings.

Also, best manual aperture control for Nikon G lenses / Sigma ART on E-Mount & Micro Four Thirds I've yet used. Very robust and smooth.

Might be a controversial choice, but at that end of the budget scale I'd be tempted to a Sony RX100 MK 2 or 3 and little vari ND. Screw a little handle into the bottom and away you go, stabilised and easy. Very unobtrusive so people don't get intimidated. I used to use one before I had a C100.

​....and you could buy two of those in almost new condition for £500, or one and a good used lens - the G6 is an underrated camera, it's got some features (like focus peaking) that the GH3 doesn't even have. Unfortunately the GH4 is well beyond the budget of the OP. In low light with the G6, I use a second-hand Tamron 17-50mm F2.8 (non-VR, Nikon fit) on a cheap Camdiox focal reducer to get the equivalent of a 12-35mm F2.0 zoom - total cost about £220, and it's easy to manually focus with the aid of focus peaking.

You probably need to think about what things are most important to you. As people have mentioned, the D5300 is probably the best budget solution to combat moire. I'm not so convinced there is that much practical difference in terms of low-light compared to the GH3, unless you shoot very specialized, demanding scenes. You may prefer the colors from the Nikon. I think that's the positives for the D5300, except possibly AF speed if you plan on using that a lot. In all other regards, for video, the GH3 will win hands down. (usability, features, codec, stability, robustness, weather-sealing etc). If you prefer to use manual glass, the m43 cameras are great for that, and you can even get a speedbooster (maybe a cheaper one first, and save up for a good one!). Some people feel using this and say Nikon lenses gives a less clinical look than using m43 lenses, and it will allow shallower depth of fields for when you want that & equalize any low light advantage the D5300 may have. The Panasonic G6 could even be a good alternative. Think about how you want to deal with audio. The Gh3 has headphone jack, which is hugely helpful if you plan to record audio straight into the camera. If you plan to use an external recorder and sync in post, not a big deal, of course.

So I recently stumbled upon the VM 1.5 anamorphic lens in my searches to find one that works for my needs than my over-sized ISCO Cinelux. Has anyone tried this one out? It seems to me like this thread turned into arguing and discussion about the FM focuser. What about the actual anamorphic lens? Anybody tested it since this thread was active? Is it something one would recommend?

For that low, camera like the Nikon D5300 would be very good compared to the Canon 5d2 because of no moire aliasing and better resolution. It will have a big advantages compared to gh3 (and most low cost m43 and Sony cameras) in low light. You will be getting 5d mark 3 low light quality out of it and that is very very important for Doc work. Super DR and colour is also two other advantages. It does have two drawback like absence of peaking and you will have exit video to change aperture. Those can be mitigated with a good viewfinder loupe for about $ 60 and buying older Nikon lens with aperture ring. You have 50 years of lens to chose from and it will be a lasting investment because they will mount on about every camera brand. One thing not to forget about when doing doc is investing in at least some good microphone and recorder.

I just shot a doc with a GM1 and a Gx7. Outboard audio isn't the greatest process, but aside from that the imaging looks great. I got better results from those Panasonic cams than I would have acquired from my 5DII...except for interviews. That FF interview look with a wide open 50 or 85mm is pretty sweet.

The moire filter is going to add to the cost. The video quality is very primitive and unless you want to use ml raw (not really suited for documentary) any recent camera is much better. gh3, d5200, etc... Welcome to the forum

I want Netflix to take action here, hire the trio and make it happen. That's all.

Pretty straight forward and quick. I was thinking on holding off for a little longer, but this one manages to spike my interest. More so than the Nebula at least. There's also -10% on pre-orders on http://copter-rc.com/en/catalog/60-pilotfly-h1-microdslr-3asix-stabilizer-pre-order.html jfyi. For us Europeans... they might be opening an overseas branch office (actually, they say they are on Facebook), which means we might get to order one locally sometime 'soon'...

​Well yeah, every option should (although some only ever so briefly) be considered. But we're not talking price range here per se. It's mostly because they are comparable to a considerate degree. Both are 4K capable hybrids, with built-in stabilization and they share the fact that they're non-interchangeable lens systems with flexible optics. And then you're going to throw a 1080p RAW recording cinema camera in the mix that doesn't even take stills or includes glass with a decent range of coverage and sensitivity. If you're considering the LX100 and the FZ1000 I don't really see how you think the BMPCC fits in there in terms of comparability. Sure; from a price point they're close, but they're different sorts of cameras altogether. The LX100 is nice as allround everyday camera. Don't add no nothing, just have it with you (perhaps some neutral density filters) and go about your day, always having that little powerhouse with you if the occasion arises. Same goes for the FZ1000, though it's more an allround travel cam with a higher degree of flexibility, but with some added chunkiness to it. Both have their ups and downs. Surely you can use them in a production environment as well. Though perhaps in limited capacity and rather as added specialty to another camera that's being used as main cam. Sure, you can consider numerous other cameras, like the BMPCC, but then you might as well consider everything... from the GM1, GM5, G6, GX7, GH3, NX500, A5100, A6000, D5300 and D5500 all the way to the GoPro Hero4 BLK or everything upwards from that for that matter, GH4, NX1, A7S, D750, D810, 5DmkIII, 1D C and upwards of that even. And actually. You should. You should consider each and every single camera out there. Might even throw in the E-M5II, don't know why one would, but you can consider it for a brief second. Same goes for the Arri Alexa Mini, although it might be entirely out of your price range (but hey, renting is still a thing). Or hey, forget what I said, just use your smartphone instead! The BMPCC is great because it's pushable due to its RAW recording possibilities. It's small and easily adaptable within a modular system. Footage looks great. Nice 'n flat, pretty great dynamic range for such a sensor. And... and... em. Hum. Well. Em. What's not to like, really? Well... perhaps... it's not for stills, so forget hybrid use. No built-in stabilization. Bad crop/difficult to get wide shots. Doesn't come with glass, you probably end up buying a couple of primes and having to swap 'em all the time. Not particularly high frame rates. Fills your cards up rather quickly. Goes through batteries like it's nothing. Screen isn't the most ideal. This is not a point-'n-shoot, you need to carefully set-up your shot. No blind use with mode and setting dials and tons of (customizable) buttons, just some navigation buttons. Not to mention it's all rather just basic functionality. Audio handling is poorly done. Oh. And last summer it was on sale with spectacular prizes. People were anticipating a successor soon... or a catch. Nope. Nothing of the kind. But the knowledge of putting down money for a camera, of which the amount months back would've bought you 2 of 'em (with no apparent reason other than the fact they can), that kinda stings, doesn't it? Anyways. In the end... it's great if you use it purposely. But it requires a very different approach than the LX100 or FZ1000. Listen, I have the BMPCC... but not instead of the LX100 or FZ1000. They simply can't replace one another. That's why I have all three. And the GH4. And the GH2. And the E-M1. And the D5300. And several action cams. Although, surely that's the most ideal situation: not having to choose one to stick with, just have plenty of tools so you can put each tool to each specific use without compromising due to of the drawbacks a single solution would bring with it. Bit tougher if you have to pick one. It will depend on how you use it. Hybrid (stills/video) or not (video only)? Does size and weight constrict you? Do you need an all-in-one solution with a spontaneous point-'n-shoot character? Do you mind swapping out lenses and rigging your gear? How are you going to handle power supply? Are you going to use it in a production environment? Quality requirements? Gradeability? Need for slowmotion? Storage/archiving? Would you need specific system requirements for quick editting turnarounds? There's a lot that can make you go one way or another. There isn't a universal solution that meets the requirements of all shooters out there. Pick something that suits your individual needs the best... which can be any camera, really... just not sure if you want to take a too long look at the BMPCC, when you were thinking a LX100 / FZ1000 would nicely fit in your way of shooting. They might be similar at initial purchase, but are pretty much worlds apart. And with the BMPCC you're not even there yet after getting the camera itself...

Having a nice single focusing 2x anamorphic would surely be a dream. All the shots so far really look good.

well that does the job doesn't ! very nice I want one

nice. need to see some humans in the tests, faster more exciting focus pulls, etc but the bench/swing and inf all visible in the frame is a good indication of depth of field. I'm glad i grabbed a cinelux for this. edge to edge niceness. if anything I'd like more breathing! edit. just seen this is on the nikon v1 at f2.8. could do with seeing some larger formats to decide just how usable the focus optics are.

I am not discrediting you, John. I am trying to remind you that it was not all take and no give from me. If you want to get into semantics, I did not discover the 16mm B&H. In fact, I would not be surprised if some of the people who designed the lens are still alive today. Certainly some of the old-school projectionists and collectors of such things are aware of its properties as well. I merely followed up on a one-off comment from a casual poster (in my book, an unreliable source), confirmed his findings, and then developed it into something that works for me. To my knowledge, mine is the first of its kind and I was excited to share it with the community. If you remember, >I gave credit to the original poster. Why "Top Secret"? Because it was not a widely-known fact to the anamorphic community, and I thought that with the right planning I could manufacture a rack-focusable 2x anamorphic and offer it for less than the price of a Kowa, but I needed a head start to make it happen. I shared it with forum members that I respected, and you were one of them. Turns out that I couldn't get my manufacturer on board in a way that was agreeable to me, so that dream died on the vine. Look, I really don't care if any information that I shared with you influenced your design. Private messages are private for a reason. And I don't appreciate having my wrist slapped for being curious about a competing product. That's all that I have to say.

John, It's true. You did make a great discovery (based upon my lesser but prior discovery, it would seem), and I appreciated your sharing it with me. You have created a marketable product which is more than I can say. Now, it seems that we were not the only people charting these waters. But while I applaud the Anamorphic Shop offerings and look forward to trying them out, you seem eager to "take him down a notch", which is exactly what I have experienced in my dealings with you -- and why you haven't been getting any emails from me lately. If you read back on this thread, you have now had several people express concern about your conduct. You can either write us all off as outliers, or you can take a look in the mirror and ask yourself some questions. I know what I would do. Nick

this new Focus Module looks very interesting if it does work well with a Schneider then Im very interested , as I like Schneider Anamorphics the best , The engineering and finish on this module look very impressive , just wonder what the price is!!

John, I don't appreciate content from our private offline conversations being referenced here, and I feel the need to state that I am in no way affiliated with John's Rectilux. We were merely comparing exploratory notes. Respectfully, I suggest that the moderation of this forum be handled by a neutral party who has no commercial aspirations. Nick

Nope. I'm Dog Schidt Optiks in my day job, and Richard Gale on the EosHD forums. I wish I'd gone ahead with a similar thing about a year ago when myself and Hans_Punk were talking about putting together a DSO Iscorama copy very similar to what FM have done and what you have tried. I myself don't feel patent infringement is a good way to create products (if this is infact the case). I'm not in the anamorphic business (Yet) But i will be, and I don't intend to be repurposing projection optics since they present far to many problems to pro's wanting wide (f-35mm anamorphic). In any case I dont think the bloke behind FM (I love the way you know his full name) needs anyone talking on his behalf since his footage and product is showing great promise - personally all i know him as is 'MK' when i messaged him asking to be put on the waiting list for his unit.

? You;re nuts man. really mad. This is a forum, not a pace of work, so stop taking things so seriously. You talk down rudely about this FM focuser, making ill informed suggestions that the optic is possibly some $4 off the shelf pieces of glass. You also seem to be giving Nick (Quick hit record) and redstan (Tony Wilson) public tellings off.... I for one was speaking to Nick with regard to his own hard work on his little bell and howell project and it seems funny you had been talking to him (since it now turns out what he was planning would have affected your own plans). A quote from your previous post:- QuickHitRecord, on 03 Sept 2014 - 7:16 PM, said: How the heck is he doing this? I can't wait to learn more. Hey Nick, if you don't mind I will have a stab at answering your question :) Remember the discount voucher I sent over to you to get those $4 lenses from Surplus Shed back in January when we were discussing these things? Well, completely out of the blue Tony Wilson contacted me last week suggesting I was using the exact same focal lengths as those $4 dollar optics that we bought, amazing coincidence for sure :) Rectilux is very very different from a $4 optic. When the information about the focus throw in millimeters from near to far of this FM lens gets out, then we will know for sure what focal lengths are being used. Perhaps when or if anamorphicshopcom (Mr Mindaugas Komskis) decides to make a personal appearance here, then he will fill in the blanks. I am looking forward to that. I am also looking forward to seeing the footage with all the scopes it is claimed to work with." Don;t for one second tell us that your post was anything other than an attack on the unit we're discussing and getting excited about here (positively as forum members - not business men). You on other other hand used the thread to bring up your own unit. From day one it has seemed you've only been here for business reasons. Come on man. We've all seen your repeated condescending remarks towards others here - including myself. I distinctly remember the time of your arrival here when we were discussing use of a tokina +0.4 as a sharpening aid for optics such as the century and despite not having any practical experience with such items you were very quick to disregard experiences of others (including myself). But worse, people like Redstan, Andrew Reid and others who I and many other consider some of the most well informed anamorphic enthusiasts in the world. If i recall you said something along the lines of "You have no idea who you are talking to do you?" to myself when i brought up my findings from using the century and the tokina. As a result I have been eagerly awaiting the 'marvel' you have been repeatedly bringing up over the last years. Finally you announce this marvel and it's not really anything worth getting excited about. Footage tells a million words and unfortunately I have yet to see anything from you to back up your very powerful talk. And as such you;ve compelled me to come in now and then and promote some discussion and critique - my back up of the iscorama you disregard in your own thread - I've shot the tests you suggested, proving my theory. God knows why. maybe it was just to re cement my own experiences in my head. edited it too, but can;t even be bothered to upload it and waste vimeo bandwidth. Walk the walk as well as talking the talk and maybe you won't have to see people talking the truth in a maybe rather negative way. Nothing in my previous post was particularly unfair when considering how you behave here. the focus mechanics you've shown look like you've taken a £60 helicoid and lathe turned the notches off to disguise it. If there wasn't such big talk here I'd have let that one slip. The talk, the price, the attitude... it's all wrong man.

all of these are variations of an isco theme. unless one notices a patent pending logo that is. nothing new under the sun. this isco jacket sure looks nice very nice. john the recipe i gave you was from one of my destroyed iscoramas i cannot see why you mentioned me here mentioning a private email. not good no sir. anyway you are a mod staff here so i am sure you know and understand the ethics and rules better than me. whoever this guy is he looks like he done a sweet job yes sir and i bet it will be a good price yes sir. i am not an engineer but i sure likes pretty looking metal