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Just searched for a Minolta 35/1.8 (I only have the 35/2.8 yet :s) and fond that the minoltas MD lenses are going cheaper and cheaper :O Minolta MD 50/1.4 : 60€, which is very very very reasonable IMO http://www.ebay.fr/itm/Objectif-Minolta-50mm-f-1-4-MD-ROKKOR-1-1-4-/252344490621?hash=item3ac0e75a7d:g:z9YAAOSwdU1W9lHL MInolta MD 28/2.8 (only have the 28/3.5 myself ....) : 42€, reasonable too http://www.ebay.fr/itm/28-mm-1-2-8-Minolta-MD-Rokkor-/172165384575?hash=item2815db497f:g:W3AAAOSwSzdXDPZj Minolta MD 135/2.8 : 55€, which is a great compact telephoto/portrait lens http://www.ebay.fr/itm/Minolta-MD-Rokkor-1-2-8-135-/131775607947?hash=item1eae70348b:g:4xEAAOSwr7ZW4Fwi There are also quite a lot of 35-70/3.5 which are known to be very good lenses for video around 40€ As a bonus, there is a cute 45/2 pancake which usually goes for 50€ in auction http://www.ebay.fr/itm/vintage-Minolta-MD-ROKKOR-45-mm-45mm-F-2-PANCAKE-LENS-/281999659321?hash=item41a87d5139:g:oLAAAOSwoudW8WdD Anyway, This jut motivated me to do a full review of my Minolta lenses. As it is quite difficult to find complete reviews on the web for minolta lenses with video. I'll set up a scene this weekend and compare all my lenses. Results to come :p

Had they managed to get the global shutter to work and also offer a compact EVF, sales would be much much stronger. Just my guess

holy shit is right ? for me personally this is one of the coolest things ive ever seen i dont even kno where to start...... of wait yes i do!! chromakey green seriously makes me physically ill when im surrounded by it all day long, and as an artist i find it aesthetically embarrassing on my set... AND that whole process is just painstakingly awful in a way that feels wrong... its not the right way. the right way is the easy way. a camera that sees a 3d environment. that is some 21st century stuff r there and of course im talking about vfx heavy productions – quentin tarantino is not reading this announcement lol

I for one, am grateful for cinegain's humor. And I agree, sitting here waiting for a possible sale that has happened only ONCE before, is kind of silly. So either hold your horses another while and use what you already own, or just get what's available at the moment for the price it's sold. 995 for either pocket or micro cinema is actually really cheap considering value. Bmpcc's accessories today is really cheap too.

That's why I'm still using Sony. They have the features I need with the compromise of doing more work with the colour. I think Sony should focus on the colour science and white balance for the next A7 cameras (and battery life!!), among the predictable other upgrades (every spec higher and a bit better). I do this all the time. Just recently wrapped up shooting, lighting and editing this video. FS7 + A7SII. Extreme lighting that will make pixel peepers sweat with horror (the degradation of extremes is intentional).

Oh, wait a minute, I'm getting something through... I see... a shape... it's in the sky... no wait... it belongs on the sky but isn't... it's a STAR... Let me get a clearer picture... "Please insert another 50 ct" <inserts coin> Ah yes! The star isn't in the sky... it's on a tile on the floor... I think it must be the Hollywood Walk of Fame. Zach, as this is happening in the future, this must mean that you... you... I see you playing tourist in LA. Get some napkins too. You're gonna spill some icecream on the Walk. Zoltar thanks you and wishes you a prosperous future!

I believe there are now electronic contax 645 lens adaptors allowing aperture control. contax 645 will be the best bet - they still just about deliver on digital backs since are modern by the standards of other mf lenses in the price range. the cheap mamiya mf glass is cheap for a reason. The number of RED guys waiting on their Vista vision/8k sensor upgrade who are stockpiling mamiya mf lenses thinking they'll be a good move for what is effectively a full frame sensor is staggering. Instead of putting the money towards full frame lenses that on the whole do a better job for less weight and cost. If your budget allows then go contax 645 for best results. f2.8 hassy V lenses (50mm, 80mm, 150mm) are amazing lenses and a good investment since they have 80mm image circles so are somewhat future proof. the 50mm matches a good full frame 50mm, the 80mm outdoes most 80-85mm lenses for full frame and the 150mm/2.8 hassy smashes nearly all 135-150mm f2.8 lenses for full frame. The 110/2 is just a madman, but sadly is very costly. if sony ever release a mf interhchangable then these will be a very desirable lens. these lenses are gonna be the only ones worth using with the medium format speed boosters that are coming out too. Personally I;d suggest contax 'CY zeisses' and leitax nikon remounts. at f2.8 on full frame they'll kill medium format lenses for overall image. only once you go medium format does the advantage of the medium format image circle become worth the weight and expense.

That looks like a nice cage, I particularly like that the camera can stay on it's photgraphy QR plate inside, you can potentially pull it out and go into photography mode really easily. They deliver to italy from the website for only 10 euros, so you should be able to order it directly and get the quoted price?

I ordered the Micro with Video Assist, but I'm searching a smaller/cheaper option for quick gig, possibly a 3" LCD easy to mount without rig: any suggestion is more then welcome

Sounds about right.

If I had a pound for every time I'd read "wait" and "Black Magic" together in the same thread, I could buy and Alexa 65.

Better color tonalities & less banding are expected theoretically with more bits as mentioned earlier in this thread. Your tests confirm that. The differences are subtle but still there. Some of Sony's gammas are also not correctly recognized in Premiere and it is indeed annoying. Even more annoying is that I don't know who to blame for this.

Problems, maybe? Or they're all out shooting so much SlowMo that time itself has started to take a toll on them & they...are...moving...so...slowly...now...

Exactly, it would be interesting to see only the "In Body Iamge Stabilization". I would also be using some non-stabilized vintages lenses. And also Sigma 18-35 f.1.8

Yes - very useful. Just depends on how it captures. Can I use different lenses on it? Or am I stuck with one? What size is the 755MP raw sensor? The weight and size could prove problematic for rigging.. And then - do you have to select your aperture, focus point and focal length for each shot? Because if so, you're not really saving any time anyway. Instead of spending time getting a perfect key, you're spending that time selecting focus points, apertures, etc. Quite apart from the fact that Lytro has traditionally over-hyped, and then under-delivered (though I'm happy to be proved wrong). If you could incorporate the 3d-space technology into a more traditional cinema camera... That is what I'd be interested in. Funny though, I was saying just last week to a mate of mine that the future of cameras would just be a box that captures the entire scene in 3D space, and in post you select your focus points, focal length, aperture, colour etc. etc. I didn't think we'd be a week away from a product announcement

Found something decent shot on the Kinemini 4k - nice and organic looking. Also love the use of lenses in this short. https://vimeo.com/159982174

"rental packages start at $125k", so at least for the Lytro Cinema this is not possible I have briefly used their original Lytro and it did what they said it would do. The problem was that it wasn't that useful or even inspiring. Their technology makes much more sense for Cinema and now they are taking advantage of that...

eoshd is the "other" board mentioned here :-) http://***URL removed***/forums/post/57589144

Thanks for the responses guys. The Olympus OM lenses look really good but don't have a cheap speed booster knock off for my Fuji. The Minoltas also look really good and would be nice to use natively with my Minolta film camera but they don't fit on EF mount without a glass adapter (I use a c100 for video work). The Contax's look great but are a little more expensive than the others. So i'm leaning towards the Nikons atm. One thing I'm confused about is how much difference there is between the AI, AI-S and D lenses. Most people seem to recommend sticking with AI-S. Are they really the cream of the crop? I'm also considering M42 lenses since there are so many of them. But I may end up spending a lot of time looking for the right ones :D

I got the Boya BY-WM6, I'm very happy with it! Only used it for presentation videos so far, nothing narrative. But it's really performing in build quality, battery time and the wireless quality! Even the included lav mic sound really good considering the price, but you can get another lav if you need a fuller sound. I'm getting another one for when I need it.

Maybe they can buy up the NX1 production line now that Samsung has no use for it and start inserting some BMD touches to it. I'd prefer a camera NX1 sized that has impressive features and performance as well as decent batterylife and screen on the back that could be used as-is, standalone, over a smaller formfactor that's more or less a sensor in a box and that's that. But I think they don't do that, because they don't want to appeal to the consumer market, but the pro/indy one.

Ammazza con Amazon! Buy direct, if it comes from UK you don't need to pay taxes!

Exactly!

@jgharding would have raised so much money he'd be able to bribe the head of business planning of Arri to sell him one.

Any 645 glass will work just fine on FF, but a little bit boring when used cropped.You will not gain quality, maybe even loose a little wide open. The mamiya 55 2.8 for example will give ugly bokeh compared to a Fullframe 55 2.8 lens, because it's a cheap wideangle lens. Btw, you can't control aperture on contax 645 lenses because they are electronic.

I received my Pilotfly H2 yesterday but unfortunately there's not much to report because I haven't got it working properly yet. I balanced it and it seemed to be ok, but when I started it the motors were working heavily causing severe rolling shutter and unusable footage. After trying different lenses and setups waiting for customer support they told me it could be the old firmware. After installing USB driver, the Android app and Mac software which need to be activated via terminal it turns out the upgrade doesn't work on Mac. Then I was told to download Parallell to run Windows. So I did that but I obviously don't have a Windows license as a Mac user so that's not exactly helpful either. I have to borrow a Windows PC and see if I get get it working. In my last email I told them that I still believe it's a good product but I am really disappointed it doesn't work out of the box, as advertised. They told I could return it and get my money back...

This was mine dilemma as well, but I ended up with GH4, because I really needed a better camera performance for a project than my t3i's. We'll see what the GH5 can do, but to be honest, the GH4 performance is solid, the 100/200mbit codec is great, the 4K's nice, anamorphic shooting is now a thing, the battery last long enough and there is no overheating. Yep, there are downsides as well, but you'll always have to sacrifice some specs. So far, so good, I'm hyped for the GH5, but I'm really fine with the GH4's performance.

A mini C300.

If anyone is going to NAB they should stop by the BM booth and put it in their head.

Yeah I agree. Many people were begging Lytro to allow these things in video. Swapping the background or even selectively color grading it looks very easy. I would imagine that after few Hollywood movies and enough buzz, they could come back with a consumer video camera that doesn't weigh a ton.

My guess. Probably because its a niche camera in a niche segment. Ive had almost all the BMD cameras but have no intentions to buy it. Its probably not selling nearly as much as the pocket and most people buying it doesnt use it as an A-cam. Just my guess.

A lot of the haze type issues are related to how a lens has been stored. damp conditions, warmth and old lubricants/broken down adhesives can often cause a gassing effect, which manifests itself as condensation then once moisture has evaporated the contributions from the lubricants are left intact. since often lenses are stored face up, the gasses naturally rise and the build up is usually around the front edge of the front element. removal of a front element is often quite easy, and an ether based lens cleaner and 100% cotton cloth will remove the build up. as a general rule if a lens has hazing it's also accompanied by a dried up focus mechanism and oil on the aperture blades.

The slower FDs really work well.

Here is a test with these both lenses. My Opinion about the 35mm 1,8 is similar: a stunning lens! This is the Rokkor MC HH version. But the colors tend a bit more to blue/cold in comparison to the other Minoltas. So, it will be interesting, if their are opinions about the MD version. The 45mm f2 is a fantastic lens! very 3d-ish with nice colours. The 24mm/2,8 is super sharp and a collaboration with Leica (more precisely a Minolta design used for the Leica 24mm f2.8 Elmarit-R).

watch his next video about vfx showreel.. nothing is real anymore haha

The Super Takumar f1.4 is used from 0:00-2:16, and the Canon FD 28mm f2.8 is used from 2:17-4:37. No focal reducer used. I've been shooting too many anime conventions with my favorite Helios lenses, and decided to test out these two lenses (on my Baby Moller) for an upcoming anime convention I'll be shooting in two weeks. I think I'm going to go with the Canon. I love the contrast and real estate I get from this little lens. https://youtu.be/YLAmwOH4jkM Edit: Definitely try out the Takumars and Canon FD lenses. I've also read on the Anamorphic Shooters FB page that the newer lenses don't work as well as the older vintage ones.

Thanks for the heads-up!

In case anyone else is working with projects syncing sound with 23.98, I spoke with Adobe tech and they said this was a bug that will be addressed in the next update. To view this footage correctly in the project window and source monitor, modify the clips in timecode tab under Time Display Format to 23.976 fps Timecode.

Holy shit. This is a dream come true for VFX movies.

Interesting features.

When I first saw the video and really thought it was a joke. But it looks Lytro found their segment and it will be very very hard for any other company to compete with them. In few years things may change but definitely not anytime soon. I bet that as soon as this camera becomes available it will be in every large production.

Nah, I'm pretty sure that's the old version. Checkout that one link and get Vitaliy to cut you a deal or go over directly to: http://www.zyoptics.net/product/zhongyi-lens-turbo-adapters-for-micro-four-thirds-cameras-m43/ . (Singapore Post (SG) shipping to Europe is about 2 ~ 3 weeks, if they send it low profile import duties might be avoided)

No idea but I doubt it w/o replacing the codec. Chant might eventually be able to do something about it but don't hold your breath. At the moment I see a slight chance to get: more resolutions (i.e. 2.5K on NX1) the high rate 2.5K on NX500 (subject to dangerous manipulations on burner cam) maybe higher res and rate MJPEG out of NX1 (although TBH I do not think it would reach the quality of 150-160 Mbps hevc) with a lot of luck disable or reduce video NR (I might take a look at this at some point in the future but this will definitely involve weeks of work so not too keen to start). Basically Chant is looking into adding true new stuff. I have been looking more on the side of tweaking what's already in there - easier than Chant's ambitions but I already picked the low and medium hanging fruits.

I see... yes... something's going to happen in the future...

GH2 was 2010 (October) 6 years later and Canon haven't matched its video quality, overall. Like I say time and time again, only Canon seem to be able to get away with this year after year. If it were any other company, people would be astounded. At the same time, since 2009 their APS-C stills quality has inched forward only a bit from 18MP to 20MP and now 24MP with a tiny bit cleaner shadows.

I bought the NX1 pretty shortly after the relese. That was not "years ago" and definetelly not when the GH3 was released. And the NX1 has its own problems. Or is being discontinued a new and fresh feature? This constant bashing of cameras by people that have never ever used them is getting so old. I dont find the 80D all that exciting, but Ive never used it. So I dont bash it until I have. I absolutely hate my rx100iv, but I still dont constantly post bs in the rx100iv thread. The G7 is one of the worst cameras Ive used, but I let those who are interested discuss it in peace without unfunny jokes and bogus links. I would rather jam a fork in my eye than get a a6300, but I dont feel the need to tell every one that have bought it how wrong they are... Im out until someone actually has the camera.

Hey, Bought a Moller few weeks ago. It's an awesome piece of gear, got it with a custom housing and threads. As you can see, it is very hard to pull focus properly. This was shot handheld, without external monitor. Because of the anamorphic lens attachment, there isn't coming too much light throug, so the Gh4's focus peaking does not work very well, so I had to judge the focus just by my eyes. The lens was set to f2.8, but note that there is a speedbooster in the chain as well. The setup was: GH4 + Mitakon Lens Turbo + Canon 85mm f1.8 + Moller 1.5x anamorphot + 0.5 diopter I did not spend much time with the edit...

IMO auto focus and 'cinematic' shouldn't really be uttered in the same sentence. However for things like an impromptu talking head in a run and gun environment with a large sensor, a good af system capable of tracking focus of a face will always be welcome. I highly doubt I'd ever use such a thing since I actually like the aesthetic of a human being pulling focus by eye. If people like to think a Canon will make their colours nicer without having to learn how to set up wb, profiles and learn how to use curves that's up to them. The fact here isn't about af or colour. It's about the fact that the image from the 80D doesn't even deliver true 720p. it's mush. and is noisy. The lack of video ergonomics of a mirrored camera can be worked around when the image is worth working around for - the 1dc, 5dmk3 in raw, etc. But entertaining any positive discussion about Canon cameras not of the Cinema EOS range or ML hacked for film making is madness. Those still buying such devices for cinematic type film making are either ignorant to what else is available, blind or buying out of sympathy for Canon. I see no difference between the 80D and the 550D/T2i in terms of video performance. Canon hasn't made any worthwhile video improvements on their non cinema eos cameras since the 5Dmk2!

Yeah, because Canon cameras work really well attempting to autofocus Nikon lenses.... Again, not all that long ago it was blasphemy to even suggest one would use autofocus when shooting video. Now, Canon having better AF is a major plus point for Canon... I just don't get it...

The simple fact that this shot has been graded introduces a factor that is totally independent of the camera itself. I think the problem is people were so damn keen for Slog and never learned how to properly grade things. I recently saw a commercial shot on an FS7 and was surprised it wasn't shot on an Alexa. The F3 was, for a time, considered a 'mini-Alexa' and has very similar colours to that which you can get out of an A7s. If you've been a Canon shooter for a number of years, you may find it more difficult to get the colours where you want, but the same goes for anyone switching manufacturer. Every manufacturer has different colours and different colour science. I can't think of one manufacturer that has objectively bad colours, it's just that some people are used to one or another, and when the Sony footage they've spent 2 months working with takes a bit longer to get where they want it to than the Canon footage that they'd been working with for 5+ years, it's the camera's fault. You may find the Sony a bit more difficult to get where you want it to be, but that doesn't mean that it's the camera that's bad, or faulty. Also, how can you possibly take at face value the grading attempts of an amateur colourist? I wouldn't expect an amateur colourist to get amazing looking results out of anything, let alone base a purchase decision based on their results. The 'ungraded' versions of those images look significantly better.