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How sweet and funny to read all these comments. Yes indeed I created a very poor lens test. I should have shot a testcard and do a rack focus. Would have been so much easier as well.

Ignorance + video capable cameras --> Fstoppers reports.

Hi everyone. I have uploaded a test sequence with shots from a indie feature I´m doing. We Shot a small scene with film because we wanted a really particular look for this par in the movie, more vintage, like memories from childhood. Se we shot on a SRII super 16mm Fuji Eterna 8673 stock. Then scanned on an Arri scanner. I never color graded film. So wanted to hear some opinions about. If any one have questions, please be my guest PASSWORD: fuji test Also, i wanted to share the raw clip for anyone who want to give it a try. Remember its film log. compressed in DnxHd https://mega.nz/#!hFh1hAyA!b0mxVAk1KtjL7guXYcRExBEcdTAVinaTLfMIQq5k-24

Day rate is the way to go with location production. Hourly for post. Just my opinion.

I generally prefer a flat day rate for anything under 12 hours. For me, there's not a whole lot of difference between a 3 hour or 8 hour shoot, since my day is already booked and I can't take other gigs. When clients are watching the clock trying to save a few dollars, the shoots tend to get rushed, which usually means more time in the edit trying to fix problems that could have been solved on set by taking your time. With clients that really want an hourly rate, I'll charge a fee just for showing up, then bill hourly.

I really don't get why people are complaining about these lenses. This is some of the most "cinematic" footage I've seen come out of the GH4 yet. And I think it looks better (in a purely subjective sense) than the mini Hawk tests. Am I going to trade in my Iscorama for one of these? Probably not. But if I had to go on a shoot with this set, I'd be more than happy to do so.

I predict a hit.

Feel free to check out this live music video I made for a friends vocal student. I'm pretty happy with it minus the fact that the audio isn't as crisp as I would've liked (A giant AC was right next to our location). We had such a short deadline that I had no time to adjust the eq on the audio. Let me know what you think! I think the d5200 did a good job.

Benching 300 one time is still impressive though. Max days are a thing.

I've had it since May. Thank God for the internal ND's with a base ISO of 850 and faster glass.

Go for it! If you don't like it, i'll buy it off you for €650!

So I've done some extensive testing with the C100mII after I experienced alot of banding on a plain wall. 1. Using an ISO under 850 is just BAD. It is the main culprit. 2. Even though the C100 HDMI output is only 8 bit 4:2:2 is greatly reduces banding.

Thanks! I am quite satisfied at the image I can get from this (now very cheap) camera as long as you are using decent glass. Sure it doesn't have video friendly features like the gh4 or other cameras but for the price, the image is pretty good.

Thanks for your comment! OK - I see. I use a heavy tripod and no camera movement at all as the lens I am using is a Canon 800mm f5.6. There is a bit of motion but nothing too drastic. I guess I need to consider what is worse - to have to push the exposure in post and get noise or risk some motion blur. Thanks again, Ofer

If you can't see the way the lenses render the defocus then you're blind. Even with the rather deep field at the wider end, it's plain to see that the lenses are defocusing with the 2x anamorphic distortion as well as adding the classical anamorphic aesthetic. And seeing as you are being so harsh and demanding of the lenses and of Hugo's test, as well as quite pompous, please direct us to some work of yours which illustrates your experience with anamorphic lenses in general, as well as the work you'd produce if SLR Magic had infact made lenses that matched Panavision c's or Vantage 74's.

Crappy 4k is no better than good 1080p

Since when did the only factor for image quality become sharpness :/

I'm pretty sure that all manufacturers want a slim, flat phone with no bump for the camera module. It's a shame really, they are all competing within these restrictions of not standing out (yes, even Apple) and going for that golden profit margin to sales ratio. Kudos to Nokia for their Pureview phone - now bring it back with 4K and Android!

There's no way those are actual shots of the screen.

There's a shocker! I often wonder if stories like this are the result of Apple's marketing push, mostly made up: TV stations switching to iPhone, reviews of iPhone beating Nikno D750 as posted in another thread here, filmmakers making movies with iPhone (with $10K worth of accessories and a big crew, BTW) as we saw recently, commercials by the likes of Martin Scorsese, etc. All to give the completely false impression to credulous masses that somehow this is a new world in which all you need is creativity...and an iPhone!

They'll need more than God's help. They'll need a course. Lesson 1 starts out something like this:

while we're at it, motorcycle technology is really going places too! some of them are almost as big as cars now :o

They need to have another phone like panasonic CM1 but with much better BSI 1" sensor, F1.4 retractable pancake zoom lens with IS, built in ND filter, newer processor like the snapdragon 820 or much faster one, 4K 60 fps, 128 GB storage and expandable with Micro SD U3! and manual controls. Also price $650 or lower!

Streaming live video from mobile phones has already been working fine since a long time. I'm working for a company, Bambuser, that does just that - and has provided live streaming from phones since the company launched in 2007. It works plenty fine on 3G/4G. We have a specific platform for media & news companies, http://bambuser.com/iris - that is built on the same platform as the free-for-personal-use Bambuser app & service that you find at http://bambuser.com. Personally I don't see this as something that will fully replace camera men (if you want good images - you want someone with a good eye for composition). I see it as something that will make it possible to bring in footage that wasn't possible to bring in before due to resources / equipment in a particular location - or because no camera crew were actually at the spot when something occurred.

1. Blegh. Apple people. 4K on smartphones are a thing for a while now. 'But wooohhh, it's Apple doing it now, look at this, it's amazeballs'. I mean... really? 2. Can't agree with the topic title. It's still a tiny sensor... it's still a very deep depth of field, it's still oversharpened... I thought that was a thing we're trying to avoid by shooting with cameras like the D750, to be more filmlike. The iPhone's footage is way too screamy and harsh for my taste. It lacks nuance. Besides. DYNAMIC RANGE. Man. 3. Of course 4K -> 1080p is going to look sharper/crisper than regular 1080p from a Canon/Nikon fullframe DSLR. To me though, the amount of detail in a deep depth of field shot makes things flat, I need some layering

Here are just some notes I made regarding anamorphic recording resolutions on the GH4, crop requirements, general lens requirements and pros/cons. Feel free to correct me, but I think this might be useful for entry-level anamorphic people. GH4 Widescreen Modes / Resolutions for 2.39 Cinemascope / External Recording — GH4 1.5x Anamorphic, 10 bit out UHD at 3840 x 2160, recordable by any external 4k device. 10% horizontal crop gives 3456 x 2160 so each source frame contains 7464960 pixels. 1.5x de-squeeze yields 5184 x 2160 at 2.4 ratio. Pros: Recorded source material has the highest resolution, good anamorphic feel, available lenses are high quality and can be light weight and easy to focus, single focus anamorphics available. De-squeeze yields full cinemascope (2.66), slight crop to 2.4 standard. Cons: entry level 1.5x anamorphics are pricey, more work than DCI 4K + crop. Uses: A lot of entry level anamorphic work can be shot using 1.5x (Bolex, Isco, etc) as long as you can tolerate slightly higher rig complexity. Bolex can be handheld. For more of a stylized look, check out the 2x anamorphics. — GH4 DCI 4K, 10 bit out is 4096 x 2160, Ratio is 1.89, Cropped to 4k 2.39 scope is 4096 x 1716 so each frame contains 7028736 pixels. Pros: Easy setup, single focus, very good choice of lenses, lightweight rig, best horizontal resolution, acceptable total resolution. Cons: No anamorphic effects in flare or bokeh or other anamorphic effects. Recommended for: Crane/Jib shots, Wide angle, remote / drone (DCI 4K external recording requires at least PIX-E5 or Atomos Shogun or 7Q). Note: Internal Recording @ 8 bit can be used here but be careful for sun, sky, flare banding especially with flat recording modes (Cine-D, VLog) — GH4 2x Anamorphic, 10 bit out is 2880 x 2160 with black bars on sides. Each frame contains 6220800 pixels. Expand with 2x anamorphic to 5760 x 2160, reduce to 4096 x 1716. Pros: True 2x Anamorphic look and feel, wider range of anamorphic lenses, increased anamorphic “effect”, some lenses have fantastic blue flare. Cons: Considerable loss of resolution in post, less expensive 2x anamorphics are dual focus and difficult to use in production. Some good midrange 2x and excellent 2x single focus lenses for rent or purchase (if you have unlimited cash available). Recommended for: Anamorphic night and sun shots where flare is more obvious and beautiful. Car lights, flash lights in the dark etc. (Any good 4k external recorder will work here).

Dude... I'm 'Powered by Google search skills' but I can't find 'that lens buying it off of ebay. Looks like you can get it new for $350 off from asian sellers'. So go ahead and please enlighten us rather than just saying 'Ebay.' to enforce your claim.

Thanks Hugo, appreciate the time and the energy you took. I agree with Rich, some comments were pretty harsh. Don't see why sharing is rewarded with flak; it only serves to push people away and thins the community. As to the footage (well shot and yes, controlled but fits the style of the piece). Would like to see some rapid focus pulling on the lenses (as well as speed shifts in the edit). I own their Anamorphot and the nature of that beast is that it needs a tape measure involved to hit the marks. Thanks again

The comments so far seem very harsh. Admittedly you could give Hugo a 550d and a 18-55 kit lens and he'd make something beautiful with it. Add some artistic themes, a great soundtrack and a truly beautiful lady in a semi transparent top into the mix and as a sexist pig I'm gonna like it. Optically it looks like these lenses were being used in their sweet spot in terms of a scene. subdued light, little opportunity for edge CA to become apparent. I see the classic SLR Magic browny orange/blue CA mix going on which to me is undesirable. LOMO's do CA properly. In a lomo square you get CA which doesnt cause a harsh effect. These look like they may suffer from the typical SLR magic CA which to me isn't nice. Positive thoughts are that these lenses really look anamorphic. subdued flares are nice, nice defocus, barrel distortion isn;t too corrected (barrel distortion is one of the best features of anamorphics from yesteryear). On a wide shot it draws your eye into the centre, and reminds the viewer they're watching a cinemascope movie. The sheer number of elements in the optical pathway are showing themselves really nicely. I'd still rather grab a rama 36, a tokina and a set of cheap 50, 85 and 135 lenses and shoot full frame 16:9, with 3 times the sensor area, and 3 times the shallowness of dof, with almost no CA, the perfect amount of distortion, and a German badge from 1970 on the front rather than a 2015 Chinese badge.

I'm saving my money for it and am pretty confident that by the time I have this money it will be out and some kinks worked out ;-) However, being in my position keeps me from preordering and will save me if it flops. Everything I've seen or read tells me it probably won't though.

I wont say anything for sure before either using both or seeing alot of footage from both. But if I was to guess based on current available gear, gear Ive used, specs like compression as well as hardware specs, etc. The URSA will win in Image Quality, price and usability.

Michael, I got my nx1 in June and have really enjoyed it. I haven't gotten any of the NX lenses, but I do want to get a few of the pancakes. I've liked this camera coming from the d7100. My d7100 has served me really well, and continues to do so, but the nx1 just has so many things that the d7100 doesn't that it really is fun to use and really does feel like an upgrade, in terms of features, usability, and footage. Pretty much all my lenses are Nikon, at least my big prime and zoom set, and they work great on the nx1, although my 11-16 vignettes wider then 13mm or so. My 7100 had some banding too, mainly in the shadows. It doesn't look good when it shows up, It hasn't been an issue 8 out of 10 times, but when it looks ugly, it looks ugly. The nx1 hasn't shown anything like that, but I haven't really put it through the low light ringer. I use Rocky Mountain converter and haven't had any real issues with converting, and recording UHD and converting to 1080 looks gorgeous to me. One thing I really love about the nx1 is how long the battery lasts in it, even when filming UHD all day, a battery will last me the entire day and only be around half drained. I really like this camera and the features you get for the money are incredible. Transcoding the footage has been blown out of proportion, it really isn't that big of a hassle for me.

Yes indeed. Quite nicely in fact. I shot most of this in 1080/60p on the original a7s. Mix between crop and full frame mode

GH4 + LINOS MeVis-C 35mm f1.6 C-mount lens + baby Hypergonar 1.75x + SLR Magic Rangefinder