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Wanted to test the new SLR Magic 50mm Hyperprime Cine Lens alongside their 25mm, and last night provided a unique opportunity to get some great clips. Panasonic GH4 (Natural Profile, ISO 800) SLR Magic 50mm T/.95 & 25mm T/.95 Recorded in 4k on an Odyssey 7Q+

Hello everyone! I'm a french film school student (however we don't practice often it's just mainly theoretical courses and film analysis) and we had recently to create a short fiction (we were to do around 7 shots). We had the plan with my teammate to explore an old abandoned coal washing facility and decided to make something with it, so here it is! Sound is important so play it loud Now some explanation. I don't have a lot of money, and our school doesn't have any gear to loan, so we made it a 0$ budget short ahah (well the only thing we paid for was the gas mask). For the prep we had only a few days, so we thought of a story, and we only did the storyboard for the first half of the short (until he enters the factory), as we didn't know what it looked like inside, and we had to improvise on set. It was really run'n'gunning as we only had 9h on location, and some shots are quite rushed... I shot it with a sony a6000 in AVCHD, with for the most part in exterior the sony 18-105G F4, then in interior the Sony 35mm F1.8 OSS and a Leica Summicron 90mm F2 (pre-asph, which I found in my dad's old camera gear). For the lighting setup we used an outdoor LED floodlight (which is what the actor is holding inside the factory) and a 200*160 5in1 reflector to bounce some light back. I edited everything and made the soundtrack on Sony Vegas, then graded everything on DaVinci Resolve Lite. I'm kinda in a love-hate relationship with it haha, during the edit and post-prod there was some moment I just wanted to delete everything, and I was noticing every little mistake or imperfections, but considering the time limitation, budget the result is fairly ok, and initial feedback was good so I wanted to share it more with people working in this field! I'd love any advice or feedback from you!

I get so confused when I read this post. It sounds kinda like your against sports but pro objectifying women. But then it becomes some sort of a Zen thing. I think I might be drunk. I will read it again tomorrow

I don't think it's necessary to change anything. People post their own reviews on the main forum from time to time. If it's a well-writen and thought-out, it gets plenty of good attention.

I actually very rarely click on subforums. Really I should. But putting your review in a sub forum maybe a sure fire way for it not to get seen.

Well this might sound strange but I like to see work from both talented and hopeless filmmakers. This way I can better judge what a camera is capable of. Obviously a great filmmaker will have impressive results with anything halfway decent. But watching a few clueless wannabes gives me an idea of the camera's performance under less than ideal conditions. Another thing to note is generally more expensive gear is owned by more experienced users. There are many great examples of well shot FS7 footage on the web. But A7s is a mixed bag of talent, with a healthy dose of clueless amateurs thrown in. NX1 and GH4 perhaps even more so. But this can be constructive if you have a gauge of where your personal artistic talent rates at the time. I find Blackmagic cameras seem to look cinematic under most circumstances. Even in the hands of the truly talent challenged. That said, content then becomes the issue... And bad lighting... And framing... And story (or lack of story) etc...

Alright, can we all just agree that this is fake shitty footage and move on?

thanks a lot, Hans, I moved the video to Youtube here: https://www.youtube.com/watch?v=EMUlVT1Mefg Now the quality looks much better than the free version of vimeo. ​

I have the 35-70mm f/4 as well. It's the only FD I got so far. That thing is surprisingly light (as in: doesn't weigh much). Unfortunately my FD -> M43 lens turbo arrived in pretty rough shape. The lens elements became loose on transportation and were full of scratches (you couldn't see through anymore), so I needed to replace the optical core, which took a while to get resolved (really ran into Murphy's law with that one). In meanwhile everything is lovely jovely again, but have yet to put it to good use. Nice to see mercer's test! What portrait and M43 concerned. I do love the SLR Magic HyperPrime CINE 25mm T0.95 as well for its bokehlicious look. Not so sure however to put it to use as a portrait lens. 35mm already seems like a more sensible range shooting with the 4K crop. Although I think the best portrait lens for M43 is probably the Olympus 75mm f/1.8. No hate for the longer focal lengths here. Of course, if you have limited space to work in, longer focal lengths will prove to be challenging and you'll have to compromise.

​I do entire shoots with 5-axis. I love it; works for me. I agree with your opinion that stabilization can look very artificial when the camera is moving. It's a tool on my EM5II that works very well for grabbing static shots without a tripod (which I do often) and for mimicking a short slider shot...but you have to practice at it, much like using a glide-cam type rig. For much of the corporate crap I do, I prefer a quiet lens. For those shoots I'm trying to keep what I do as neutral and transparent as possible. I don't want to call attention to my shooting and/or editing. I put their stories at the forefront and the production style is conservative. I also concur with your assertion, Implement the 5-axis technology in an intelligent pragmatic way and it's a wonderful thing. We all should keep in mind that a lot of shooters you see on the youtubes haven't a clue or are just messing around with testing, (5 minutes of walking though as park handheld? Who would use that in an edit anyway?) so judging by their work is a mistake. And let's be honest, a lot of prosumer enthusiasts can also be talent-limited, assuming that IS or OIS is some sort of panacea that'll make their footage wonderful. Um, no. If you stink as a shooter in general, your stabilized footage will do the same. (those Canadian guys from that camera store come to mind. They're gear geeks and can tell you the ins and outs of a camera's functionality, yes, but they're not the best shooters and the footage always looks subpar to what a particular camera can do.) Finally, don't forget, if your camera has 5-axis stabilization, you can always turn it off too.

​Wow, nice test! Parfocal (or close enough as makes no difference), very little breathing, and that great low-con FD look. I went with the 35-105, but now I'm considering replacing it with the 35-70. The 35-105's a nice lens and focuses relatively close but at the cost of being a fat as **** chunk of glass. Nice and fast on a speedbooster though, and that range can't be beat for run and gun. ​If you're looking for a shorter focal length with shallower DoF on M4/3, you might consider the 25mm f/0.95 from SLR Magic. It can be had for less than $500 used, it's incredibly well-built, and it has the nicest bokeh I've ever seen. A little low contrast and "glowy" at f/0.95, but better than the Voigtlander. It sharpens up nicely at f/1.4--and that's for stills. I happily use it wide open for 1080p video. If you'd like me to shoot some portrait tests for you, I can probably find some time later today if I can find a willing subject who isn't too hungover from 4th of July. In the meantime, here's a stills comparison against some vintage stuff and the Voigtlander. http://3d-kraft.com/index.php?option=com_content&view=article&id=137:adorable-25s-25mm-f095-speed-lens-comparison-on-lumix-gh3&catid=40:camerasandlenses&Itemid=2 If you want a longer focal length, SLR Magic offers a 35mm f/0.95 as well, and the 35mm f/1.4 has amazing bokeh too. Take a look at Flickr and see what you think. I'm a huge fan of these lenses for video, and recommend them to everyone shooting M4/3. Amazing bokeh, good sharpness, fast apertures, decent prices, and they have this inexplicable 3D look that's incredibly cinematic. It must have something to do with its sharpness characteristics combined with low global contrast, but it produces the closest rendering to actual PL cinema glass of anything in its market.

I just had a search around, and it seems the Send To app I mentioned has disappeared, both the free version, and the paid app store version. I have the free version. I haven't used it for a while, but it was working fine last time I checked. You export the xml of your fcpx project, then you open the xml in Send To, select which shot you want to work on, and it automatically sets up a Motion project with the rush preloaded with the correct in and out edit-points, ready for you to work on. Here's the post describing the app: http://www.fcp.co/final-cut-pro/news/743-now-you-can-send-clips-from-final-cut-pro-x-to-motion Really sucks that it's not available anymore for anyone starting out with Motion. Anyone else have alternative methods for roundtripping clips from FCPX to Motion?

Stacking adapters works just fine as long as you keep to the prescribed flange distance for that lens. If you have a Canon EF speedbooster on your micro four thirds mount, it is for all intents and purposes an EF mount and will work fine with any adapter that promises infinity focus on a Canon camera. As for the Roxsen Speedbooster, you're in luck! I actually own that exact Speedbooster for my FD glass. It's definitely not useless on an APS-C camera; in fact, I like using Speedboosters to get double the focal length choices from the same number of lenses. For example, if I have a 24mm and a 50mm, that gives me a 24mm (24 on the SB), a 35mm (24 with straight adapter), 50mm (50 on the SB), and 75mm (50 with straight adapter). More flexibility, less weight. It also just gives you another aesthetic choice with your lenses--do you want the S35 look, or the VistaVision/FF look? The Roxsen has performed fine in every situation I've used it in thus far. No issues with weird flare, strange bokeh, or softness on the edges. Just brighter, sharper, wider images. Then again, mine is for M4/3. You may get different results on the Sony.

Wow, my bad. I see enough shitty footage on here that sometimes it's hard to tell who's doing it on purpose and who doesn't know any better. Now that I know you're in the former group, I'll be sure to leave you to your own devices from now on.

Did an impromptu test to see how well these paired up. happy with the results. I need stronger ND for these bright sunny days we're having. Panasonic GH4Kowa Bell & HowellSLR Magic 25mm T.95SLR Magic 35mm T1.4SLR Magic Variable NDHoya IR UV CutSLR Magic 0.33x Diopter

Selling: Kowa for Bell & Howell 2x anamorphic adapter. Comes with it's bag, and a few additions such as: - 5 Diopters (Closeup, +1,+2,+4,+10) Vintage Vivitars - Redstan clamp - Clamp for front lens element (Allows diopter attachments) - 4 Various thread mounts to fit the 56mm tread on the Anamorphic (52, 54, 55, 56) Photos are what you'll be purchasing, and further below are images I took with this lens on a film (used on a Bmcc2k) Also, if you want to see how this lens flares, check out the trailer (There may be a few flares) MAKE ME AN OFFER. Serious buyers only.

Price reduced to $400.