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I had this lens and was quite happy with the performance,actually rather surprised it was sharp at f2. I used it with a mitakon lens turbo focal reducer on the a6000.I returned it not because of performance issues but because I wanted a different focal length at the time. Also the build quality and focus ring were quite good for the price.These are some random test photos I remember getting with the lens at f2 or 1.4 considering the focal reducer. I would also like to add if there was a negative about the lens I would say it would be character. I often felt even though the image was quite sharp it lacked that pop of my vintage nikon lenses.Then again that could be a good thing if you want a more neutral image in the first place.I would definitely get the lens again.

Some say that captured footage is same at 0-255 or 16-235, but just rendered differently when played back. So you should not lose info by shooting at 16-235, you just instruct the player on how to read the same information.

amen! exactly why I just got the Lytro cinema camera as a b cam for my Alexa 65 #sickofamateurs

My dear Nikkor 35mm F2 AI-S on the NX1

My goodness, it just gets worse. Whilst I was Italy I did read some of what went on and thought the community handled it brilliantly and thanks to my mods too like Andy Lee. Hopefully we can move on from this guy and get back to sanity.

Hey everyone, I've been watching these forums for years and contemplating when to jump on a anamorphic solution. I think my "patience" might have paid off as I just acquired this beauty of a lens that is just a BEAST of glass. From the little I could find about it online it seems to be one of the highest quality optics around made for 35mm film projectors on airlines back in the day. Currently it is still on its way to me so i'm hoping it arrives without any damage. Once it gets here i'm thinking of getting a Core DNA from Rectilux to make it a viable single focus solution. Any core dna useres out there that can vouch for it's quality? Might need to do some machining though to get the Core DNA to fit from what i've been told. Anyone on here have one of these bad boys that can shed some light on working with this setup feel free to share would love to know more about this lens! Will post actual pics when it arrives! Was able to find one for sale on ebay currently but feel lucky I found another source hah...how rare are these really? http://www.ebay.com/itm/Kowa-Anamorphic-35-1-75x-Lens-/282114577816?hash=item41af56d598:g:y8YAAOSwIgNXmI1D

I find the bias of the media Against the Democrats shocking. Do the Democrats own most of the American Media? Also, charges against Hillary being dropped abruptly were also very suspicion arousing. Another nice video against Hillary:

Regarding the firmware update, I didn't get any more overheating since I loaded it. Seems quite stable since then even though I kept shooting in the same conditions. I use the 16-50 kit (wish it had the same filter thread as the others), the 35 1.8 and the 50 1.8 so all my lenses have native image stabilization. Seems to do its job reasonably well but I'm super shaky.

Check out the ninja star. Very basic. I am thinking about getting one myself.

Ha I didn't wire him anything I was just seeing how much ES thought he was smarter than everyone and the extent of lack of morality. For a second I did think he was a confused lost soul who wanted friendship from me, but even then I doubted it. He's just another young kid who's read too much Dostoyevsky and thinks he's smarter than everyone else.

Look for used Pelican cases. They get beat up anyway and are pretty rugged.

Hi - this one's great (and cabin useable) http://www.pelican-case.com/1560.html I wouldn't scrimp on price - I've bought the cheaper versions and they're not much good to be honest. The Seahorse branded ones are o.k. and about 50% cheaper than Peli. http://seahorsecases.com/Merchant2/merchant.mvc?Screen=CTGY&Store_Code=S&Category_Code=WHEELED_CASES

BTW it's not clear but where the dropdown gives you options for 4k, 4k aps-c, 1080p, 1080p aps-c, the "4k APS-C" means 4k 30p and "1080p APS-C" means 120p. Not sure why they've named them such. @wobba I also bought a GX80 and then a a6300 shortly after (my wallet is pretty battered now). I agree with all those points you made. I would also add that skintones are far more accurate (with the Standard profiles or with SLOG2 and SGamut3.Cine colour). Also a big issue I have with Panasonic cameras is that flares from bright lights cause purple streaks; an issue that Sony and other manufacturers don't have. I still have my GX80 because I cant decide which to keep. I have particularly shaky hands so the 5-axis is a godsend for me. And the 1080 is just so much more detailed as well..

I finally got my wrenches and was able to unscrew the anamorphic part ! A also got a clamp from RafCamera, which looks to do the job so far (I'll try to replace the tiny screws with ones I can unscrew w/o a tool) I just finished shooting a short, so I'll try and shoot with the new adapter asap. So far, it looks sharper, but it vignettes very differently than my NAP35.

People should take a look at this. This footage looks gorgeous, I only saw a couple strange jitters when the camera was suction mounted to the car, might've given the camera body too much vibration for the 5 axis stabilization to handle. Overall though, this was done with a BM Video assist, occasional bounce light and the Oly 12mm and the Oly 9-18mm. That is fucking GOOD LOOKING STUFF for what is used here. Olympus is unmatched with stabilization, this is all handheld and it looks outstanding. Still 8 bit but hard not to be impressed. The narrative and song are not my cup of tea at all, but the imagery is great. Direct link to video:

I you're broke, young and just barely learning, do what everyone does: buy those cheap hardware store clamp lights with the reflective dome, diffusion gels, and a bulb. Ikea LED bulbs have a pretty good CRI. And the sun. Maybe a white poster board from a Dollar Store for bounce. You can also get light sockets and China balls from filmtools. You can also get 4 socket light heads and cinese LED panels for under $30 on ebay, though I'm not sure how good those are. They could end up being an unreliable waste of money. http://www.filmtools.com/ligdep/lighting-equipment/light-fixtures-kits/chinlan/12chinpaplan.html http://www.filmtools.com/chinlansocas-7860.html https://www.bhphotovideo.com/c/product/31919-REG/Lowel_D2_72_Frost_Gel_for_DP.html http://www.ikea.com/us/en/catalog/products/30257485/ http://www.homedepot.com/p/75-Watt-Incandescent-Clamp-Light-HD-200PDQ/205139241

Dat ASS

but there's still stuff you don't buy.. because you don't have infinite money. you said yourself you do have a point where something is "expensive". you just have a higher budget than the disrespectful guy.. everyone do whatever. BACK ON TOPIC

@Lee Kelly Are you a working professional DP, that is my first question. I loved RED cameras for the cost, heck I have one in my avatar from a shoot and was amazed and how accessible this made it. Prior cameras costed well over 100k (film) and RED really brought/made this possible for people with low budgets (50k) to be able to use them. Now if you have EVER used an Alexa and more specifically an Alexa Mini then you would know why it's simply one of the best looking digital images from an camera Ever.... Now for us "Poor" folks I will be buying an Ursa Mini 4.6k for my personal projects and work on any and everything else. ps. Alexa Mini looks Amazing, Red Dragon looks greta as well, in the end though don't let any camera limit your creativity and shoot your projects on anything you have possible as CONTENT will always be MORE important than any camera you use.... PEACE

I jumped in the pool and the water is great! I have a BM 4K, but like the files coming out of this C500 better. It is hard to beat Canon color science. In my opinion color science is the essence of the image. When they packaged the C500 with the 7Q+ for what seemed an incredible price of $11,000 - $12,000, then Convergent Design ran a Summer special on the Raw Codecs.... I could not resist and pulled the trigger. I have not played with it much yet, just shooting test shots side by side with my BM 4K, both in raw and Prores. They are both very sharp cameras, but the C500 brings much more to the table like better color, higher speed, in camera NDs, works with all my Canon glass, EVF for bright sun. no sun spots, almost zero noise, great low light work. This is truly a professional camera. The 7Q+ is a fantastic monitor as well as a recorder. When my brother (who shoots also) saw the quality of the 7Q+ oled monitor, he summed it up in one word...... Wow! So far everything works as advertised. I cant say enough a bout Abel Cine for helping me put it together. I have been busy completing the build with a Tilta/ redrock rig and should do more shooting soon. And I hope to put up some links.

I spent the entire day testing 0-255 vs 16-235 vs 16-255 and thanks to the tip for "brightness -3 and contrast -15" that I can for sure use 0-255 in premiere cc 2015 and wont have any clipping, while maintaining the full color for exporting in DNXHD and also maintain the Legal color for Youtube and Vimeo. when I used 16-235 I did a test while reducing exposure and it looked very nasty in premiere with banding everywhere, looked very clean in 0-255. with 0-255 you can recover superwhites, like clouds for example, the detail in shadows is much more and the blocking, artifacts is not there "when using bitrate hack" when using 16-255, this was better than 16-235 but still not as good as 0-255. I did notice that VLC plays the 0-255 while all other players didn't read the superwhites in 0-255 so that could be an issue. so my advice is use 0-255 with -3 brightness and -15 contrast but export 2 versions, one Legal for web players and TV and keep the original for the future.

I just downloaded resolve but it doesn't recognize the h265 videos coming off the NX1, how did you get it to work?

Glad to hear it. New blog posts coming soon!

Moderators such as Andy Lee had the right timing and words for moderation up their sleeves. It´s back to sanity thanks to all of you. What more can one say and assume. It has all been said in that super long thread for that matter. It´s all back to sanity. And maybe I am not the only exited soul around here, eager to read about your filming journey, also some techy stuff about the XC10, if that is not too geeky though:) About Italy, your experiences over there, everything! Would be just great!

@sandro I created a small tool that shows a button with black background and white text at given position and size that enables one to have on screen "button" for REC or SHUTTER or whatever. You could use it as it is as a "black screen" (just set the text to " " and position to 0 0 and size to 720 480) and to start the time lapse. I do it often to preserve the battery (AMOLED uses almost nothing for black screen). To remove it from screen just press and hold it for 5+ seconds. I also made a separate tool for time lapse that can have black screen as well as black screen with small red frame counter (useful). It can also make short videos instead of photos (let's say 10s video every 2 minutes, etc).

Yes I have one. It's optically great, mechanically poor IMO. But It's probably the best solution out there at the moment for use with the Kowa Inflight 35, You will probably need some modification to make it work at its best. DM me if you need specific pointers (it can be a lengthy process). Here it is on my Inflight PA-35, with configured rail mount and custom clamps.

I've owned 3 Kowa Inflight PA-35's in the past 5 years...all bought from eBay, make that what you will regarding rarity. The all-black one featured in that Ebay link I've not seen before, looks like the less pretty non-Prominar model. I guess it's high price could be worth the money to someone who appreciates it. As for the quality of the optics, it has documented here before on this forum by me and others...it is pretty much as good as it gets (especially for full frame), regarding Kowa scope projection optics. If wanting to use it with a variable diopter such as Rangefinder, Core DNA, Rectilux etc...you will need to find a customised solution to cover the large front diameter of the Kowa, and allows the diopter rear to get close enough to the inflight's front optic to get the most coverage from this lens. (All current vari-diopters on the market are not really intended for use on lenses with front diameters this large).

What a monster! That guy is a little big for my documentary needs but if I ever shoot a narrative feature that would be some awesome glass to use.

I was DoP for part of this: The director was himself one of the key leads! Good idea really, as it was a long slog. 5yrs in the making! My Tascam DR60D has this feature. "Safety track"

Actually the Terra has ignored me. I'd love to try one out in Berlin at some point, I can't buy absolutely everything just to review it.