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Here's the trailer for a movie I shot last year using an Iscorama/helios/jupiter9/minolta 35mm and FS700 with Blade recorder. It's a no budget, lowbrow, dark comedy. It's no Oscar winner, but it's my first feature film and it's almost ready for distribution(hopefully).

Im a bit of a lens nerd myself so im interested in seeing what you guys shoot with on you cameras whether it be old vintage lenses or modern ones. My current set is made out of Samyang 8mm F2.8, Tokina 17mm F3.5, Nikkor 35mm 1.4 Ai, Minolta 55mm f1.7, Nikkor 85mm 1.8 ai and a fun one, the sigma 400mm f5.6 reflex lens.

24p in 60hz wont flicker much. The Hz isn't a setting in the camera, its a menu option to guide you. What causes flicker is the frame rate when it doesnt match the Hz in the lights. So you need to avoid 30p, 60p and 120p in PAL-land. 25p, 50p and 100p are safe. So are 24p and 96p because they are close enough. Do a quick test before to feel confident.

Man, I shoot several theatre events a year - music shows, band gigs, concerts (from local guys to smaller indie stuff) and they're rarely situations I think of as "low light". The only times they're low light is a band playing the bottom-of-the-rung live clubs with no lights or no stage. If someone wants to **pay me** to shoot like that, I bring a DJ truss and a dozen 300 to 650 fresnels. D7100 frame grab, this camera had an old push-pull 80-200 2.8 on it (yeah, that's Emmylou, and yeah, at 68 she still gives you chills): (EDIT: this was video not a still)

Man, if the film is anything like the trailer...classic! Oh, I see you...that's my real problem! We need a sticky on this forum, so we can 4chan-ise.....

I think it also make sense when we call our camera/sensor size: I film in Full Format (5d) and after testing a lot of lenses, especially primes, I came back again to the Canon 24-70mm/2,8 L MKI as my main lens! In the end it has beaten all of my other lenses in case of "character" and color rendition! But under special circumstances I love several Minolta lenses, (modified to EF mount): Minolta Rokkor MD 45mm 1:2 - a 30,-€ lens with a beautiful color - and 3d performance! Also the Minolta MC 35mm 1,8 HH (excellent sharpness, very 3d-ish, but colors not as good as the 24-70, too blue, too magenta). The Minolta MD 24mm 1:2,8 (Collaboration with Leica) - a ultra sharp and clean 24mm wide angle lens on FF! Nikkor 85mm f2 ai - simply a nice, sharp and affordable lens. Nikkor ai/ai-s lenses always surprised me. They innately deliver a very special cinematic image! I want to have more of it, so I am looking forward to further recommendations... Here a quick test of the Minolta 45mm (f2 is very ordinary, but from 2,8 it shines:)

Y'know, the OP asked "does it also bypass the camera colourimetry too"... With HDMI, you're getting whatever comes out of the HDMI input - so if your color profile is set to monochrome, you'll get a B&W image. It's not like a camera raw file.

Although you can capture an 8-bit signal with a 10-bit recording device -- you gain nothing. You cannot manufacture those two extra bits of bit depth -- they much be captured and encoded by the source device. The same holds true for color sampling, with the exception that you can achieve gains by downscaling a 4k 4:2:0 signal -- to an HD resolution. Lastly, from an audio perspective, not only is it one less box to worry about, it completely avoids the arduous syncing process, as well as ensuring a perfect lock between audio and video (which many DSLR camera fail to do -- even when recording internally).

I'm not sure what camera you are using, but even with a camera whose HDMI output is constrained to 8-bit, an external recorder may allow for 4:2:2 as opposed to an internal 4:2:0. Additionally, an external recorder will typically allow for a more professional, higher-bitrate, less compressed codec (e.g.: Prores, DNxHD, DNxHR) that also might significantly accelerate your postproduction workflow. Edit: Lastly, if you are shooting sync sound, an external recorder will also possibly provide more professional connectivity options for microphones, higher quality mic preamps -- and maybe a more intuitive interface for controlling gain levels.

I ordered a DS1 a while ago and hoping it will arrive very soon. I'll give a short review on how I get on with it. It seems to be the real deal but will need some testing.

It would be interesting to see a signal processing diagram that clearly articulated the exact changes made to the image at the point where it is internally recorded. And, conversely, what signal processing is possibly bypassed for the HDMI output path. For example, speaking only of the A7Si/ii, I believe that the video levels recorded internally vs. the HDMI output are legal vs. full range, respectively. And, as Andrew pointed out above, the noise profiles are also significantly different -- and I, too, have trouble attributing them to compression averaging. I suspect there are other tweaks going on. But, but I agree that the basic color science is probably upstream of all of those tweaks.

Shooting 23.98 in a country with 50hz power supply will not work as you have discovered if there is any light powered by the 50hz mains .... just the small shift to 25 eliminates the flickering. Conforming after the fact will not eliminate the flicker as it has been captured and I assume will still show up ... Should you shoot outside with daylight any standard will work. I assume that shutter angle C-scan or any other approach will leave you with a residual flicker .... now shooting at 25 and conforming to 23.98 would allow you to capture non-flickering video and render it cleanly. The standards were set through the discovery of the problem and the solution is fairly set ... as neither the EU nor the American system will conform to the other system's standard. Bob

Don't know about the Pany. Don't really know anyone with one, nor have I seen raving reviews. I guess if you need the range and the price fits... Just, it's an older lens, I got to bet it quite similar to the 14-140mm and while that lens is nice 'n flexible it renders rather modern. Contrasty, poppy colors, very sharp. Sounds great, but that tends to look very Panasonic videoy. Perhaps the go-to zooms on the wide end are the Tokina 11-16mm f/2.8 with Nikon > M43 focal reducer or the Olympus 7-14mm f/2.8 PRO albeit coming in at quite the hefty price. Olympus 8-19mm would be a wildcard here. If you have a Metabones Canon EF(-S) > M43 you might even want to go for the Canon 10-18mm.

Have you tried on different lights. Some fluorescents flickr enough for my eyes to see it. Do some tests. But since you've already shot a bunch of it in24p you pretty much need to stick to that now. Worst case, if it flickrs, go outside. I wouldn't care to much about the waveform. Look at it on a TV or something. If it doesn't flickr there, then who will notice.

Let's put it this way, Sturdycam is not about italian design! If you want a beautiful object, their products are not for you. On the other hand they are very solid and well built. Ugly but sturdy! The LX100 with it's wide-angle and OIS it's really the perfect camera for any gimbal. And of course, you choose your gimbal, choose your camera, balance everything and then you stop fiddling with it!!!

http://www.photozone.de/olympus--four-thirds-lens-tests/530-pana_714_4?start=1 Looks like there's a fair bit of distortion without software correction. I haven't used it, so I don't know if it's objectionable in actual use. Look up some clips and see if it bothers you.

according to newsshooter 'The screen is also highly reflective which makes working outdoors a little tough '

Sounds like a very big updates and it adds a lot for a preview monitor only http://www.newsshooter.com/2015/11/10/blackmagic-design-video-assist-with-firmware-version-1-1-reviewed-a-495-recorder-for-the-masses/ Andrew, can you let us know about the brightness? angle of view? (Compare to a Shogun for example) As they point it out: Potentially even more of an issue is the fact that there’s no way for the Video Assist to do a 3:2 or 2:2 pulldown on the interlaced output from cameras like the Sony a7s. Even though some (mostly Sony) cameras are set to shoot progressive, they output the image in an interlaced signal over HDMI. Recorders from Atomos and Convergent Design deal with this by applying a pulldown to the signal, converting it back to progressive before recording. The Blackmagic doesn’t do this so you will likely need to configure your edit software to handle it. If you’re shooting to edit yourself this isn’t the end of the world, although it does add another step to the post production process. It’s something to bear in mind if you’re handing over footage to be edited by someone else though – you’ll have to make sure whoever’s supervising the editorial process knows they’re receiving progressive footage recorded in an interlaced form. So, it's not a recorder you can compare to a Atomos or PIX for now.

Lol whatever, I'll leave the thread to you so you can write in it like a journal and keep the lenses thread free of your new discoveries.

Recording internally: If your scenes will be lit and you'll have some control over ratios, I would try the Leeming LUT workflow: http://www.dvxuser.com/V6/showthread.php?340808-Leeming-LUT-One-%96-the-best-LUT-for-the-Panasonic-GH4 This uses a specific tweaking of Cine-D, ETTR, and a custom LUT to correct to more pleasing colors. I've only shot with it once so far, very briefly but it seems pretty nice. Otherwise I stick to Natural with most everything at -3 or -4. Recording externally, to 10-bit, I would use V-Log , and experiment with one of the many LUTs available for it. In particular the Film Convert profile seems very nice.

Don't know about the Ninja but it does do a clean 1080p HDMI output. Here it is on my Odyssey 7Q+ The clean 4K works as well. This is NX1 firmware v1.4 First you need a card in the slot. For some strange reason. Then you need to set HDMI to 1080p in the menu. Then you need to press the disp. key to get rid of the icons.

. Yes and in my opinion that's horrible. the a7rii have more options for recording, less rolling shutter in FF mode, who cares if the ful lreadout is crop? you can use more lenses and use the speedbooster, are they even aware of the speedboosters ? it is dissapointing that a7s is not better in video. At this point, after seeing all the test shots, I am disappointed and have to absolutely agree that a7s ii was rushed, and not needed. It is simply a rip of for the guys who bought atomos. Moreover this camera doesn't offer anything more from the a7rii but a bit better lowlight (really in all the tests i ve seen, unless you want to shoot in moonlight, which you still can with the a7s mark i) and the 120fps in 1080p which is still not that stellar. i am dissapointed, rebranded sensor for 2899USD with a major sunspot issue ? WTF SONY ?! they should have waited, bring out a mature product , and separate it from a7rii with video completely like 10bit, (i dont care if the current processors do not support it, change them) so that we dont need to hesitate between those two. oh god sony why ?!

Well the nx1 takes the 28mp 6.5 signal and downscales it to 4k which is absolutely incredible, the the super 35mm crop on the a7rii is just above 4k so that imo is the reason for the detail aspect.

I'll do a detailed image comparison between the 1D C and A7S soon on EOSHD so look out for that. Even after owning the 1D C I can't argue with some of the ways the A7S is superior, but most of those relate to it as a 1080p camera. When you rig it up with an external recorder for 4K it becomes something rather different ergonomically. It isn't a small mirrorless camera with EVF any more. In fact you can't use the EVF at all whilst it is outputting 4K. It just didn't deliver what I needed. The screen visibility and battery life of the Shogun became a pretty big issue for me, whilst as a 1080p camera I had neither problem, at least with the battery grip and a few spares! So here I was in a predicament. The Shogun on the one hand was a fantastic piece of technology and I'm going to get some more use out of it for sure, once I solve the issue of seeing the screen outdoors and powering it properly, and the ergonomics of rigging it to such small cameras. But the main predicament was that although I had quite a few beautiful images coming out of the various cameras I owned, they all had practical flaws. I wanted the colour, dynamic range and full frame loveliness I was getting with Magic Lantern raw video on the 5D Mark III, but the file sizes were even larger than the 1D C for plain old 1080p. Reliability also an issue, I found the 1000x komputerbay cards kept going through slow phases (possibly due to file system fragmentation) and especially at higher ISOs the recording would keep stopping. The problem with 1080p is it isn't a future proof format. It will be consigned to the dustbin. Not like Super 8 or 16mm or film which creep back over time for their artistic qualities. 1080p will just go to the grave I feel, like 720 and SD. If it comes back as a retro format it will have a particular look like VHS in the future and so be very niche, not like super 16mm film which is more flexible in the way it looks, so can be used for a broad range of filmmaking even in 2015. The NX1 and GH4 shoot 4K internally but their images are a little too compressed. The NX1 holds onto a lot of fine detail but doesn't have a grain character to speak of in plain shaded areas. However the image isn't so much the issue - it is the lack of active Canon EF adapter to NX mount and the lack of low light performance once you get past ISO 1600. I will still be using my NX1 when I need the smallest file sizes and super 35mm sensor in good light, and the upcoming firmware will be very interesting. Good b-cam. As is the GH4, will be keeping that, just not for low light! The A7S ticked the most boxes overall, great in low light, S-LOG with minimal banding, but the need to shoot at ISO 3200 in bright light using strong filtration, the need to add a lens adapter for Canon EF lenses that still doesn't always work right, the need to add the recorder for 4K on a wobbly HDMI cable... all this weigh heavily against it for my purposes. So to the 1D C, now at around the same price I can sell my GH4, 5D Mk III, 5D Mk II and 7D for which effectively it replaces (although I'll definitely keep the GH4 anyway) it solves a number of problems. First it replaces the 5D Mark III as a stills camera so I can finally get rid of it. It shoots 4K internally and is weather sealed. It has a native mount compatible with my best glass. It works well with the IS on my Canon lenses and no bugs. It is ultra reliable. The image maintains a fine noise grain. It is capable of matching or maybe even exceeding the dynamic range I had from S-LOG2 on the A7S and ML raw on the 5D3. It has colour which is easier to get right from the flat profile (Canon LOG) much like the D750, so takes less work to grade. It especially has better colour in the standard rec.709 picture profiles. It has less moire and aliasing in 4K than the A7S to external recorder, possibly due to stronger OLPF. Yet it resolves the same amount of actual real detail minus the false detail and 4K is enough detail to last me almost forever anyway. It lacks the niceties of the mirrorless cameras though but makes up for it with heft and build quality. No EVF but I've added one without radically changing the form factor or adding too much unbalanced weight. No peaking or focus assists whilst recording but again that is solved by adding the EVF. No mirrorless mount so I can't use my Cooke PLs but these don't cover full frame anyway (so corners would likely be soft in 1.3x). I will use my NX1 for those. Very good internal 1080p in Super 35mm mode and to Ninja Star, but the full frame 1080p isn't as good as the full frame 1080p from the A7S. Those are the things I miss and the banding can rear up sometimes especially at low ISOs in C-LOG but generally I feel there's some logic behind it now at £5k, whereas there wasn't before with so many promising other cameras that I thought would supersede it. They haven't. And the main logic failing of the 1D C was always the price not the image, and the fact they didn't add enough video bells & whistles.

AccordingToMe - you're not making the forum a nicer place with your pomp and unpleasent attitude, I suggest you tone it down.

  It's a text book illustration of excessive profit chasing will result in the death of your brand.   I used to associate Hasselblad with medium format image quality and $45,000 cameras.   Now I associate them with rebadging old Sony cameras which you can pick up for $400 on eBay.   The design and finish of the Lunar isn't even nice. The RX100 mod is even more lazy, practically the only change is the grip.   Hasselblad are toast. DSLRs like the 36MP D800 are now good enough to replace medium format and digital backs. The company was bought out by a venture capitalist firm recently who were asked to look at ways of leveraging the brand for more profit and the disastrous Sony rebadges are a direct result of that.   Under current management practices (which aren't sustainable) and non-engineering lead product launches, let's see how long they last for. Want to take bets? 2 years?