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This nifty thing showed up a couple of days ago. Have been playing with it today and I really like it. Its sweet to have it pretty much permanently sitting on the tripod. That way Im never to lazy to bring along a slider. Did a quick revive as well.

That's because people are mixing depth of field and exposure and making false statements about them. Also, they want crop cameras to adhere to fullframe camera behaviour, although you could just as easily state you can conform fullframe to crop cameras if all you want is make them identical. Just bear with me: [> At the exact same settings: ISO, shutterspeed and aperture, regardless of sensor, you will get an evenly lit picture on either of two cameras Next, we will define two cameras to compare. We'll be comparing a fullframe sensor camera (1.0x, no crop) against camera with Micro Four Thirds sensor (has 2x crop). For ease of comparison we give these two imaginary cameras the same megapixel count and shoot the same resolution video with it without additional crops. [> At the exact same settings: ISO, shutterspeed and aperture, to get the same framing between the two cameras, you'd have to use a lens half the focal length on the 2x crop body Illustration intermezzo: Say, we use two identical 70-200mm f/2.8 lenses at 200mm f/2.8 on both cameras as our starting point. The image circle is the same for both: 200mm f/2.8. For this example we just assume that in the illustration above the circular image on the left is what the lens gives off at 200mm f/2.8. The 35mm fullframe sensor uses as much width as a squared sensor can get out of that circular image, capturing most of the scene. The cropped sensor crops in on that image circle (which, as we can see, doesn't affect the image's brightness in any way). So, we said that for our example we use a 2x crop camera to compare to. Looking at the pictures at the same physical dimensions, we notice that the image of the cropped sensor looks zoomed in. So in order to get back to similar framing we will have to use the lens at a wider position for the 2x crop body (or move the entire camera back in opposite direction of shooting until the framing is the same, but this is inconvenient and may not always be possible). Luckily we're using a 70-200mm zoom lens, so for the crop sensor we'll adjust the focal length to half of that we've set on the fullframe (200mm f/2.8), at 100mm f/2.8. Let's continue: [> At the exact same settings: ISO, shutterspeed and aperture, with the same framing (two different focal lengths), the 2x crop body will have a deeper depth of field compared to a fullframe camera We're now using the lens on the 2x crop body less zoomed in, meaning we are decreasing the subject isolation and increasing the depth of field [> At the exact same ISO and shutterspeed, with the same framing (two different focal lenghts), the 2x crop body will match the depth of field with the fullframe camera having its lens selected to a full stop darker Pinching the aperture on the lens mounted on the fullframe camera to 200mm f/4 will result in a deeper depth of field to match that of the depth of field with the 2x crop sensor camera that's at 100mm f/2.8. However. Pinching the aperture on the the lens will make the image on the fullframe camera darker... leaving only the one on the 2x crop sensor exposed properly [> At the exact same shutterspeed, with the same framing (two different focal lengths), with matching depth of field and the fullframe body with lens one stop darker than the lens on the 2x crop body, you'd have to increase the ISO on the fullframe camera with one stop to even out the exposure again Luckily earlier on we would assume both sensors were made up out of an equal amount of megapixels. However, the fullframe sensor is physically larger than the cropped sensor, giving each individual pixel better light gathering capability. Kinda of like solar panels and their better efficiency when they're bigger. So upping the ISO doesn't have to result is terrible noise per se THE LESSONS LEARNED (hopefully) A lens is a lens. F-stop = f-stop. Cropping in on the image circle a lens gives off does nothing, absolutely nothing to the brightness. A crop sensor camera doesn't record f/4 brightness with a lens set at f/2.8, that's just bollocks! For the same focal length used, the crop sensor will have framing that appears 'zoomed in'. To counter this you have to either step back and create more distance between you and your subject, or the more convenient solution: use a wider lens or a zoomlens at a wider position When you want to equal the framing with the different sensor cameras at the same place using different focal lenghts you will create a difference in perceived depth of field To equal the depth of field you either have to pinch the aperture on the lens that's attached to the fullframe camera, or brighten the other one (this might not be possible) To even out exposure you have to work with the forbidden love triangle that is: ISO, shutterspeed and aperture (additional influences: external lighting, (variable) ND filters) In the end I think we're all on the same page. Just some people have poor wording or might just misunderstand the concept a tiny bit. Which is no problem as long as they get it right within their own world and others in theirs. Now, it's well past midnight and I've been up for way too long, so I hope I've jotted down everything the way I meant. If you feel I'm in the wrong somewhere, I'm open-minded enough to accept essays in my EOSHD Inbox and rectify this comment according my newly acquired knowledge. But you really got to bring it to make me a believer... Now let's get back to that Sigma, ey?

A unique, shallow lens mount would be awesome, but I doubt it considering they already slapped Canon mounts on their high end cameras. It's a modular system. The central hardware has great longevity, the rest is upgradable, and (unlike RED) none of it's proprietary. I'd love to see more first party accessories from BM! They have a nice little array of cameras that cover a range of needs and price points. They should focus on delivering and supporting those. In the meantime, bring out some tools to keep people in the ecosystem. A few ideas: -a small, cheap Ninja Star-style recorder that uses SD cards. Maybe give it dual SD slots for simultaneous ProRes HQ and Proxy recording. -an audio preamp/recorder with XLR, phantom power, dedicated volume knobs, and dual headphone jacks -a battery solution that works like a base plate or battery grip. Include a few different plates for different types of batteries-- LP-E6, Sony BP-U60, Panasonic GH4 batteries, etc. Bonus points if it could plug into the camera and provide dedicated buttons for ISO, WB, REC stop/start, etc. -combine the last two ideas--make it like a YAGH box for people who work in real production environments, except with battery plates on one side as well as DC power -a higher end ~19" production monitor -4K Video Assist with a 7" screen Pipe dreams mostly, but wouldn't it be nice?

I've now finished and posted my review of the ISCORAMA 42 for anyone interested http://www.vintagelensesforvideo.com/iscorama-42-review/

Exactly! If they put all that stuff in it would double the price and more importantly it would never be released because they would never finish it.

Dunno, looks kinda off (here). I'd personally like it more somewhere in this general direction:

That goes against their entire philosophy which have always been: a box with the best possible, uncompressed image at a low price, you do the rest.

I love what Sigma are doing and am excited for the 50-100 F1.8 which I am sure will be mega sharp But a Speed Booster solution is definitely better value for money. The XL on Micro Four Thirds for instance is a 0.64x so an F2.8 lens will be F1.8. The E-mount Speed Booster will make F2.8 a F2.0 The Tokina zoom mentioned earlier or the Sigma 50-150mm F2.8 II EX DC APO for APS-C would be the ones to go for. I have the Sigma, it's great.

Did some quick color balance of the original ooc shot in PS. Worked very well. Maybe in Davinci next time I won´t go all that crazy on the color wheels, exposures and layer mode but rather put some simple gentle touches on the color sliders. Still a little off but enough for now:) You really nailed the gloomy mood of the day. I am kinda amazed that a little color balance would get so much out of this H264 file. Learned so much today. Thanks a lot! Now I can go crazy on the screenshot with the channel mixer in PS:) cheers and good night:)

Hey mercer, thanks:) Was going for a more stylized look. Day to night wouldnt hurt to put up some night like lights for sculpting the scene. Other than that low exposure and done:) Scene was shot with a Canon FD 50mm 1.4. Hey, that is a very nice approach. I was falling into the redish and hazy contrast too much:) Wanted to promote the idea that the GH4 would be indeed a very liable decision, showing what a G6 under extreme conditions is capable of. Maybe thatfore my "intense" grade:) Did you pull the grade off the ungraded or the graded shot? Hey, with Cinegain, you (and me as well:) we got some nice looking filmic gestalt out off that G6! So one more proof that G6 and GH4 more so are pretty gradeable. Bluish hue from branches could be eliminated in Davinci by combining a Hue vs Hue via colorpicker and a mask for protecting the rest of the scene.

Disclaimer: This is for fun and games. So if you are the assburger type of videographer that can't see the joy in anything but sharpness and high numbers... sit this one out. Im reviewing the Microsoft Lumia 950. As some of you know, the Lumias have had manual focus, exposure and 24p for years. They got 4K well before the iPhone as well. Also first with wide apertures and IS. A new party trick is the macro, which is really close. And while playing around with it in the house, one thing lead to another.

I've tried them and highly recommend. http://www.tferradans.com/blog/?p=8334

Plus you'd be forced to pay for those components, even if you don't need them. With BM, you can shoot as stripped down or as rigged up as you want.

Was bored and did some grading, with a slight warm touch. Nice grain from the camera. I would really like to learn how to remove the blueish hue from the tree branches in the sky...

wifi doesnt have the range suitable for drone or remote control this unit is envisaged to be used on. anyone with experience with proper pro level drones can put together a simple off the shelf circuit to control on/off, start/stop, focus, zoom and iris etc via a secondary RC transmitter

But it won't have Raw, Prores, 13 stop DR, as cinematic colors or a global shutter. Quite a few trade of for a remote control, which can be bought third party anyway.

Overclocked? My old i72600 would also shutdown on renders until I returned to a stock clock speed.

It has to have been rolled out in Europe - no reason it shouldn't as it is a web site after all, so every user has it, no exceptions. Didn't know about the buffering & that's a seriously stupid thing to remove, as we all know that sometimes you need it for smooth playback - its gone! I'm with you all the way, as my subscription (which I thought I'd turned off from auto renewing - hmmm!) started in Sept & I certainly wasn't told that this new function would be rolled out. If I had known I would have been quite happy to move to YouTube for free! So now we are paying for extra upload file capacity & that's it! Fuck'em! Why is it that at the moment so many companies etc. are trying to get one over on their customers? I've encountered this willful disrespect everywhere recently, from [so-called] paying clients and now from Vimeo! I just don't get this attitude where people & companies think its OK to just screw people over! Do they really think that people are just going to roll over? I've been a bit fed up with Vimeo for a while now (kinda started when unchecking the auto renew function didn't work), it all feels like a bit of a racket. Just look at their Staff Picks - how the fuck does that work? I mention this cause some "picks" just seem to be financially motivated rather than showcasing something really good/original (you know, like to help out the small independant struggling filmmaker or aspiring filmmaker) - "Please give our video, which cost 50K to make, a Staff Pick. Because our company/band/whatever could really do with the extra advertising/influx of revenue!". I know nothing that I've done should be highlighted, but some of the stuff that is.....well, just call me Mr. Cynical! HELLO YOUTUBE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Hey guys, Yesterday I did some grading to relax- it´s still cold ouside, so nothing better than to enjoy some tea in front of Davinci:) I came across a very underexposed and wrongly white-balanced shot. Filming was done with the Panasonic G6 in Natural all -2 but color at 0. I think, quiet amazing, though some posterization and false color cannot be ignored! So I bet GH4 would be a fantastic camera in many ways and natural is a tested and well received profile.

And lose any weight advantage :/ Hilarious that almost a year after they announced at NAB pre production units are starting to filter into the world. After the first few releases I was hoping BM would pull it together with its release schedule, but it's been more of the same. Delays, delays, delays. Weird strategy: get everyone all hyped and then make them wait just long enough that they've forgotten about it completely and are hyped about something else. Then release it.

OK...it SHUTS DOWN. That's beyond software. That's something in your Operating System being triggered to do that intentionally (like as a safety precaution - overheating of the processor etc..) or something is causing a massive root-level error. It's one thing to crash a program, but it's something entirely different to kill the whole system itself. My suspicion is the enormous demands placed on the processors by Optical Flow and everything else running at that same time is overwhelming some physical tolerance within your core. I'm not a super PC tech guy, I've just been through almost every typical problem myself already because I never have $5,000 to get some monster computer. My first suggestion would be to super-uber-totally back up your Resolve Database, then uninstall Resolve 11 and install Resolve 12.1 or 12.3. Again - word around the farm is that 12.1 has been the most stable. I don't think there's any reason to stay with 11. 12 is really a great advance, and you'll figure out where they moved things to in just a matter of minutes.

Sure, I can report back after some use. But so far, the slides are really smooth. The drag is on the edges of the slidee which gives you that slow "rubber band" start and makes you aware of the end. Smooth as silk. But we will see if it wares down or something.

I've been working on a show with the zacuto recoil and z-drive. I also use this lanparte v-mount plate and a wooden camera d-tap cable. Very nice setup- the recoil plate makes it easy to precisely balance the camera depending on which lens you use (I'm usually on a 70-200- there's a nice little lens support built into the plate). We also have the VCT quick-release plate for easy tripod mounting. I don't like the stock sony monitor, I use a SmallHD 501 that I basically attach to a long rod coming from the handle.

I shoot into light all the time with my Roxsen speed booster and have never seen a blue dot. I hear it's a non-issue with the RJ as well.

Hallo, wouldn´t have assumed a LUT:) Lookin great. Doin some grading with my G6 at the moment. Codec ist quiet robust. Bet the G7 is pretty awesome! Focus lever sounds like a good idea. Wouldn´t assume Christopher Doyle used a focus puller on Chungking Express but on Hero he surely did:)

You get into a LOT of variables in a situation like this. Everything from Motherboard compatibility issues to bugs in the Software App itself. At a glance your system seems decent enough - one of mine is nearly identical to yours - but again, from driver incompatibilities to version conflicts and on and on and on...... The usual Editing Computer madness.... First question: Which exact version of Resolve are you running? (FWIW - V.12.1 has been reported to be the most stable even though 12.3 has other aspects more straightened out...) Also: Exactly what file formats are you using in Resolve? And exactly how are your creating the Transcodes? Are you even using Transcodes?

The black side is actually the back of the lens, so they are mounted at the front. I thought this was an alternative design for the Iscomorphot 8/1.5, but there will be others here who know more precisely, Tito or Bold perhaps?

Yes, that's true! That only works for the framing. You're now comparing the same lens set-up, but the sensors are not aligned in the same plane, resulting in different compression indeed.

But the XL will make the 1.8 f1.15 The problem is that such a long lens without stabilization is kind of useless right now.

This thread has gone quite of the rails. Still interesting luckily :-) Was working on an explanation also but Cinegain beat me to it, cheers haha. Very concise indeed...btw, this and what Tony Northrup is explaining is exactly the same. As for Andrew's recommendation of the Sigma 50-150: it has my vote too. Great, portable lens well below 1kg (the one without OS that is). Probably very comparable to the aforementioned Tokina 50-135.

Haha, I'm so bad at color grading, I probably couldn't duplicate it. But thanks, this one I actually liked. I liked the first grade so much I just copied the grade to the second clip. I didn't do the proper thing and color correct first, so you're right, it looks a little funky. And I also used LUTS. I have color finale for FCPX and I used their GH4 to rec709 LUT at 50% first, then I tweaked the curves and color wheels a little and then finished with an M31 LUT at 50% No speedbooster, but I am thinking of getting one and I had the camera on my Sirui monopod and used a focus lever. Basically a poor man's follow focus, you can get them for about 10 bucks on eBay or Amazon. Thanks again.

Hey Mercer, Really like the colors you were able to pick up with the grade, last part seems a little bit dark compared to ungraded material. Grade looks really filmic, rich colors, naturalistic, not LUT mud like:) How did you manage to hold the lens so steady even with focusing? Did you use a speedbooster for a wider angle of view? cheers

Yeah, and the best part is that you get both.

Yikes...what a train wreck. Back to the subject at hand, what makes this lens more exciting than a speed boosted 70-200 is that it basically comes "pre-boosted," so it can be boosted again for m4/3 and BM cameras. 75-150 f/1 on the speed booster XL, and even faster on the BMPCC booster (too lazy to do that math right now). Of course, the practicality of using a lens this huge, expensive, and heavy on a GH4 or BMPCC leaves something to be desired...

this lens + gh4 + xl speedbooster would be amazing. F1 brightness with 75-150 focal length

The thing is... you said: and it's actually the other way around. In light terms, illumating a 2x crop frame sensor by e.g. a f/2.8 lens results in a 35mm equiv. depth of field that would be shot at f/4. So, if you want to shoot for the same look you have to shoot the FF at f/4 and the 2x crop frame sensor at f/2.8. Sure, I think we can agree on that. Now... if you don't give a jolly gosh darn about equiv. depth of field and just shoot the lens as is, with the exact same settings, except you switch the lens in between shots with each lens at its widest aperture: the Sigma at f/1.8 and the Canon at f/2.8, the result will be that the Sigma illuminates a brighter image onto the sensor. The Sigma is clearly the faster lens. Then again, no surprise as it's f/1.8 VS f/2.8. Like TRM said 'Light gathering, not bokeh'. Besides, 2x crop isn't APS-C, so what stops you from speedboosting the Sigma as well?

I won't read through your posts. If you take a 70-200 2.8, put a 0.7x speedbooster behind it will give you a 49-140mm f1.96 lens, with an APS-C sized image circle. The sigma is 50-150 f1.8, so it will be brighter. End of story.

Canon FL 100mm 3.5 - 1960's era. LONG focus throw. This example looks like it had some fungus cleaned from an internal element, it's a little "scarred" looking when you shine a penlight down the barrel. Little metal tank, 48mm filter thread. $15. Love the colors, detail, and softness-where-you-want it. All from 4K grabs, shot wide open. Minor grade in Photoshop (just upped the blacks a bit) and a touch of sharpening, about what I'd normally do for non-people shots. In particular, there's some really lovely stuff going on with greens and blues. I've played with the FL 35mm 2.5 ($20), 50mm 1.8 ($20) and 19mm 3.5 R ($200, a real legend of a lens, almost zero distortion and hard to find) and they all render similarly. Looking for an 85 next, but that's a highly regarded lens to find this cheap. I could really see doing something narrative-short, fashion-beauty or music video with these. You could build a full set of primes, including the $15 adapters, for a couple hundred bucks (minus the 19mm which usually goes for $350 and up). Lens range also includes a 28mm, 58mm, some of the normal glass in 1.4 and 1/2 variants I believe, a 135mm 2.5(?) and a 200mm f3.5 or f4.

A couple weeks ago I ordered the RMC Tokina 35mm f2 in the M42 mount. It was the first time I had ever seen the lens for sale, and there is little written about it online. I did manage to find a couple photos where it was used. They looked so good, I had to have it. It came in the other day, so I took it out this morning for a few minutes...

You can request the SDK here http://nxcameraportal.cloudapp.net/SDK/UserInfo or through the i-Launcher application, I requested a copy now I just have to wait, apparently the SDK gives you control over the camera completely for development of software. I have tried finding external download links for it, but no imbecile has bothered sharing it apparently. Talk about being greedy, I seen loads of people with the SDK tool but no one gives download link and their posts are usually months old.

I'm in agreement of what we've seen so far. I regard BMPCC footage one of the best Images I've ever worked with. The BMMCC looks to have that mojo, whereas the Ursa 4.6k looks very modern - kind of like a "perfect" image rather than motion with soul. That said, these cameras can only be judged once you've had a go yourself.

That's incorrect, the fstop is a standart, if after speedboosting you get f2, it will be slower than f1.8

I think the most forgettable upgrades have been to the Rebel series actually... they make the 80D look like a quantum leap! 600D through 650D, 700D, was embarrassing. It looked like the only feature they added was lower manufacturing cost and at one point a grip material that turned white. Yet the sheep kept buying I assume.

tl;dr: 2.5k mode may be lurking just under the surface. Not sure, but it looks promising. Did some more digging today and I'm pretty sure the valid resolutions one the NX1 and NX500 are defined at least in part by the file /usr/etc/mmfw_camcorder_dev_video_pri.ini. It can be found in both the rootfs filesystem and the opt filesystem images (under etc in opt). I found that a while back but I was sure it couldn't be the right file since the defined name and comments for the file say it is for a Fujitsu cellphone camera. Furthermore the stills resolutions listed are completely wrong for the NX1/500. However I spent a while reading the source code for libmm-camcorder.so, and it reads the config values from those files. I'm still not sure how it determines the correct sensor and image processor parameters for a given mode, however, since there are several combinations that would produce each resolution, and the details aren't in the configuration files I have seen. However the interesting part is that the one difference between mmfw_camcorder_dev_video_pri.ini on the NX1 and that same file on the NX500 is that the NX500 includes an additional "2560,1440" mode. That's good news since it seems to indicate that they didn't bother to remove the 2.5k mode from the underlying libraries and instead just got rid of it in the camera app. For what it's worth the "QHD" icon is still present in the resources folder for the camera app, so it looks like they weren't very thorough in getting rid of it.

It's the lens - not the camera. Each different lens design has its own auto-focus abilities and accuracies. There is also the ever-present possibility that your particular copy of that lens is not performing as well as it should be. Some lenses have the ability to have their auto-focus mechanism updated or adjusted - either by downloading firmware into the lens itself, or by making adjustments to the lens' back focus. Check into what other folks' experiences have been with the exact lens model you're having trouble with. And NO, not "any DSLR would focus instantly". Not by a long shot. I have a Canon T2i and a Canon 6D and 'some' lenses focus nearly instantly while other lenses, even Canon's own cheaper ones, take so long to focus I could call Stevie Wonder to come manually focus the lens and he'd be faster. Also, my GH2's, which are technically not DSLRs just like the NX1, focuses so fast with the 14-140mm kit zoom that I'm not even aware it's doing it sometimes, while some of their other auto-focus lenses are FAR slower. It's the LENS.

Here is a still from a 4K shot on the NX1 with the Leica 100mm F2.8 macro Elmarit-R: Original 4k: 80% Crop:

I'm going to go ahead and say it. This $1,000 camera looks slightly better to me than the URSA Mini 4.6 footage I've been seeing -- in terms of color rendition and motion cadence. That's a matter of taste to be sure but damn it if it doesn't make sacrificing resolution a no-brainer for such a beautiful cinematic image. I have one pre-ordered. Maybe i should sell my Pocket and get two of these.

It seems there is one bmmcc flying. At least one.