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You are both wrong: This is the only (super sharp and multicoated) focusing 1.33 ratio adapter made by Isco. It is very rare and very sought after. (not only by filmmakers) Same like the other Iscoramas. If I had the cash I would like to buy it. Maybe for home cinema...

Oh something new and people are immediately negative... Thats a first

Hans already posted my review. This is an Isco 54 body, with 1.33x stretch. It's indeed harder to find than the Isco 54. I would call it an Iscorama, it works the exact same way, with the same amazing performance.

I agree, brilliant advice. I'll put it into motion and see if glazed donuts with sprinkles work.

Sound either makes video or kills it . $128 add to a $6K cam seems like a bargain ... I have a Rode NTG 3 and an AKG 414XLS both driven well with the Device. 414 XL has 5 patterns easily selected. Bob

No but I use this with a xlr to 3.5 mini jack cable ... dead quiet but runs through 9 volt batteries if you do not have an external power supply. http://www.bhphotovideo.com/c/product/403002-REG/Denecke_PS_1A_PS_1A_Portable_Single.html They also make a dual version. http://www.bhphotovideo.com/c/product/406897-REG/Denecke_PS_2_PS_2_Portable_Dual.html/prm/alsVwDtl Bob

Does it have to be used on speedbooster? I'm under the strong impression that the angenieux 17-68 2.2 is parfocal and it almost covers the gh4 4k crop. With minimal cropping in post it should be roughly 50-200 FF equivalent.

No I havent tested any personaly. But I can do that after the weekend. In the meantime there are plenty of gh4 c-Mount examples on youtube.

I have the old Tokina/Angineux ATX Pro 28-70 f/2.6-2.8 and its parfocal. Even though it's an AF lens, you pull the focus ring toward the camera to engage MF and it has hard stops, so pulls are repeatable. Best part - it's an amazing lens and I paid $300. It's even usable wide open, best bargain in a zoom IMO. There are a few different versions, Google the lens for a rundown on which version to look for, they pop up on eBay all the time.

I will tell you as a 1dc owner it's tough to get super deep DOF with the 1dc. I've shot the 16-35 F/4 @ F/16 and it still blows the background out a bit. The colors and skin tones are just wonderful - the 1dc is magic fairy dust especially after you grade it a bit. Lots of data in those 500 M/bit files, and they grade quite nicely. The regular 1080p FF mode is pretty lousy, but the 4k scaled to 1080 and the s35 mode are great. I've gotten decent results with the 1080p60 and quite a bit of sharpening - it's the main knock on this camera. If Canon were smart, they'd put the 1dc sensor inside a 70d body and add the DPAF system - with a touch screen. It'd be killer.

Hey folks. I'm flying to LA next month to do a corporate BTS shoot. It will be the 3rd one I've done for this company and now I have a pretty open budget. I shot the first two with the Sony A7s, and I was relatively happy with the results but you can still tell it's shot on a lower tier camera. I'd like to give this newer film a more professional aesthetic. We had folks visit our offices a few months back and shoot on Arri Amira. I can't stretch that far, but was thinking about the Sony FS7. I'd like to shoot in 4K and downscale it to 1080p delivery. Only problem is, I've never used the camera before and am a little nervous about shooting a project with a camera I've never used before. Does anyone have any advice about this? I've looked at a few video walkthroughs and reviews to get a better idea of how to set it up. I'm a little bit more concerned about equipment. I'd like to handheld shots, does anyone know if it's useable out of the box? I guess we'd need to buy XQD cards. Would 128GB be sufficient for about an hour of 4k footage? Would I be able to lock it down on my Manfrotto tripod? Would I need a new baseplate? Can I screw in my shitty cheap one? The other option was hiring an Atomos Shogun, but I think we'd also still need to buy media for that. And a rig or cage, I guess, to secure it to the camera. And quality wise, would the FS7 still blow it outta the water? Any tips/advice would be greatly appreciated.

3 scenarios here: 1) Your zoom lens is perfectly parfocal, meaning the two endpoints and all points in-between focus to the same plane. Adding a properly adjusted Speed Booster to such a lens will have no effect on its parfocality. If the Speed Booster has a small adjustment error you can loosen the set-screw on the side of the lens mount and then thread the optical cell in or out to achieve perfect parfocality. 2) Your zoom lens is parfocal at the end points (wide and tele), but drifts in-between. This is a non-linear condition that is normally cured by re-machining the cam in really expensive cine zooms. If your lens cost less than ~$20k then this non-linear error is ignored. A Speed Booster has no effect on it. 3) Your zoom is not quite parfocal at the end points. The Speed Booster can be used just like a set of precision shims to fix this condition. However, the Speed Booster will likely not be properly adjusted for your other lenses. So either you need a dedicated Speed Booster for this particular lens, or else consider the parfocality adjustment to be temporary.

I have owned one of these and it is in fact the same body design as the Iscorama 54 only with a 1.33 squeeze factor and probably smoother focusing. Just because it says Isco instead of Iscorama shouldn't be reason to argue. Fantastically sharp and a beautiful piece of glass! I don't understand the negative comments here. This is a rare beauty and requires no cropping to achieve scope if used with a 16x9 sensor. If I had the money myself I'd likely buy this.

So, I need a hand in grading my 30-minute doc. I'd really like to hire someone with serious skills in coloring, but outside of the "biz," because I can't afford those types of rates...although I CAN afford to compensate reasonably. Very indy, you know? I've dabbled, but I tend to end up making stuff look somewhat ridiculous rather than polished, so I really need to rectify this issue. Also, I'd love to watch the process and ask dumb-ass questions along the way so I can glean some knowledge. I'm not sure if this sort of thing is an appropriate request, but it doesn't hurt to ask, so I'm asking. And if this should be posted elsewhere, let me know. Are you self-taught and really good at coloring your own stuff, but would like to make some U.S. dolores showing an idiot how it's done on his short film? Or, do you have a friend that's talented and is looking for a gig? If so, I'd love to hear from you. Or...heck, even some advice would be appreciated...

Thank you Rudolf ! Many confusions around the Isco series… Yes I insist again on this model probably remains the rarest and the same level of optical quality as the famous 54 (several specialists told me that it would be even higher than 54). That's the only x1.33 series that allows a 2:40 Cinemascope.

I would like to add that editing native 4K 1DC clips will require a heavy machine. The C100 files will be much easier to work with without the need of transcoding. And don't forget to add additional backup storage which you will need when shooting large files with the 1DC.

I've always wanted a Blackmagic camera (because the image is simply amazing), but I never got one due to the lack of HFR (which I need) and also the terrible ergonomics making them hard to use. (BMPCC was the best). Now the URSA Mini 4.6k ticks a lot of boxes where the other cameras didn't. I have to say I'm most concerned about the cropped 120fps mode, I'm really hoping it's not a load of crap. HFR is an absolute must in my camera purchases, hence why I have an RX10 II (just finished a low budget band shoot today shot on this!) It's not only the HFR that brought some attention to the FS5. I love how light and versatile this camera is. I can use all my small camera grip stuff with it too. I do find Slog2 & 3 a bit of a pain though, and I don't really like the colours. I've only shot a lot of Sony FS700/FS7/F55/RX10 II stuff because they are the only main camera maker that provides decent HFR - never been over the moon with the images though! Then it all comes back to that damn Blackmagic image - it's simply absolutely hands down superior than the Sony offerings and will very likely be more than worth the money.

$650 for a camera and gimbal that doesn't have the gopro fisheye. Just preordered. I can pick up one of the X5's down the road when used cams start hitting the market.

You might be surprised from approaching an established post company or a professional colorist directly. Sometimes at post houses people get trained up on Baselight or Resolve by taking on lower budget/ indy projects to get more real-world project experience. No harm in asking nicely, you may get lucky. I've seen it work before, some post companies are grateful if they can use it as a test project in their down time for a trainee or if it is an uncommon file format/camera for them to usually expect, sometimes it is good for them to test. I worked on a project a few years back where Technicolor did the Di for free, simply because they wanted to test how far lowlight 5Dmk2 footage could be manipulated (or not). Pretty hilarious that a virtually zero budget short film could put 'color by Technicolor' on it's credits. A quality grade is almost as important as getting a good sound mix IMHO. There are some great looking films online that people can do in their bedroom now with a free version of Resolve, but very few will be using correctly calibrated monitors or have properly learnt the craft. If they had, they'd be working in the 'biz' already. Just my two cents.

another word: arachnophobia

DJI and its horrible support... Yeah! Don't get me wrong I love the idea and would probably get one, but after 3 month of total nightmares dealing with DJI support I fear the worse.

I totally know what you mean. Go to flickr, or pinterest and look at wedding photos, family photos, headshots. They all look the same b/c they're shot with a 5D and an L lens.

Love this place, thanks for all the help guys. Nick, I'll download that guide you recommended. The rental price for some Zeiss CP.2 prime lenses aren't too bad. I might use a 85mm and a 35mm for the day. I also have an old vintage lens, not sure if it will resolve enough detail for 4k but I'd love to give it a shot. It's an old 50mm 2.8 Jena lens...plenty of problems with it but always felt it adds a lot of character. And regarding the rest of the lens conversation, I'm pretty damn unexperienced. Have only done self funded doc work and some corporate shoots. So it's probably right that I have the videographer look going on.

I don't see it. The "look" of lenses is subtle, so much so that I recently confused Summiluxes on a project I'm posting on for S4s, and I normally can tell. (The bokeh and lack of distortion should have been a sign, but it was a short spot in relatively deep focus.) What makes the difference is the lighting and compositions. A lot of Nikon and Canon glass (and Leica glass) has been rehoused–even by Panavision–and used on major features. When I shot Canon glass against Angenieux higher end zooms the biggest difference was mechanics and the second biggest was actually a quite major advantage in the Angenieux wide open. That said the skill-set of a videographer and a photographer are closer-matched, so the correlation does exist between those favoring photo gear and giving a "wedding photo" look, but that correlation has more to do with style than with how lenses render. That's a very very subtle distinction.

I personally like the look of Canon lenses. The clean, modern look appeals to me (depending on the project). The 24-105, however, is probably the lowest tier L lens they have. I think renting a set of primes would really do you well. 24, 50, and 135 (or 85) would be a solid combo. The FS7 is not that bad to use. There are certainly much better designed cameras and menu systems, but once you wrap your head around where everything is (and set up your user menu), it's workable. It can definitely shoot solid handheld out of the box, but can get to be a little painful after hours and hours of shooting on your shoulder. I've been working on a show recently that has the Zacuto recoil built onto the FS7 and it's been a dream to shoot with. Recording times for XQD cards. You could lock it down on a manfrotto tripod, but you'd want to keep and eye (or hand) on it at all times. If you do decide do go with the FS7, I highly recommend renting this Master class by Doug Jensen. It's a hefty $85, but you get six hours of detailed lessons on how and why to set up the camera in certain ways. I watched the whole thing before starting the show I'm on and was up and running with the FS7 right away.

Thanks for the feedback, this is helpful. I was planning on using the Canon 24-105mm L lens. This is a bad choice because...they lack character? Are overly sharp? Philip Bloom (not the benchmark, just happened to watch his FS7 review to plan) uses Canon L lenses and his footage looks pretty good.

FS7 is nice, but the menu system is pretty bad, and it's not ideal for situations where you're under the gun and have to move fast. The camera has to shut down and reboot to change any major settings. If it's a corporate shoot where you have time to setup for each shot then yeah, I'd say it's a good option.