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Got to love wood, it's so organic.

Wow, such great response ! Thank you all It was indeed shot on a T3i, I still think this is an amazing camera if you put decent glass in front of it. I agree with you, the blacks are dark grayish without detail (not enough DR), but it was an artistic choice, I just liked how it looked in the end. Gear is important, but not as important as we think sometimes, its hard not to get "drunk" with all the gear talk, upgrades and all that, more DR, more resolution, more detail. Most of my gear is "beginnerish", and im glad it is, having quite a short selection of lenses (just the 24mm Samyang and the Canon 50mm f1.8) made me very comfortable with them and the FOV. Of course its a bit uncomfortable, when you get to a job and guests have better gear than you, but hey, what matters is the end product

Hey Everyone, Last month I finished editing my last job with my T3i (since then i've upgraded to the Nx1), most of my jobs are weddings, even though I like doing some of them, I'm burnt from having quite a few this summer. So I've been doing some tests lately with Luts and finally decided to grade a job with it, I very much liked the end result, got a "cinematic" feel, but theres always room for improvement, so I'd like to know what you guys think of the video in general (editting, grading, filming and so on). Password : Memoryshop Thank you guys

+1 for vintage and for Helios 44-2 recommendation...it is a perfect pairing for so many anamorphics. Nikkor's can be good (older non Ai versions) as most have warm, non MC coatings that compliment warm flaring lenses such as iscomorphot s8/16 - iscorama - kowa B&H etc. Downside is that when stopped down most Nikkor's have hexagonal aperture, cutting into the oval bokeh shape caused by the anamorphic up front. Helios 44 has a nice round aperture throughout stops due to blade shape/number (usually 8, or 13 on early silver versions)

I'm in two minds whether to actually change my URSA Mini 4.6k pre-order to a Sony FS5. They are much different cameras, but I think I'm getting bit of sense when thinking about this for business terms. For these reasons: Smaller, much lighter body. (constant shoulder cam on a long shoot really starts to hurt! Health matters).Can use the Sony FS5 with my lightweight grip gear - DJI Ronin M, Edelkrone Slider, Libec Tripod. (too small for URSA Mini). Internal electronic ND means I don't need 100 step up/step rings/combos to put on a vari-ND on each lens. 240fps at 10bit - massive for music videos. (URSA is a worrying, windowed 3.4x 120fps. HFR is a MUST). Much smaller file sizes (decent hard drives + backups cost a lot of money). Much more reliable brand. Less likely to have weird issues on footage where money matters. Very familiar with Sony video products and Slog2/3. Much cheaper media. Can record external RAW in future update. (might be a great way to "upgrade" the camera). Put on a Speedbooster and also adapt all sorts of lenses.URSA Mini advantages: Be able to produce much more spectacular images. Much better colour science. Rolling/Global Switchable - nice to have the option. Larger screen and better EVF. I'm wondering whether the benefits of the URSA Mini 4.6k are enough. The filmmaker says yes, the business person says no.

Kowa B&H Close Focus Mod & other 'Tweaks' Recently I picked up a very cheap Kowa B&H that needed a lot of internal cleaning and a fresh re-lube. Since it was my 'Spare' Kowa, I have a chance to illustrate/share my findings on some simple modifications that I discovered a couple of years ago on another lens. Since I already have a 'Standard' Kowa to compare with, it should prove easier to illustrate the difference in performance before & after modifying such a lens. These principles will work on many lenses of this type that share a similar construction. Following these steps are at your own risk. The modifications allow: * Minimum focus to be reduced from 5 feet down to 3 feet. * Reduction/elimination of 'Veiling Flare/ Barrel Glow' that is common with Kowa lens types. * Overall sharpness improvement. Close Focus: To achieve closer focus from the 5 foot factory standard is pretty easy.The focus mechanism transport is done by a helicoid pushing/pulling the front element that is seated within a tube, guided by brass tabs/stoppers within slots in the housing.These brass tabs/stoppers ensure that the linear travel is straight and true (ensuring correct alignment with rear optic). By cutting these tabs to be shorter, the travel of the front optic assembly is allowed to seat closer to the body - allowing closer distance between front and rear optic. This allows an increase in optic proximity to be achieved. This modification effectively allows the focus ring to turn to it's maximum close focus position, and not restricted by factory limits. Veiling Flare/ Barrel Glow - Reduction: A common artefact of Kowa lenses in bright light situations seems to be a strong Veiling glare. It is similar to a strong vignette of light that happens when the front optic is hit with off-axis light. Although this can be a desirable artefact, often it is too overpowering to the image when purposely flashing the lens to pop a flare for effect. A simple solution I found is to blacken the edge of the front optic - this is the edge that gets hit by light and pools the image with a 'Barrel glow'. Taking a fine tipped marker pen does the job well (without needing to disassemble lens) - even better would be black paint and a fine brush and a steady hand if you wanted to eliminate glow completely. I personally tried the marker pen method, as you can carefully remove or thin the ink with a tiny amount of lighter fluid on a brush - creating a reduction/dulling effect, rather than remove the glow effect completely. At least it is good to know how to minimize the glow effect, especially when shooting in bright sunlight without a mattebox and you don't want everything to be washed out all the time. Overall Sharpness Improvement: This came from a few year back when playing on another Kowa lens and is the nicest find I've discovered so far (about most projection anamorphic lenses). I found that when removing the brass tabs that are used for alignment, you can separate the front and rear optic assembly for cleaning etc. But If you do not re-install the tabs into the pre-set positions (using the screw holes aligned in the factory) - you can often tweak the alignment and fine focus to be even sharper. As a pure guess, I can only presume that back in the day when most of these lenses were made the tolerances for alignment were only considered for image projection, rather than image acquisition (iscorama/bolex types an exception) I found that by freehand rotating the front optic assembly (when attached to camera) - It is possible to achieve more finite sharpness from the alignment. Using high magnification on my camera and additional magnification on my EVF + focus peaking at a reference at infinity - it was possible to rotate the front element assembly to what is probably fractions of a millimetre from the factory alignment, then glue the brass tabs into a very slightly new position. Glue works well, as it does not require additional holes to be drilled to re-seat the brass tabs, or forever alter the lens. The glue does not bear any load of consequence, mealy seats the tabs to prevent rotation. The lens can be easily returned to its original alignment by dissolving the glue with solvent and returning the tabs to factory position. I’ve found that the very slightest tweak to factory alignment in 3 out of the 4 of these Kowa lens types I've owned, improves the sharpness noticeably.

Why not just get a Microsoft Surface Book?

Exactly. And yet I love tons of lenses on different lens mounts, I won't just pick Nikon Ai-s lenses only, or the Canon FDs.. My first vintage lens was the Minolta Rokkor MD 50mm f/1.7. They send it to me with an XG-1 body. Then a 28mm f/2.8 MD as well, followed by Pentax with the Asahi (not Takumar) 50mm f/1.4 which to this day has one of my favorite looks! Then a rollercoaster ride with all the Zenit lenses in M39/M42 mount. Bunch of other stray cats wanting to get adopted. No one mount or brand in particular... to me it really is not about the mount, it's all about the glass and look.

Thank you so much ! I do think its the best thing anyone can do, and should do, specially when starting. Having a limitation, glasswise, will make you feel comfortable while shooting, you'll become so used to it that eventually you'll just know exacly what you're gonna get without looking through the viewfinder. On these types of job, what I like to do is just walk around, quick 5 second clips, get lots and lots of dif. shots, details, and "blend" with everyone, so they dont notice im filming, I shoot from the waist, and tilt the screen up most of the times, I want people to be as comfortable as possible. Lately I've been doing weddings, but its not what I want to do, I'm now starting to do some music videos and have a couple already lined up, but my main goal is to eventually move out(I live in a tiny Island called Madeira, and working in videography here is very very hard and expensive) and work more seriously on films and shortfilms. I can share with you my first shortfilm, done 1.5 years ago, of course I've progressed since then, but Im still quite happy with it, and one should always look back and look at how you started : https://vimeo.com/111478234 (this was based of an animation I had done previously).

"Go to HDMI Settings on the last menu group and once you select that you'll see HDMI Info Display. Turn that off. That will put the video on your monitor without the info, but the LCD will still work and it will have all the info on it." From: http://www.eoshd.com/comments/topic/7219-a7s-simultaneous-monitorevf-with-hdmi-how-to/ Monitors usually come with an HDMI out that you can propagate the signal to another monitor. If not, then a splitter should do the job.

$700USD and not even ended yet! The world's gone mad. I actually really like those flares. particularly when he closes down the aperture. Begging for a little ff58 with a 3x oval on the back of it. How are you finding the moondog?

I would pre-order this, if there was actual footage. Still waiting, otherwise I would already have picked it up.

Uh... I don't see it. Especially while you bring it like a stated fact, rather than opinion. Care to elaborate? Whether it's M39, M42, MD, PK, FD, C-mount etc... there's great vintage stuff regardless of the mount. Of course, Leica mounts will get you Leica glass... or maybe you're now obsessed with everything Mitchell/BNCR mount because it has a purely cinematic history, that might well be (you'll be one of the very few going through the trouble of adapting 'em though). Doesn't mean other mounts should be regarded as the lesser mounts for providing lenses to shoot video with. I wouldn't say that a lens wins because it has a so-and-so mount. The mount doesn't give you any look, the optical formula is everything regardless of the mount behind it and good optics and especially value can be found everywhere, so it'd best to embrace it all and pick the best optics regardless of the mount, rather than prioritizing the mount itself. But hey, perhaps that's just me.

I am not an audio professional but most audio professionals I've encountered will tell that they prefer a wired mic over a wireless all the time and in general a boomed mic over a lav mic as well (Either shotgun or hypercardioid depending on surroundings). But sometimes you simply need wireless to get the job done. I have a G3 system and it gets the job done (Actually I've never, ever, had a problem with it) but cost me quite a bit but and if I was on a budget I'd look at Rode's wireless offerings, they are bulkier but they are easier to set up and use and priced really reasonably in my opinion. Sennheiser also has new equipment that is far easier to use but it is not cheap but will probably last forever. One investment I made is buying a set of adaptors for my wireless lavs that will let me feed them phantom power from a wire. This way if I'm on a shoot and I'm having problems with wireless I can still feed them into a mixer, or in my case a simple Juiced Link box. Sennheiser makes these adaptors for about $130 US each but there is a nice company in the UK that makes them for half the price as well. http://www.canford.co.uk/ The product I bought for my G3 kit is: http://www.canford.co.uk/Products/20-769_CANFORD-ELECTRET-MICROPHONE-ADAPTER-3.5mm-jack Also the stock lavs that come with wireless kits are nothing special, many folks update these.

For me this point would carry a lot of weight.

I'm going to assume you're talking about the Kowa for B&H. Vintage lenses tend to better with anamorphics - single coatings & more character etc... Modern lenses tend to be too sterile, but its your own taste that matters. Nikkor lenses are great - there is a 40mm (never tried it), but the 50mm f1.8 pancake is worth it. I originally paired it with the Zeiss ZE 50mm f1.4 & that worked v.nicely. But the king of taking lenses for anamorphic adaptors is still the Helios 44-2 58mm f2 - can't be beaten.

Isn't it a tad strange this is shipping next Friday in the States, and there's been no more footage or first impressions...or anything?

Stupid question incoming, the difference between these wireless lav mics and something like a Rode SmartLav is that these sound much better and are wireless, right? It's not just that they're wireless?

I really like the RodeLinks I got, only notable downside is they're kinda bulky ish.

For people wondering how its works as an event RnG type of camera. This coverage from the Canon Expo was also shot on the XC10.

DPA D:screet series are a personal favourite. Very good vocal tone and ambient rejection not budget, but of course nor is your 416!

if either of you guys want to trade for an rx10ii let me know it comes with questionable batteries and memory cards and i will bake u cookies

Talent trumps gear. If you're under the delusion that it doesn't, consider this yet another exhibit that should dissuade you from that notion.

Since we had a big spam attack last week, newly registered members had to have their first posts or replies approved by a moderator. Unfortunately this system didn't work and most new members could not post at all from the get go. I have taken the locks off and now you should all be able to post and use the forum as intended. Enjoy EOSHD!

Lens-cyclopedia has been updated with a reference to this thread

Same here. I shot a lengthy 5 hours of interview (in 4K) with a 16,000 mAh powerbank. I only had a few seconds break to swap the SD Cards once full. It's a shame we are limited to 30mins.

A late response but i shot a wedding this summer on the NX1 with a 12.000 mAh USB battery. No problems what so ever during the 7 hour shoot and the battery lasted all day.

Although I'm not in the more experienced group, I don't get the cynicism myself. Personally, I'm a fan of their one handed gimbal, Nebula 4000lite, which, if I'm not wrong, was a first of its kind at the time. Top marks for portability, with its weight limit (around 1 kg) being the only problem. Naturally I'm excited their newer one handed gimbal can take on more load (at least 1.2kg). Even their 5-axis model seems to be a big step up for me in terms of portability from the normal double-handed 3-axis gimbals.

Things require time to be made, correct? The problem with these forums is the fact people from so different origin come to post and say anything as it is the most consensual truth. As matter of fact, experience speaks on our behalf. We can't put some worker with one, two or more decades of experience in the same basket of some young fellow anxious to see the bird out of the cage. I'm sorry but that's what it is. Our actions speak by itself. To infer some manufacturer has some trouble because didn't post any sample footage in half dozen of days, only pops up as evidence of it. Instead.

OK, I tested the camera, shooting non-stop for 3 hours, immediately restarting every 1/2 hour with each time limit. Quite amazingly, the camera showed zero signs of problems (was barely warm) and probably could have gone indefinitely. Also, you can use the USB cable for power if you need. Bottom line, NX1 should work fine for arbitrarily long shoots.

The more days go by without a video of real test footage, the more skeptical I am about this product. Seriously, the people on this forum know that a demo video could be put together in less than a day. There must be some issue with the gimbal or manufacturing.

Don't push it, man of the renaissance... LOL Don't try to take advantage because some other poster said yes in some other topic as the only way to make a point on yours ;-) This test (not mine) is "my contribution" to this thread: http://www.eoshd.com/comments/topic/9390-sony-a7s-ii-is-out/?do=findComment&comment=106693 sample extracted from (minute 28:30): https://vimeo.com/114978513