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Imagine going into a huge multiplex and seeing all their monitors in the lobby with the "enhanced" frame rate turned on. So, big budget cinema in a big cinematic complex on big cinematic screen...looking non-cinematic. Good job AMC. Even the purveyors of cinema are unable to escape their ignorance and will ruin cinematic IQ The slow frame rate is NOT a liability. The altered rate of motion pictures that don't match our vision's reality is what heightens the suspension of disbelief. That's kind of important when your watching a narrative like, I dunno, James Bond, for example. Its not because it "looks better" than 60p, it's because it takes the edge off our perception of realism. Movies are an escape from reality, it's a manufactured narrative. The illusion is diminished by too much visual accuracy. All that said, the Japanese love high frame rates, and would rationalize FOR it. I just can't. I like the magic of slow. that's a pretty big misunderstanding of how it works.

My 5dsr will be here tomorrow - I am going to test this as well. Hopefully I'll have the same results; I will be using the Sigma 50 art stopped way down (F/5.6 - F/8)

They have just made this - http://stkb.co.jp/info/?p=2679 Medium format look on your A7S II?

Booking are kind of blowing up across the next few weeks so I took a shot at the NX1. Got the little power zoom for an extra $200 - $1299 seems like a good price, though it may plummet after the holidays. Waiting for a lens adapter, I have a sack of nice old Nikkors. (This camera is filed under "I own it, lower budget no-rentals gig gear". As an aside, all the research I've done on video for the web and for ad landing pages suggests if you have a business, you're an idiot not to have a video. Leads and conversions jump from 80 - 300%. Really pushing one-man, corporate stuff for 2016 - I wouldn't mind filling my calendar with some small gigs, and I usually end up re-writing their copy, designing ad campaigns and landing pages, even redoing their site. I'm an agency with in-house video, man!) First impressions - Menu system and custom controls were easy to setup and after an evening of playing around, it's feeling pretty second nature. I have yet to shoot a single still though… but have a nice custom setup, love having the mic volume on the wheel. (Could never remember where it was on my Nikon). (I use an external recorder, but wit several Nikon bodies, line-out from recorder to camera for a scratch track? Stage the gain properly and I often used the camera audio.Hhaven't tried that with the NX, we'll see). Wonkiness: couldn't find a few things I've read about - realized it doesn't have the latest firmware. Guess these have been sitting in Amazon's warehouse... Wonkiness 2: Sometimes the EVF (or the display) doesn't come on at powerup, it's one or the other, and the button doesn't work. Toggle the power and it's fine. Wonkiness 3: No matter how I set things, the fast/slow settings only show "fast" -1080p, etc. I have 120 fps in the menu but I like that the camera will conform the footage. May be a firmware thing? The AF - fack me, I can use the hell out of this. Not for narrative/editorial work but for events and steadicam - man, I can see using this fairly often. I'll want to test it a lot and see it on a big monitor, but… impressed. I expect to have non-native glass on this most of the time, but nice to have it. Probably get the 2-2.8 at some point. The autofocus default when you leave video mode - already trained myself to hit delete key (set for AF) and toggle the AF off. Kind of a hassle but now second nature. The lens stabilization - thumb's up. Again, events and steadicam, godsend. No DIS in this firmware, doubt I'd use it anyway. LOVE the WB controls - I've got WB set to the down arrow, right by my hand. Easy to grab a custom, and I love the color matrix controls for every preset - unless I'm going pretty artsy, I really prefer most of my look in camera other than keeping the blacks detailed and open. Really love the EVF. I tried my loupe on the panel, but (A) the evf detector gets confused by the hinge on the loupe and (B) this body is kind of small - my loupe won't slide down far enough without some drilling. I may just skip the loupe for shoulder mount work - it's a great EVF. Ran some footage through editready, reasonably fast - not much different than converting H264 to Prores in Streamclip, unless I downscale which seems to double the time. The native 1080 looks very good to me, I guess one of those firmware fixes really came through. I saw a bit of jaggy aliasing that was a bit cleaner with UHD downscaled. Overall - pretty pleased, but with a touch of genuine sadness - if Samsung is really abandoning this part of the market, it's a shame. The NX1 is simply a remarkable first shot. I know plenty of folks here dismiss it, but man - you're talking about a $1k body. It's got bang for the buck like nobody's business.

adobe premieres latest update supports native h.265 clips from the nx1

Looks great to me...can't see any obvious misalignment in flare streak and it looks pretty sharp throughout the focus range. The Rangefinder is introducing the aqua/blue flare artifacts, as it's blue coated optic is bouncing light through the front and rear optic when exposed to direct light, adding to the iscomorphot's standard golden streak flare. As for vignette, this looks normal for the S8 iscomorphot - it is often what people call 'barrel glow' or 'veiling glare' it is usually mostly noticeable when some anamorphic lens' are flared with intense direct light. It is almost always caused by the front optic edge of the anamorphot not having blackened edges, causing light to illuminate the frosted optic edge and a glow to happen around the edge of the image. Most of the lenses discussed on this forum were designed to only let light out (as scope projection attachments), rather than let light in (for camera attachment), which is why many do not have edge blackening on the optic front. This can be solved by using a longer taking lens, to shoot 'through' that apparent vignette of light, or carefully blacken the front optic edge with a black marker pen to dull or eliminate the barrel glow from showing up in direct light. To many, this barrel glow is part of what makes the look of anamorphic unique - so don't worry about it too much, most of the time you may not be filming directly into the sun anyway!

Hey guys. I've been reading this branch of EOSHD for quite a while now. This is how I got sick with anamorphic lens, and to be frank I love my weird new obsession. So I wanted to say a big THANK YOU to Tito, Rich, Bold, Ken, Bioskop and many many other members who posted tons of useful information that kept me busy for so many evenings. But I also felt like for a past month I've created way to many threads with questions. By nature I am not a patient person, and this flaw causes me to behave as if I am obsessed, which I kinda am, but still I felt like I probably should make one thread dedicated to everything that I wanted to ask or tell to this community. So I've got the idea of using anamorphic lens when my band started thinking about a new music video. We have a bmpcc and couple of low-end Canon DSLRs in our possession, and it felt like we just need a decent lens and we can turn the world over. Now that we know we were wrong here's our situation. We have one person who does video production part time and rely on their skills with the camera. We are going to shoot in Carpathian Mountains in early-mid January. The story for the video requires us to shoot two people in a sub zero snowy wilderness. We have currently this gear: BMPCC, Zeiss Distagon 28 2.8, ISCO Animex and Rangefinder all put tightly together with custom made clamps. This setup sits on the TR.EN (no idea if this is going to tell you anything) shoulder rig that has counter-weight and an arm to press against your belly for support and a follow focus. We also have a Neway 7-inch monitor that does only partial de-squeeze (not 2x, but 1.33x) that we bought due to false feature advertisement and can not return. Camera and monitor are supposed to be powered with Sony batteries that we are yet to acquire. Now as we are shooting some test videos to prepare to the actual shooting and get used to the setup we have stumbled upon couple of quirks that we did not foresee. 1. Ratio. While I saw a thread with Taylor Swift's 3,55:1 music video with 250 million views I still feel like people might be thrown away by this super-wide ratio. I actually re-watched Ben Hur after recent post about Super Panavision and Hateful Eight, and even 2,76:1 feels pretty wide. I feel like 2,55:1 would be something that we can go with, but when we try cropping 2x de-squeezed video from BMPCC to 2,55:1 we get awful blurry results. 2. Ratio issues bring us to a next major decision that we have to make – is the tiny ISCO and 2X squeeze ratio a way to go for us? I was thinking about this so much that I've decided to try using 1.33 or 1.5 adapters first, but since we're on a budget I could not afford buying one. So I decided to go DIY. We're in Ukraine and we have access to plenty of soviet glass that is much, much cheaper then those ebay prices that you all see. I have recently bought 3 LOMO NAP2-2 lenses for $8. They are all bet up, but good for a project purposes. What I did was removing front and rear elements in their original metal housings and bring them closer to get 1.33 or 1.5 ratios to test. Because of the fact that I am planning to use Rangefinder in any case I had to somehow achieve infinity that was lost after both elements got closer, so I have bought a cheap -4 diopter glass lens for glasses and fitted it between two anamorphic elements. It is standard 60mm diameter lens and fits inside original rear element housing. Basically I have achieved 1.33x ratio and infinity from the glass that was 2x originally, but I have lost 1 stop too, which kinda bugs me. Here is a link to an unlisted video from 550d and 28 2.8 Canon AF glass. I like the thin blue flares. I like that fact that it covers 550d sensor with 28mm, whereas ISCO only covers BMPCC sensor with 28mm. But the glass that I removed from the beat up lenses is scratched and has fungus damage of the coating (you can see the dots of the flares). I am supposed to receive two pristine LOMO NAP2-3M and NAP2-4 that I got for $25 and try to do the same mod to them too. They are bigger but supposedly capture the same field of view. If I decide to go with this glass for the video then I will have to machine a housing for the lens itself, clamps to taking lens and to Rangefinder. 3. No slomo. While I understand that it is foolish to expect any slomo from a cheap camera like BMPCC I still think that having a little higher frame rate would be nice to soften motion, especially in our case since we're gonna shoot a lot of running, falling and fighting. Currently we have an iPhone 6s in our possession and the soviet glass does not vignette at all, but adapting it to kinda mount it to the phone (or mount the phone to the glass actually) but we are very very uncertain about the results we can get from it. Is it worth all the effort to be a b-cam and shoot 120 or 240 fps? We also are really afraid of not being able to match the results later in post production stage, since iPhone is iPhone and BMPCC is, well, BMPCC. Considering that we already had the BMPCC the rest of the setup (Distagon, Monitor, Rig, ISCO and all the LOMO lens, clamps and Rangefinder and a powering solution for BMPCC) took us to $1200. Adapting those pristine LOMOs (housings and clamps) would be another $100. We also plan to spend around $200 for renting a house in the mountains for around a week and for al lthe transportation. In the end we are facing $1500 for a video, and a thought keeps buggin' me – should I have bought a 1.5x lens right on and saved some money? I guess I'll never know. Guys what would you do if you were us? We have already shot to music videos, in 2010 and in 2014, so we really think that we can pull it off in terms of organizing the process and making our ideas real, but in terms of getting an image of a nice quality we really need your advice and thoughts. I really appreciate if you read the whole thing. Max

hey Max, here are my thoughts, but my thoughts are just my thoughts and nothing more:) 1. Aspect ratio - is an artistic choice, most likely collective, choice of majority of creative team; as of now 285 mill watch that music video and if a few thousands were 'thrown away' by an unusual aspect ratio of that video who gives a damn. but if you care about that, and you shoot for masses the safest choice would be 16:9 spherical lenses, but this is plain boring and very video-ish. This is sure sounds like a broken record, but the content is a king, always. So, either you know what you doing and unique aspect ratio is a creative choice that helps you to emphasize your vision, or you just want to stand out and be different, aspect ratio is not the major factor of the success or failure of any feature, documentary , or music video. 2. I don's see big difference between one and two. the only comment i have from my experience is that going from 2x squeeze to 1,5x and further up to 1,33x anamorphic properties become less pronounced, but sure are easier to work with, if that's what you are looking for; Shooting 1,33x on a 16:9 gives you 'instant' anamorphic ratio without crop; my personal opinion is that 2x squeeze is perfect for anamorphic shooting, either you keep it uncut at 3.55:1 or crop to 2.40:1, but again, this is a creative choice. 3. Slow motion - i personally love it, but, depends on the content, as always; hard to shoot an artistic piece today without it, but it doesn't mean you can't, because you don't have a high frame rate option in your camera. If you really want to add slow motion to your project you can get decent results shooting 29,97 and slowing in down 30% in Twixtor for the 24p timeline. In any case Max, BMPCC is amazing, i'll repeat myself, AMAZING camera! It has fantastic picture, better then cameras that cost 10x the price, and i wish you all success with your next shoot, and like Ridley Scott replied on one of the interviews when they asked him "what advice would you give to all young cinematographers?" he replied - "Just fuckin do it"

size and weight difference is pretty big. if cheaper gimbal and drone use is important then raven would be more preferable I imagine

Just finished a re-edit of my first wedding the NX1 (fortunately, wedding season is over !), I didnt re-grade, just made it smaller. Hope you guys like it : https://vimeo.com/148642940 C&C are always wellcome !

This is exciting. I highly doubt this unit will have optics of quality good enough to make investment in decent medium format glass worthwhile. ie, even my Hasselblad 40mm/4, 50mm/2.8, 80mm/2.8 110mm/2 and 150mm/2.8 and this adaptor will only result in a set of lenses equating to:- 28/2.8, 35/2, 56/2, 77/1.4, 105/2. This will be a formidable set no doubt, but at around £3000 for the hassy lenses (at current ebay prices) and probably £500 for the adaptor, as well as each of the hassy lenses being upwards of 1kg each! the excitement is damped since for £3500 you can get an incredible set of 35mm format lenses that will likely match the look, with moderately better image quality. Now, if metabones are watching and create something like this but with optics at the level of the SB ultra, then the hassle will be worth it (for resolution). Unfortunately there aint enough fast (f2.8 or faster) medium format lenses like the shutterless hasselblad lenses to make the act of developing a truly superb focal reducer worthwhile in marketing terms. That said, I'll definitely be getting one of these. my hassy's will deliver pretty good resolution and squeezing the lp/mm tighter with this (providing optical performance is good) will make the 110/2 a badboy!

Will get a fake student ID.

When did the nx1 turn fullframe? Was it the same time as the 70d did?

nx1 is apsc...

Ed, thanks for that! Sounds like an excellent reason for using Olympus cameras ;-) Please keep sharing your experience : I love my EM5 MK 2 for stills and suspect that, if I just tried hard enough, there might be some way to usefully use it for film making, despite its shortcomings... Yes, fizzy codec and moiré...

Yep. Has nothing to do with AF. So, setting face detection to "off" seems to get around it for people who intend to record internally- but only if you press record. If the camera doesn't think it is seeing a face, there's nothing to apply smoothing to. The problem is, this "workaround" only applies as soon as you hit the record button. When it isn't actively capturing, that face detection and skin smoothing come back in the live view. That means if you are feeding a live HDMI signal out to an external recorder or to a monitor or internet streamer, the faces will be all waxy. Pressing record will help for only 30 min increments, since the internal recording stops. Or, in the case of the A5100, it will overheat before even that. The biggest reason this bug irks me is that these little cameras are actually excellent for sending APS-C live hdmi out for hours on a single battery. If you aren't recording internally, the A5100 not only never overheats, but also can feed an Atomos Ninja for over well an hour with battery left to spare. With Ninja's being under $300 these days, this is a great B-cam to shoot events and concerts alongside something like an A7s. But this bug makes external recording or streaming nearly pointless. Pressing record every 30 minutes isn't practical if the purpose is just to get a clean signal, and will run down the battery and heat up faster for no good reason. Not to mention the unnecessary wear and tear on a memory card doing write cycles when we don't need to. Something interesting that just occurred to me- We mentioned above that the bug only exists in video mode. Not on M or any other photography mode. Unfortunately, the only way to get a properly resampled clean HDMI video signal is by being in video mode. But interestingly, when in video mode, skin smoothing is greyed out in the menu. You can't toggle it on or off, as I think it was supposed to always be off. This bug, however, makes it default to ON even though the menu is greyed out and says "disabled" in video mode. I'm wondering, maybe the reason it doesn't do it in photo modes is because you have the ability to toggle it off? Maybe if Sony actually let us turn it on and off in video mode, the camera would respect our choice to turn it off? I don't know if I'm on to something. Hopefully someone at Sony can figure it out and give us a firmware update!

please share your results~! i wish more ppl were shooting video with the 5dsr. i want to see more from it

lmao p much the true horror of this whole thing is that ppl buy tvs with this motion smoothing/hfr bullshit turned on, and they never know to turn it off, and so they get used to it, and then when I turn it off for them theyre like 'No we liked it better the other way'

They can see the difference, they just can't put there finger on what it is... Plus if it's newer it must be better... Right?

I live 10min from there! You make it look so awesome!! Very Blade Runner! Good job!

That explains a lot. There's nothing unprofessional about a speedbooster or anything else used to get the shot. I use DIY Kino's, foamcore for reflectors and a shower curtain as a diffuser, and one of my tripods has seen so much use its looks like a tiger's chew toy, whatever it takes to get the shot. You get hired for the image, not for pretty gear. Amateurs worry about what their gear looks like.