Leaderboard

Andrew, in my experience with the 1DXMkII rolling shutter had been a non-issue. 1080p is "Canon" 1080p. I don't think the issue is sharpness, it simply lacks resolution. Audio quality from the in camera preamps is very usable. And battery life is good. The DPAF and 60p are well worth the price of admission. Granted I have had grips about the 1080p, as I know Canon could do better. Nonetheless, it's still the best... and only option for 4k @60p, in a DSLR form factor. I would wager this will not change when the GH5 is released. The camera saw extensive use during the Olympics, for both stills and video. It is a professional level piece of kit. Arguably the most appealing Canon camera available at present. The C300 mkii has heavy competition, and frankly does not compete as favorably in its segment. The 5DMIV lacks the all important 60p option, and the crop is extreme. It's pity, as I had intended on adding one as a B-camera. If you do go with the 1DXMkII, it will serve you well for many years. Comparing to my Sony A7Rii, I can tell you the 1DXMkII is the clear winner. In my own my testing, while performing color grades on footage from both cameras with the same lens, the Canon's footage was able to be pushed to a much greater extent than the Sony, which became unusable when pushed to similar levels. C-Log - yes, it's would be nice to have. But some might argue the need for log on an 8 bit camera. I do think Canon should have thrown it in, but I can live without it in light of the other things this camera brings. DPAF - priceless. The best I have used by far. This single feature is reason enough to switch. Especially when you have this camera mounted to a gimbal. I cannot impress upon you enough how useful DPAF is. It's almost like cheating. I've been editing my footage in Premiere Pro, as it now supports proxie files. Working with proxies actually takes away most of the pain of working with MJPEG. If you do get it, you will not look back. The 4k is a bit different in feel to the 1DC. It seems to be of the more modern flavor that is becoming common in movies these days. Cleaner, but not totally sterile. It seems a lot of new camera are favoring this look. Give it a try. In the end it's about telling the story. I know in my use the 1DXMkII proved to be a better tool for that job... because it worked, and did so without fuss. No need for a follow focus. Not even sure where my follow focus is, just haven't needed it. And now I can use AF lenses. I mean I can really use them... and pull focus... and nail my shots. I'm not saying DPAF is perfect, but it's definitely usable in a professional setting. And frankly in many respects it does a better job than I can. The way it hold focus, even when working at f1.2 is crazy.

Pentax lenses are some of the most overlooked lenses, when in reality they are unbelievably nice lenses... Are dirt cheap and probably have the best focus rings of any lenses I have used. Visually I believe they're as good as their Nikkor counterparts. Btw, the Pentax forums have an awesome review database for Pentax lenses, plus any third party lenses that came in a Pentax mount... Which are a lot. It's a great lens research resource.

MONITOR: http://ikancorp.com/productdetail.php?id=1738 CAGE: http://www.came-tv.com/cametv-cage-for-blackmagic-micro-cinema-camera-p-721.html ENG GRIP: http://varavon.com/products/eng-grip-b-type?variant=860241427 SHOULDER PAD: http://kamerar.com/collections/rigs-stabilizer/products/shoulder-pad RODS + CLAMPS - all from SmallRig: http://www.smallrig.com/

Check this out. I just picked up a BMCC MFT 2.5K and put a spare BMPCC speedbooster on it. 1.39x crop. Here is a FOV comparison between the BMPCC and BMCC. same pocket speed booster, same 28mm full frae lens. this set-up *does* require the use of full frame lenses by the way. aps-c will vignette.

Here's the review for the modified version! http://www.tferradans.com/blog/?p=9316

The problem with Kino is that he posts after trying to reverse engineer his knowledge with a google search. Look at his claim about Sony and RED being the only company that make their own sensors and ASICs. He is of course just parroting some marketing speak to support another of HIS claims that he's been called on here, without realising it only undermines his opinion presented as fact. Does he even know what an ASIC is I wonder ? Does he know that not all cameras use ASICs ? Does he think that using an ASIC is the only way to make a camera, as Sony and RED apparently do, which of course means that Arriflex have no idea how to make a camera or design a their own sensor ? Or Panasonic or Canon for that matter. So which is it ? Which are saying is proof of credibility ? Are you saying that Arri, Canon, Panasonic and Blackmagic aren't ? Do you have to use ASICs to design your own camera sensor or do you not ? Does Kino know if designing a sensor and designing ASICS are mutually exclusive ? or not ? Let's wait and see what he says, because one way he shows he's an idiot who doesn't know what he's talking about and the other means he has to accept that he was wrong about Blackmagic not designing their own circuits (boards) and sensors He has zero understanding of how a sensor is designed. He still uses phrases like "off the shelf" without really understanding what that means. Challenging him only leads to sideways arguments. He'll come back now after a period of time while he furiously searches for the answers I challenge him on and he'll regurgitate some more half relevant information. This topic is really just a place for people to vent their disappointments with Blackmagic products, which, they've probably earned their fair share of. My personal experience isn't what many others claim, and I see a company that may not communicate what they do very well, yet addresses these issues when they come up. I've seen them deal with many of their issues in manufacture, like the orbs that came up through the pockets, the rolling noise in some of the early BMCCs. I probably have cameras that some here would define as magenta issues, but I never seem to shoot in circumstances that ever seem to reveal them to the QC processes I go through, namely a tech check for each days rushes, an assistant editor assembling the shots, another editor then cutting the shots (and intercutting with other cameras mind) then going to online, then grade, then through the QC process for delivery, which is very stringent. I've seen some cameras that absolutely have a problem and as far as I know anyone that can demonstrate that kind of severe problem has been able to RMA their camera JB

Get yourself a Blackmagic Micro Cinema Camera. The more compact form factor, 60fps slow motions, are all big gains over the BMCC. (2.5K is only in raw from the BMCC, at all other times it is 1080 same as BMPCC/BMMCC( Get native mount lenses (such as the T0.95 lenses from SLR Magic) or use a focal reducer (for near FoV of S35). (reference: I own a BMPCC, shot part of a feature film with a RED One MX, and use a BMCC as well)

The gains very very dramatic if using V-Log.

The B&H is a fantastic lens but requires some gymnastics to really get the most out of it. I'm pretty proud of the mod and I believe it optimizes the B&H to its fullest potential. Tito will be posting a review of it tomorrow. In summary, to duplicate my lens modification, read through this entire thread carefully before starting. You should have the following items: B&H 16mm 2x Anamorphic Lens 58mm Helicoid. You can use a 52mm but the 58mm diameter allows a closer fit, The downside is you'll need to fabricate a retainer ring for the front glass element. Telescope Finderscope Clamp Lens Support Bracket Tap & Die Kit Cyanoacrylate adhesive Drill or Drill Press, and Table Vice 3D Printer ABS Filament Materials for making the polyurethane mold Silicone & Polyurethane Casting Material. I recommend polyurethane Shore D Hardness; 75 (about the same durability as a construction hard hat) 58mm Lens Cap, and cap to fit over the silver Series VII Ring Matte Black Paint, Brush, and Thinner Degreaser and Lithium Grease Sandpaper / Cloth / Finishing Materials Gorilla Tape. Not necessary but a little added protection around the polyurethane Epoxy NAPHTHA and Lens Tissue Micro Tools / Micro Screwdriver Set Digital Caliper with 0.01mm tolerance Expect to replace some parts during fabrication, like iterating the custom mold for the front housing, or breaking a helicoid, or throwing out a lot of failed 3D printing attempts. Here is a breakdown of the labor steps required to produce the finished product: Disassembling, re-greasing, and reassembling the heiicoid (helicoids bought off eBay come with poor quality, low viscosity grease). Removing the original front housing and front glass element. Thinning the matte black paint and painting the edge of the front glass element. If you are lucky, your B&H's front element may already be painted. Combining the lens support with the telescope bracket. The Cyanoacrylate creates a temporary bond between the bracket & clamp, allowing to you drill & tap the hole for the screw that will hold them together permanently Making the mold for the front housing. Lots of trial-and-error here, make sure to read a lot about how to make molds. This is where your McGuyver skills and a trip to Home Depot comes in. Casting the polyurethane for the front housing. Again, some homework is required here, planning, and a tightly sealed mold! 3d Printing an alignment collar for the helicoid to fit on the polyurethane front housing, the retaining ring to hold the glass element in the helicoid, and the follow focus gear. Assembling and gluing all the fabricated parts. Make sure everything fits properly before applying that epoxy! Fit & finish (sanding, polishing, cleaning, etc.) Adjusting the bracket height, the anamorphic alignment and calibrating infinity focus Reviewing test footage to confirm the lens is ready for shooting If you’re doing this for the first time, expect to spend at least 1-2 weeks putting this together. Honestly, even with all the information in this thread I think it will take longer than that. If you have a full time job, expect the process to take a few months. This is not a short-term project, it requires immense patience, but the rewards are excellent! When finished, what you achieve — and I’m typing it again, because it bears repeating — are the following features: Single-focus Infinity focus Follow focus gear for rack-focusing, with a generous throw that allows for precise focus Re-greased helicoid for smooth focus action Minimum focus of just under 1m for the 14mm helicoid version, and just under 30cm for the 30mm helicoid version (that is the closest focus of ANY anamorphic I know of). Beautiful 2x bokeh Superb, stable 15mm rail support that locks in alignment and reduces the time between switching taking lenses Nylon alignment screws that won’t scratch the anamorphic Compact and lightweight (the modded B&H + custom bracket = 866g. In comparison, a 16H + Rangefinder is 880g without the lens clamp, filter clamp, and rail support) 58mm front thread for diopters or ND filters, and a Series VII rear thread The side of the front element is painted matte black to reduce internal barrel reflection and preserve the amazing flares Reversibility: The custom front housing can be removed and replaced with the original housing An ideal anamorphic for micro four-thirds filmmakers I encourage any B&H owner to do this mod. The question you must ask yourself is how much time and money you’re willing to spend to get to a final, usable product. If you have a lot of the equipment already (especially the 3D printer, tap & die kit, etc.) or your own workshop, you will save some money. But for those who don’t have the time or resources, I will be selling my mods for around $1000 (depending on the quality of the original glass, and whether it’s a 14mm or 30mm helicoid). Some of you may think this is expensive, but considering all the work that goes into it, and the value of all the features listed above, I believe this is a fair price. This is a complete, turnkey anamorphic solution: You put the B&H mod on rails with your camera, and start shooting. No other purchases are necessary. If you are interested please message me, I will be be putting the mods up on eBay once Tito has sold his, Some of the proceeds will help me recoup the parts & materials I went through during R&D. Some will go to purchasing a lens from Tito (which will help fund his efforts). Some of it will go towards my next project: modifying the Bausch & Lomb Projection lens. I will add the same level of detail and information to that thread as I've done here. I'm not trying to turn this thread into an advertisement for my mod. I’d love to see other B&H owners continue innovating, modifying, testing, shooting, and posting to this thread to find new ways to get the most out of this great piece of glass! I will continue to answer questions where I can, but I expect my participation on this thread will wane as I turn my eye towards my next projection lens project Keep on modding!

olympus, contax c/y, nikon, pentak k, leica r, yashica

I made a test comparing iso 400 - 6400 on skin tones if anyone is interested: It looks pretty good up to 1600 and I think, but it's still usable in from 3200 all the way to 6400 in some situations. Might need some noise reduction though...

Good call. I abandoned the Cinelux idea and I'm sticking with the Singer 16D for now.

Bloody hell Andrew, you've done it now. I've been following the 1DX II ever since release - ticks a lot of my boxes. But my interest faded with no presence of C-log. I'm big on grading and I absolutely love it, so this now seems interesting to me. Footage I've seen shot in standard profiles looks like it's wrapped in a shiny sheet of plastic. I use my A7SII the most at the moment. I enjoy using it, however the poor battery life and non-working white balance does my head in. As does the crop in 120fps and the vacancy of 4K 60p, and the low bit rate. Plus the stills - I have EF lenses so I haven't got great stills capability with the A7SII. With my A7SII, I also have the official clip-on monitor, the Zeiss 24-70mm and 6 batteries - so a great chunk of value here! (If I happen to sell it all). The DPAF is very interesting (I constantly film fast moving subjects such as rock vocalists going nuts) and high quality 60p is an absolute must. I'm always filming talent who have to look amazing and flawless on camera. So I'm thinking the 1DX II could potentially be a better fit. Question is to current users: what is the 120fps like? This is what worries me, as Canon don't have a great history of slo-mo. Is there lots of aliasing? Moire? Detail? Noise? Artefacts?

Some screen grabs of the Zeiss 12-120 T2.4 on the Digital Bolex. All at base ISO (200) and 180 degree shutter at 1080p25. No LUTs or filters, just a basic contrast curve and a two stop exposure push (and scope cropping on some, haha)

With all due respect, John, and I really appreciate all the work you have done for the online community and your championing of the BMCC, but you are a brand ambassador at this point for Blackmagic. Whether or not Kino is just regurgitating things he learned on google, you can't call him an "idiot." And you shouldn't really swear. It looks bad not just on you, but on blackmagic. I remember being on reduser and Jarred Land starting swearing at people and so did Chris something, a DP, who uses red a lot on music videos with Taylor Swift. The whole thing left a bad taste in my mouth and I'm sure other people who want to learn more about blackmagic. I apologize if I have dug too hard into blackmagic. I love Resolve - I use it constantly. And I have used a pocket camera on some commercials and even the 4k camera on an Infinity car commercial. Their cameras are amazing. Right now, it seems that they are having an issue with their flagship camera. And more than I knew. I was only commenting on the build of the ursa mini 4.6k. Anyway I understand why you are upset - you probably know the team behind the camera personally. So it's like someone throwing shade at you personally. Anyway I apologize. This isn't about Arri and their inability to move to 4k to compromise dynamic range on their cameras - this is about an image issue with BM and for me, their camera's ergonomics which now I think is probably okay.

I haven't seen it in my cameras nor has it been a problem in any of the many QC processes my work goes though. I haven't gone looking for it either. jb

Aaron, if you plan on doing any modding/adapting, it's worth getting yourself an affordable digital caliper off eBay.

Some fresh tests with Rectimascop 80/2x. Sony A6300 (crop) | Helios 44-2 58 mm (f:2-f:2.8) Small vignette in infinity can be removed in 2.35:1

The grass shot still looks buggered... I would have exposed it very differently and the white balance is clearly wrong for daylight. Ah I see what you mean! Good idea about one-shot push focus.

Go to youtube or vimeo and look at some of the latest uploads and you tell me if you dont see magenta pollution all over the image in some shots. Even the videos saying there is no magenta problem you can see it in the skin or highlights. Also having an opinion is not a smear campaign. You are paranoid for no reason. I think some of the images are terrific but some are still marred by this issue. What's even sadder is owners who are showing the problem in their own videos saying their cameras are fine. The cognitive dissonance is like an example of the problems with hype and fanboyism in modern culture

There is something off on the 4.6k image with this magenta issue even in the latest videos. I see it pop up on various shots on so many videos and it's not just the overall cast or magenta corners. It's in the way the camera handles highlights in some shots as well as edges. It might have more dynamic range but these issues make the 4k ursa look better overall.

Land claims that RED is the only cinema camera company other than Sony that designs its own sensors and ASICs (integrated circuits). He makes no claims about where the sensors are fabricated. Of the cinema camera manufacturers, only Sony, Canon and Panasonic have their own sensor fabrication plants and have the potential to do everything in-house. Like BMD, RED would have to "outsource" the fabrication itself, which involves many steps, including the wafers from a semiconductor plant and the various other components that are then attached. The finished sensor just doesn't come from one place or even one factory. It's an elaborate process that is almost always outsourced for companies like RED and BMD. The difference is that RED designs their own sensors and boards and those are exclusive to them. You can't buy off-the-shelf versions of the Dragon sensor made by Fairchild or any other semiconductor company. It appears that BMD has to involve third parties like Fairchild in sensor design, suggesting that they don't have the same mastery that RED currently has. This lack of expertise may lead to problems such as we have seen with magenta-gate, considering how the sensor and its integration into the surrounding circuitry and the larger image processing chain would have to be designed with absolute precision. Perhaps they will get there eventually, such that they will have custom designed sensors that are exclusive to their products and not sold simultaneously as off-the-shelf sensors as with the Fairchild/BMD 4.6K. At that point, I would expect better quality control, which was the entire basis of our discussion. And, yes, it is entirely possible that BMD contracted Fairchild for the 4.6K with an arrangement to create two versions of the sensor: one for BMD and one off-the-shelf version. But the fact that they have to go to Fairchild would be proof that they did not design the 4.6K sensor on their own and do not hold the exclusive license or the patents involved.

Pw: Omega This time i have tested to export 4k/25p footage direct from cinelight to prores lt with add saturation and denoise.after i grade it in CC with S-curve and basic adjust.export in h265. noise level is way better and the colors seems correct. What do you think about?

Some friendly advice: The bright patch of grass isn't green because it is overexposed. Since C-LOG raises the shadows, you should have exposed for the highlights and the dark areas would have been recoverable in post. Once the grass is burnt it's gone. I don't agree you got the better results with the standard picture profile - the grass is fucked on that too. Have fun! It's definitely worth trying on the 80D. It won't be a noisy mess if you expose correctly and keep the ISO under control - i.e. 100 for a high dynamic range scene (bright light) and no higher than 1600 in low light. No the image won't be as good as 4K but, hey, it is the 80D we're talking about not a 1D X Mark II. If anyone would like to post the original files for me to grade, I can show you the best way to grade each camera. Thanks for the kind remarks. Did you mean 1D X Mark II with auto-focus though? You're replacing your 1D C with a 1D X Mark II right? Yes ETTR (expose to the right), but you have the choice to protect the highlights - don't go so far to the right that you blow out important areas of the frame. If you under expose a LOG image it looks crap (as we see from so much of the Sony S-LOG 2 footage out there).

HAHAHA, in the menu it has an option called "Zombie Game"! lol, need we say any more? Enjoy the video for what it is

First off, don't buy one tonight. Spending 4k shouldn't be done on a whim. Take time to consider your options. The Red One MX shouldn't be considered if your looking to do stuff in a commercial context as it is huge and will be a PITA logistically. If you already have a CY to MFT speedbooster you could use that with a MFT BMCC 2.5k and have a 1.7 crop factor. This is pretty close to S35, but you would have to use only CY glass which is great glass, but expensive and slow at the wide end. You should probably just sell your speedbooster and put it towards your budget as it is going to be very limiting to only be able to use CY glass if you want to use the SB. You don't need 4k for professional looking images. It is more important what is in front of the camera and who is operating the camera. Don't hesitate to consider 1080p cameras. If someone insist on 4k you can always rent another camera. Does your budget need to include lenses? Because this is Do you need raw? And do you have a computer that can handle a raw workflow if you do? If you are fine without RAW and cool with 1080p then I would recommend either a C100 Mark i or a BMPCC (or BMMCC) w speedbooster lens wise if you need one I would go with a Canon 17-55 2.8 EFS and some sort of long zoom maybe a CY 80-200 F4 The C100 is 800,000 times better than the black magic from a usability and workflow perspective and will motivate you to get out and shoot as dealing with the footage and using the camera is relatively easy. If you are doing mostly commercial stuff I would recommend this option. The BMPCC w a speedbooster is a spectacular option as well, though not as streamlined. The reason I don't reccomend the BMCC 2.5k w speedbooster is that it is hard to control EF lenses w an electronic aperture. Hope this helps good luck

VERY similar dynamic range benefit to Canon LOG. Did a test today on the 1D C, a very contrasty scene, the white building was extremely brightly lit in the midday sun. Ungraded frame grabs from DCI 4K... Official Canon LOG: C-LOG: Looks like I will be getting a 1D X Mark II after all!!

Aaron, that vid sure looks good but it's made with an 'anamorfake'...Just a modified oval aperture + crop, no true anamorphic glass used ;-) Btw, Takumar 35mm F2 is a very nice lens.

I honestly wish they would keep cineform in the camera's alongside Prores, I much prefer the Cineform codec.

Precisely. IF ML crack it (which is still a big if), it has almost no scope for being better than Raw on the MKiii... Raw on the MKiii exists right now, so why worry about such things? The MKiii is also half the price. We get it, everyone wants some magic hack for their camera to materialise, but waiting hopelessly in vein is just wasting time that could be used better with what you already have/ what is already possible.

From the Kinefinity owners I've read about or heard from, it seems that they have excellent customer service. They are also an honest company and tell their customers the truth, which is a great relief after what has happened with that other budget camera manufacturer. Distribution issues aside, I have much more faith in Kinefinity than any other camera manufacturer in that price range and I'm sure the 5K version will be along shortly. The Apple ProRes certification is also really difficult to obtain, so maybe they will push that to a future firmware update. Of course, everyone has to make a decision that meets his or her needs, budget, and production time constraints. If you require a camera right away, well then the Terra 5K is obviously not for you. In my case, I'm sitting on the Scarlet-W order/deposit whose allocation date is unknown but likely in early 2017 at the slow rate that Dragon production is going these days. This is despite the fact that I ordered months ago. In which case, the Terra 5K is not a bad proposition, considering that the only other (new) 5K camera in this market is going to require the same kind of waiting period or more if you ordered one today.

I've had a UM4.6K for nearly a year. It's done many weeks of work on my sets. Most of the images in my twitter feed are of the same body, the very first one I got. I've had another two PL bodies for about 7 months that have also seen a lot of use. The camera can handle on set abuse. My main body has lots of scuff marks, scratches and dings. It's been rigged on a steadicam, Movi, to cars, in my hands, in production mode, in studio and remote locations. It's had extra transmitters, timecode clocks, plugged in, audio connections used, additional on board monitors, UMC's for remote focus.... There are many many sequences now in the last two TV drama series I shot that have Ursa Mini 4.6K shots and no one ever picks them. I managed to rip one helicoil out early on when an overzealous grip overtightened a rig. I lost a lock off screw that controls the tension on the EVF rotation. I've never replaced it, because the tension hasn't needed to be changed ! My cameras boot up, they don't overheat, they don't loose frames, my shots have passed a zillion INTERNATIONAL broadcast tech checks that specifically go looking for things like noise and FPN and image problems. Directors love the shots I can only get with an Ursa Mini 4.6K, so I'm going to keep using it. JB

Can you buy the same sensor that is in the Ursa Mini 4.6K off the shelf and get the same result ? No. You can't. Is it an off the shelf sensor ? No it isn't. Do you keep saying it is ? Yes you do. Do you say stuff like "I think it has something to do with the fact that they source parts and do not manufacture their own circuits and sensors as with RED and the electronics conglomerates" That's your quote...you forgot that you said RED as well didn't you ? :-) Never mind.... So, you're wrong because RED don't do what you claim. Blackmagic DO make their own circuits and like RED, go to a sensor fab company and customise a sensor to their own specs that you can't buy. So do Arri for that matter. So how would you KNOW ? Seriously ? How do you know that it's off the shelf ? If it's only slightly modified, what does that ACTUALLY mean ? Is it the package size ? What EXACTLY is the benchmark for a slight modification ? What is it that was tweaked ? Was it one thing or many ? Did they just put the BM logo on it ? What other products use the same sensor ? Why doesn't someone else buy the same sensor and make a better camera ? I call you out because I've called you out before sir and I'm just cutting to the chase. You're wrong. Have an opinion. Don't post it as fact when you don't know if it's true. That's all I'm asking. JB

When Philip Bloom asked for my Clog picture style today, I went back into the Canon Picture Style editor and removed all the color changes I had made, and now it's only a gamma curve with contrast at -4 (sharpness off and saturation at 0 (not taken down or raised)). http://brightland.com/t/1DX2_JLOG2f.pf3.zip . Note that the results are very similar to the ancient Technicolor CineStyle (which I also tested on the 1DX II- think I like just Standard with contrast at -4, sharpness and saturation at 0 the best so far vs CLog emulation: less surprises in post (might still be useful outdoors and other very high DR shots)).

No worries...I think maybe we’re both talking about two different goals / approaches? It sounds like you’re seeking a single-focus solution for your Baby H and Sankyoscope? Whereas my goal was to find ways to make the B&H user-friendly for filmmaking. When modified according to the information found throughout this thread, you can turn the B&H into a single-focus, close-focus, rack-focus, sharp-focus, lightweight, 2x anamorphic solution with fantastic flares and a warm, organic cinematic feel. On a micro four-thirds camera, the B&H will accept a 55mm or 58mm taking lens with little or no vignetting (or a slightly wider taking lens if you’re shooting in 4:3 mode). I could have bought a 'proper' single-focus module, but where’s the fun in that? One advantage is my modification is compact and lighter than a B&H with a SF module attached to it. I definitely didn’t save any money doing the modification...at first. But now that I have modified several B&H’s, I can make them more quickly and efficiently. But the biggest advantage I gained was the amount I learned over the course of the prototyping - I look forward to hearing about what you learn in your pursuits! Excellent! I've been so focused on my goals that it didn't occur to me about other potential uses for the B&H. It's great that you're thinking about other ways to get utility out of this anamorphic... definitely post back here with your findings! Best, |. . | .|

I sold my Nikon D5300, which I liked very much, and bought Lumix GX80, which I start to like too now I like that 4K has a more detailed image in the result. But if there was a Nikon with no crop 4K and 5-axis stabilization, I would choose Nikon, since it also has nice flat profiles made by genius Lee Powell @LPowell

I've reviewed this thread and can't seem to locate where to buy your NXL adapter. I'd be interested in one. There was a thread on DPReview (https://***URL removed***/forums/thread/3973075?page=3) that looked at the electric protocols for the NX with a goal of an EF-NX adapter. There are preliminary electronics but no adapter; maybe potential for a match-up.

We need Cropmarks, badly!! Or the function to upload custom Cropmark-Images. Please anybody who visits Panasonic Reps in this time before the GH5 release, help us get rid of duct-taping our display. It's so 2008. Cropmarks, anamorphic desqueeze, punch-in focus zoom during recording, sound during 96fps. I will visit Photokina myself and try to get hold of influencing Panasonic Reps, but we need a lot of people. Been writing mails and tweets and posts for the past 2 years.

Shot with Panasonic GH4 in cinematic DCI 4K 4096x2160 in ultra wide 3.31:1 anamorphic ratio.. Lens used were the Baby Hypergonar 1.75x anamorphic with MeVis 35mm f1.6 and the Zeiss Ultron 50mm f1.8. Rectilux 3FF-S, Marumi + 3 achromatic diopter and Fujinon ENG 72mm close up lens. Edited in Adobe Premiere and colored in Colorista III and Adobe Lightroom.

Thanks so much! That's the magic of the Baby Hypergonar :). I feel the same and can push the look in a more vintage or modern direction based on what my taken lens is. I'm old school to where I use filters and lens to create the look and color. I really don't due much with grading but crush blacks, add contrast and level out the image. Thanks Tellure!

This is a non-scientific but comprehensive comparison of 1DC and 1DX II video quality. The 1DX II was kindly provided by Toronto based photographer Paul O'Neil We tested sharpness/resolution as well as dynamic range and noise performance. Two cameras were setup side by side and kept the same exposure and white balance, videos were recorded at the same time to avoid lighting variance. Lenses were both Canon 24-70 f2.8L II, at f5.6 for optimal performance. For sharpness/resolution comparison, we used neutral profile with 0, -4, -2, 0 setting. Please view the following images using the FULL SIZE option. Test scene: Results: 1DC and 1DX II have the same sharpness in HD 24/25/30p (same sensor readout). In 50/60p, 1DX II is sharper (better sensor readout) and it kept the same sharpness at 100/120p. Super 35 mode on 1DC remains the sharpest and most detailed 1080p of all modes. Two cameras have the same sharpness in 4K. Test scenes: Results: in neutral profile with -4 contrast, 1DC and 1DX II have about the same amount of DR, however 1DX II is nosier in the shadow (more chroma noise). 1DC in C-Log gives more detail in the highlight. Other observation: with the same white balance setting, 1DX II colour seems slightly warmer and a tad desaturated than 1DC in neutral profile. Conclusion: 1DX II is a camera with advanced video capabilities (HD 120p, 4K 60p, DPAF), 1DC still deserves its "C" badge for the very detailed Super 35mm HD and higher DR C-Log. Which one is more suitable totally depends on user's need. Download original 1DX II clips: https://we.tl/4HOdgVNXhI (contains TIFF version of the comparison and HD 120p and 4K 60p clip from 1DX II)