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The whole point of going crowdfunding such as kickstarter / indiegogo is to generate the seed money without sacrifice ownership to angel investors or pay interest on a business loan. Therefore, sensible projects can presell their stuff at a much cheaper price considering all the savings. Does the CM33 worth $800 retail? Perhaps, and if there is an actual product there, we will know that $800 included the risk premium. However asking $800 now? well, that is just greed and stupidity juxtaposed in a full fontal display of absurdity. I bet you those CM33 guys even factored profit in their pricing to arrive at that $800 cute number. Please do not insult peoples intelligence and please dont use crowdfunding as a source of revenue, it just wont work! Price the unit for the doners at cost, if your CM33 is really that good, you can then sell at $800, or even $900 retail! at that time, the buzz will be there to sell them like PANCAKES!

Well done, man! +0.25 is hard to get! I have this minolta, it's almost the same as the Tokina +0.4, except it's +0.33 http://www.ebay.com/itm/111827493087

they are doublets. my review about them is coming in two weeks. I bought THE EXACT same ones you did. It was a great price, right? Too low to let it pass for two doublets.

Yes. Opening night I'm sticking to regular format for nostalgic purposes. The next day IMAX 3D.

Generally there are differences in the look of larger format DOF vs. smaller format DOF, even though their DOF range can be made technically equivalent. I can see differences in the examples given in the link provided by jcs, even though the author of that page failed to provide images that were anywhere close to full res. The discrepancies are more subtle when comparing images from formats which differ by a factor of only 1.5 (FF and S35), but the discrepancies often exist, nonetheless. In digital, the main differences appear in how cleanly the DOF, focal plane and blur/bokeh are rendered. To illustrate this point, let's consider two dramatically different format sizes -- ultra large format (11"x14") and S16. This is an early test of Gonzalo Ezcurra's "Mini" Cyclops DOF adapter with a 14"-wide ground glass. To me, the very shallow focal plane looks extremely clean and "solid" edge-to-edge, while the softer FG/BG blurs nicely and smoothly without abruptly going into complete mush. I don't think that a S16 lens exists that can give the same clean/solid look in a shallow focal plane with such a smooth, gently soft BG/FG. Just the same, one wonders about the potential of mounting the Kipon/Baveyes medium format focal reducer to a MetaBones BMPCC speed booster. Can't wait to see the results of that combo! Of course, when shooting a given film emulsion, the differences between format sizes are even more dramatic. Larger formats have less grain, more resolution and more color depth.

Just got this one http://www.ebay.com/itm/161898434253 , very happy with it. It is a new item. Looks like a good deal compare to original price.

The Scarlet-W looks like the best camera they have made in a while. Again, don't preorder. Wait for it to come out. Do tests. Rent it. Use it against other cameras. Then decide. Pre-order a $10,000-$20,000 piece of kit is perhaps the dumbest thing in the world to do. Find out what surprises can happen with their camera. How it handles dynamic range, etc etc. How its fan works - all that stuff. Early adopters always get burned. I ususally wait a year after the camera is out to buy it. And in the meantime rent it for gigs and test it.

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.

The biggest edge for 7D Mark II in video mode is that it does real time vignette correction, chromatic abberation correction and lens distortion correction(with Canon lenses), it basically gives you 99% of the optical performance of an ultra high end cinema lenses. Also it's great for VFX shots since vfx artists don't need to undistort the plates before comping.

Timotheus, we also have a +1.8 Achromatic Diopter in 77mm for our Anamorphot lenses. Thx!

You're right of course, but the question is (and I think this is what Mercer meant as well): where will you actually use/play the H.265 footage today? I guess if you're short on space you could use it to play back on computers that have the codec, but most other players/sites won't play it yet, so it's going to be really limited in its use. It's perfect for recording devices like cameras (that are short on space), but not outside...yet.

IMO, that is pricey. I also bought the SLR's +0.33 &+1.33 set already. http://www.ebay.com/itm/271994594777 I think they are double element too.

Seeing a film shot anamorphic on custom built 35mm Panavision Millenium and IMAX cameras will be worth a watch, if not for the spectacle/ geek factor alone. The next film 'Rogue One' will be on Alexa 65 with Tarantino's Ultra Panavision 70 anamorphic lenses. Regardless of being a fan or not, it's good to see filmmakers are making films that actually bother to bring back spectacle to the cinema experience. If it was not for George Lucas' pushing of technology for the original trilogy and the advancement of digital camera technology (specifically Sony) for the repulsive prequel films, we would not be running around with 4k cameras for under $100k right now - or be able to afford any digital post production software (including Photoshop). So directly or indirectly, every filmmaker who shoots digital or uses post production software owes a debt of gratitude to the Star Wars franchise and the bearded cocaine addict George Lucas.

I will watch it. I actually scheduled an off day just because of it. But not necessarily because I'm such a Star Wars fanboy. Just because the largest cinema screen (260m²) here in Austria with NEC digital 4K projection, imm sound/Dolby 23.1 (69 360° surround speakers, 5 vertically projecting ceiling speakers, creating a 3D sound) and super comfy VIP chairs is usually reserved only for movies with the audio post-synchronized in German language. Yugh. I don't get that. I've watched the last Indiana Jones that way and it made it twice as bad as it already was. Just do subtitles and then you might even pick up a thing or two in English, people (like they do in The Netherlands, you know). Anyways. This is the first time I've seen them offering a movie as Original Version with that UCI Kino iSens-format. So, I'm kinda most excitied for the cinema experience itself. But I did love the earlier Star Wars movies. I guess nobody really liked the later ones all that much. But I think it will be hard to top an old classic like that, they'll need to bring it. If the light saber is any indicator this movie is doomed to be kinda ridiculous. But..! I'm going in with an open mind... and hopefully we see some of that old glory. Either way, I'll at least be an experience richer. Then don't hide it! Are you about to lose control and do you think you'll like it?

Wow ;-) I paid 180€ for the 30/2 for nx and that's af O:-)

exactly. though I interchange from true full frame or aps-c with a 0.7x speed booster and get very similar dof/fov with both, i'd always go full frame if I could. the intricate step between in and out of focus is a lot more refined from a larger sensor. If there wasn;t a benefit, pro's wouldnt be investing £25k+ in Phase1's and 80/2.8's. they'd be shooting full frame and 50/1.2., closed down to f2. Also, I wouldn't have spent money developing FORBES70, building a set of good quality MF glass, I'd have grabbed fast modern 35mm lenses and spent the money on going on an expensive holiday. problem is, it's only the real pro's that realise that a MF 80/2.8 wide open has more refined defocus rolloff, and better overall performance than the canon 50mm L closed down by 2 whole stops! And the real pro's don;t have time to enter into this debate - their too busy shooting. Roll up to shoot a automotive commercial with a 5dsr instead of a medium format setup and you'll be turned home by the creative director.

I expect the development budget for a high end lens from zeiss, canon, nikon, sigma etc doesnt come close to what this muppet is estimating for a lens that could be auto designed with a cracked copy of Zemax and manufactured at $25usd a piece in China.

I say give it a try since you have the option of shooting in 4K and shooting 4K photo mode be it 4:3 (for anamorphic). I snag one which was on sale in the US, I wind up getting the German version (dmc-g70), and I like it so far. It was well worth the money.

"more easily" was what i wanted to hear. ::boom:: thank u

For that kind of money they could have made it autofocus , those fancy guys. Meanwhile in China. http://www.sonyalpharumors.com/this-is-the-new-zonlai-25mm-f1-8-e-mount-lens/

Yeah, this couple was lovely, easily my favorite couple so far (havent been doing this for too long), and they seem to be very inlove, which makes everything easier to do!

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!

In the demonstration with the 5-axis handle, he doesn't simulate the bounce from walking, which is exactly what the 5-axis is designed to correct. He just smoothly swings it from side to side. C'mon man!

Great list! You might want to add the Marumi DHG Achromat Macro Lens 330 (+3) and (+5) Very good quality. Come in 72mm and are achromat doublets. Also a Polaroid 250D Close Up Lens (72mm) which is a +2 achromat doublet. Redstan made a +0.25 achromatic doublet but you might not want to add it to your list being he made 8. I have one and it's incredible. I hope he makes more because when you put it in front of the SRL Magic rangefinder it does wonders

I found f-1734 is a good deal, 77mm. some one said is 0.6 (means from 1734mm). but the glass is almost flat (heavy, thick ring), compared to my vivitar 1/2, 62mm, very curved.

4M=+0.25, since 2M=+0.5, 1M=+1, 0.5M=+2....