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ed, heres a protip: acting like a 5 year old online, under your real name, is a very bad idea. people who might want to hire you based on your good work will start to vet you, and within seconds theylll discover that youre a huge pain in the ass online, and they will wonder: How much worse is he in person? i thought that maybe youd turned over a new leaf. time to grow up dude

I obsess over image fidelity, skintones, and motion cadence. That is a political act. - no it's a technical concern Because im an upper middle class white guy so i am allowed to do this. - no as it's open to anyone who is interested in the technical side of image making So are most of you. - - no we are not Its called white priveliege. - no it's not And we are not in a vacumn - speak for yourself ( it's vacuum BTW) The president of the united states is a white nationalist and is wrecking havoc. - quite possibly but what has this to do with any of the above esp as his support base is largely lower class white ( ex) workers And where are we? Defending a photo company that discriminates against women and race. - who, what ? Classy. - just delusional BTW as a 'self-confessed' upper middle class white guy the system of privilege you so despise seems to have failed you spectacularly with regards to your education in basic spelling and grammar........

In the UK the other day there was a news piece on this guy... Karl Popper https://en.wikipedia.org/wiki/Paradox_of_tolerance It's interesting because it shows the paradox of today's liberal society... The US society is tolerant enough to allow the display of nazi flags outside houses under free speech laws and right wing protests in the streets under expensive police escorts, and it's tolerant enough to allow these people to arm themselves with several automatic weapons at once. The more tolerant we become, the more the door opens to the intolerant ones, the more freedom they have to wreak havoc and destroy tolerance. So Karl Popper argued (in 1945 no less) that for a society to be truly tolerant it has to be "intolerant of intolerance". I suppose in the case Ed raised of alleged discrimination by a photo company, we shouldn't tolerate it, he's right on that. But I am also against building a wall between us and every single person in the company because of the wrongdoings of a few of their management, and I still really don't know if Ed is talking about a shop or a manufacturer. I suppose the point of Ed's post was to get us all talking and I'm fine with a bit of politics every now and again. I just don't agree that race has much to do with talking about cameras. It's a privilege but not just a white one.

The lens has very pronounced CA on edges of image due to no blackening on large front optic edge and very thin element and coating. The focusing mechanism is (at least on my copy) a very simplistic locking screw that meant that the body separates the two halves and user can twist, extend or contract the lens for focus, then the locking screw is tightened to keep that distance set. It was never meant for constant adjustment - rather for 'setup and leave' on a projector. The large front element size of the Magnum prohibits its use with current vari-diopter offerings, so is not a very practical lens for filming with...saying that, it could be made to work as a focus-through type lens on a smaller sensor that could have large diopters attached for closeup subjects. The lens is basically a scaled up version of the 'Palamorphot' or 'Zenascope' type that I think we're all made for or sold by the Widescreen Center London. All share same simplistic focusing method and general image quality. Streak flare is a very nice light blue colour, but the mechanical simplistic focus adjustment/ medium to poor image quality (CA on edges) and large size front optic don't really make it practical for filmmaking use IMHO.

Tried to explain this to somebody until I was blue in the face. He didn't listen and cannot understand why his pans are struggling. He blames the camera. Tried to explain how to walk with the camera, smoothing out jitters by walking as if you have crapped yourself - didn't listen, bobbing footage, blames the camera. Actually, he blames me because he tried to copy my style and bought the same camera as me thinking that results would be the same even if he did the opposite to what I advised regarding movement. I despair.

Not bad at all. Great colors. and slo mos. Digging this cam

It's not political. You can be white, upper middle class and be creative without guilt. Political? It is what you make it. Sometimes political is good. From the outside, what is happening in the US at the moment is shocking. Tribal. What is the photo company? Names!

Here is my first test with my run and gun anamorphic set up. Shot on a GH4 in 4k with natural profile. Lens used were Baby Hypergonar anamorphic + LINOS MeVis-C 35mm F1.6 Most of it shot at f1.6 or f2.8 Rectilux Core DNA with +0.6 diopter on close ups. No sharping or noise reduction.. I hope you like. The images at the end I really love. The Rectilux is a dream but you diopters to get sharp below 2 feet.

I don't think you're going to find an adequately high quality 0.5X wide angle adapter, and I suspect all of them will vignette (hard vignetting) when combined with a speed booster. I do think it's an intriguing idea, though. I have a 0.8x adapter for my 24mm f2 Nikkor. Lots of barrel distortion, but sharp. I think it's this one: https://www.bhphotovideo.com/bnh/controller/home?A=details&O=&Q=&ap=y&c3api=1876%2C{creative}%2C{keyword}&gclid=EAIaIQobChMI87WL_fLm1QIVEhuBCh3gTAAlEAQYASABEgJEevD_BwE&is=REG&m=Y&sku=751265 From what I understand the off-brand ones are worse but can be found even cheaper. The corner sharpness suffers with them. You can try something like this but I expect it will have hard vignetting and an atrocious image in the corners: https://www.amazon.com/Neewer-0-45x-Select-Camera-Models/dp/B002W4RPD2 I don't think a 0.5x adapter is going to do a good job, but it's not necessary anyway imo. The Speed Booster XL is 0.64X and has good performance. With a 0.8x adapter and the Speed Booster you're down to about 0.5 anyway. Might be worth getting a 24mm FD lens (if Canon makes one with 58mm) threads to eke out those last few degrees of FOV, though. That would bring you right around 12mm. Wide angle adapters are a viable option if you don't mind barrel distortion. I believe Chris Probst uses one on his 40mm Kowa. I think they look nice on anamorphic lenses in particular, where the distortion adds more character.

Hey Jon, I read Noams article a few days ago due to cinegains recommendation. These Veydras look tasty indeed. The affordable Rokinon models look boring from the outside:) And they have a rather cheap tactile feel, though focussing is smooth, as is their aperture wheel. That SLRmagic 12mm version I is indeed a soft sucker, as you stated. I didnt wanna believe you, but it is at F4 when it is starting to considerably sharpen up and becoming nice. Would shoot it at 2.8 for macro and distorted POV stuff. Still a fun lens, making me want a 12mm native prime with nice T 2.0 or 2.2 or 2.5 performance or a 17 or 18mm 2.8 or 3.5 speedboosted with nice performance wide open. Still not buying that Leica 12mm. Oh heck yes, that Laowa 7.5mm is looking tasty! And a Black Pro Mist 1/4! You need some Black Pro Mist just like I need myself some cowbell!:) By the way, watched GX85 HD footage, shot with my FD50mm F1.4 at 5.6 at 8, on a large screen with a nice 8000 EU projector, the aliasing with that high resolving Canon lens in hair and skin pores was fugly, digital brutality, so to say. So for the pure beauty of the image, HD for big screen is to be avoided on the GX85. It was with -5 for noise and sharpness.

Art is a magnificent way to get an idea across using abstraction and metaphors!

"Art are politics" Oh art they?

So let's turn it around: good practice for the 'real world' in diffusing and healing division. The mind control programs are powerful, he may not even be aware he's doing it. Or again maybe he's trying to right wrongs and doesn't have much time to interact in the threads? There are wealthy people/orgs who pay people to do this, to create division and hate, however I don't think that's the case with David.

Quattro sensors achieve higher resolutions be splitting the top blue layer into 4 pixels, sort of like Bayer's use of green pixels to increase apparent resolution over color. There are some (like me) who believe the Merrill's are still superior because they don't add mosaic issues into the image. I can't see Foveon replacing Bayer. As @Shirozina mentioned above, bayer sensors could already do better against Foveon by thickening their filters. Or they could go back to CCD. The fact is, only a small minority of photographers look to maximize color in native ISO shooting. Someone mentioned that Foveons are dynamically-range challenged. Couldn't agree more. However, capturing a wide dynamic range is immensely over-rated. As others will point out, within the 6 stops of DR Foveon likes to play in it crushes other camera's color-wise IMHO. Our eyes can only perceive 6 stops of DR at a time. One of the problems with Foveon, as I understand it, is that although the sensor has three layers, they aren't as distinct as bayer filters. Photons move through the silicon and a lot of computations must be done to calculate what color each layer is registering. They've been working on this for a long time. I don't see any magic algorithm in sight. Foveon sensors have always been slow. They don't get faster, just a little bit less slower! These cameras are labors of love for Sigma; my guess is that either lose money or don't make any. If they really cared about reaching the public they'd license a different lens mount, or make it easier to create adapters. Normally, I would say that these cameras have nothing to do with video. However, the kind of images they can capture in the right conditions are the closest thing to film one can get. An image from a Sigma is THE image you want your video equipment to produce. These cameras can make you fall in love with photography again.

Here's my GX85 with the Rokinon 12mm cine lens using the twist method. The pan is at 0:21... Obviously the wide angle helped and I may have used E-Stabilizer as well... I don't remember. The problem is that IBIS only does so much. There are tricks for lazy people like myself, but in the end a tripod will give better pans and a steadycam/gimbal will give better movement.

I think it's because of all the other shit it will do.

Here is maybe a better view. You can see that over 8 frames there is little to no difference in distance between frames. You can also see that the blur on the knob on the fence thingie is very charp, way less than 180* of movement you would expect from 1/50ss.

Nice find, I like that a lot and you may be the winner in finding the most non "are political" way of saying that woman is hot as hell Double Like.

Ninety nine percent of these "you can make xyz camera look cinematic" threads are filled with slow motion clips. There is nothing special about making slowmo look cinematic... slowmo is almost always cinematic. The trick is in making normal speed with dialog cinematic. And that requires cinematic techniques... which is of course the point. Cheap and effective way is framing with whatever lens.

Hey cats! I am in need of some specific and very direct act of support. An answer to my question from my thread I posted yesterday. What is the best 0.5x wide angle adapter for 52 lens thread? Also, if some Berlin residents could support with lending two Pinza clamp lamps 250-500W for three days or an Easyrig as well, how about a GH5 so I can avoid the nasty battery life of my GX85. That is the groovy thing about having stuff and blessings, sharing it, and may that be knowledge. @Ed_David, @Andrew Reid, you guys know a trick for a nice 0.5x ww adapter? http://www.eoshd.com/comments/topic/25692-i´m-lousy-i-need-help-best-ww-adapter-in-52mm-berlin-residents-around/

Simple but effective with very cheap glass (kit 14-42mm and 20mm f1.7 pancake lenses), go figure... Sunny face BTW ;-)

*grabs popcorn*

We can be superheroes. Our power would be real empathy. This is the only way. That was what I was trying to say. I didn't mean to single me out. No offence taken. We say sorry too often. Did you read this between my lines? Then you have misinterpreted them.

This white versus black whatever color talk is completely nonsense and primitive.

http://www.newsshooter.com/2017/08/17/newsshooter-gets-a-sneak-peek-at-a-working-panasonic-eva1/ No LUTs. Not sure how they can keep a straight face calling the EVA a cinema camera without LUT capability.... especially when the GH5 has them.

Ignore all sides who preach hate and division, brothers and sisters. They are all coming from the same source, the same people pulling the strings, a layer above and invisible to most. Their goal is to create division and civil war, WW3, to consolidate their global power. DC is locked in self-destructive corruption, so we need to manifest miracles to bring about peaceful change. Perhaps best case scenario is to pardon them all if they'll all leave peacefully. They have most people looking down at minutiae, when we really need to be looking up at our rulers and working together in unity to create real change, at the root source of all the world's manufactured problems. Spread the message of love and unity. Think in terms of what you want, as opposed to what you don't want. What we think becomes reality.

You could consider an app instead like this one that does both (and focus chart too) . No shop visit required, just download and go http://www.movie-slate.com/Settings

Oh wow, all questions answered, tremendeous job, as the current administration of the land of the great american indie and edgy filmers would say! No fake news! Just awesome test and response. You, jonpais and the others did all handheld shooters an awesome favor and great insight. Thank you very much, Grimor!

There's already been an 8K resolution smartphone camera... 41MP Nokia PureView 808 with 1" sensor. The problem for Nikon is twofold... They haven't delivered a compelling innovative camera for enthusiasts... The Df was a disaster. Their enthusiast mirrorless is nowhere. Their lack of dual pixel af a real problem too. Consumers have moved onto phones, but Nikon have showed zero expertise or understanding of the online services and apps market.

Hi Dick, Thank you for looking! I had a tripod and Gitzo carbon monopod on holiday and I liked the monopod the most.

Some of the nicest, lowlight G85 footage I've seen. Nice job.

I have the Olympus 12-100mm. It has more 'rotational play' on my Panansonic G7 and GX85 than my other lenses (more so on the G7 than the GX85). The 12-32mm Panasonic is particularly tight in comparison. I remember the same kind of 'play' when I had the 85mm Samyang lens so not just an Oly thing, but certainly a thing. It doesn't affect image quality, afaik.

I included the manufacturing operations in the list. The design costs are essentially the same, as the only extra cost is creating another Autocad file and adding two to eight threaded holes -- the front tube to the EF lenses has to be designed, regardless. Again, your list is fine for those who don't want to stray outside of the box. However, creative pros will often want more versatility than that list (not to mention great Cine lenses which only come in PL. The short-sighted intentions of Panasonic's management/marketing/sales people have no bearing on what they should have done. Furthermore, outside speculation on some company's intentions is not exceptionally relevant. Well, not too typical shooters are putting old Schneider cinema lenses on Alexas either, but they can if they want to! I was helping someone on a commercial a few months ago, and the DP had just hit the big time. She is already sitting in on panel discussions with ASC and BSC members. She was using old Crystal Express lenses on an Alexa, and they were distinctively beautiful. Shooters on that level usually seek alternatives to typical run-of-the-mill EF glass, as they are usually more sensitive to the subtleties of lenses' looks and effects. Then neither is an EF mount. However, cinema lens mounts don't need to be as rugged as PL or PV -- we have lens support for that. Furthermore, Panasonic didn't have to commit to a M4/3 mount. They could have just made a shallow interchangeable lens plate, as I have described. The EF mount offers only a small fraction of the possibilities available with a Micro 4/3 mount, an E-mount (there are ways to make this work) or an EF-M mount. That is a risky adapter as there are plenty of lenses that won't into it. On the other hand, a simple PL adapter for M4/3 will take almost every PL lens. In addition, some M4/3-to-PL adapters also allow TILT/SWING movement!: http://www.ebay.com/itm/TILT-adapter-ARRI-Red-One-Arriflex-PL-lens-for-Micro-Four-Thirds-4-3-cameras-/322240061177 http://www.ebay.com/itm/ARAX-TILT-adapter-ARRI-PL-lens-MICRO-4-3-Camera-Camcorder-pl-tilt-micro-adapter-/271523819029 Tilt/swing adapters are impossible with the EF mount and any full-frame or smaller lens. FTFY: There are countless lenses and adapters that won't work with an EF mount! No. Regardless of speculation for whom the EVA1 is designed, a lot of the top cinematographers use PL/PV glass and also seek out all kinds of unusual optics and adapters (probably not Veydras) that will give them an edge. Panasonic could have easily accommodated such high-end shooters (and even some of the lowly shooters who know better) while also catering to the typical EF people. Actually, I think that every cinematography camera should have either a shallow mount or an interchangeable lens plate. We're experienced and creative pros -- we need versatility, not protection from FUD.

Just an update on this issue: "Under the terms of the decree, the Manhattan photo, video, audio, and digital imaging retailer has agreed to pay $3,220,000 in back wages and other monetary relief to more than 1,300 affected class members. B&H also agreed to hire a workplace consultant to help correct its employment practices and workplace conduct at its Brooklyn Navy Yard warehouse, as well as its future warehouse in Florence, New Jersey. The company also agreed to provide its managers with annual training on equal opportunity principles and prevention of workplace harassment." https://www.dol.gov/newsroom/releases/ofccp/ofccp20170814 And here is a commentary from a former B&H employee: http://www.thephoblographer.com/2017/08/16/bh-photo-pay-3-2-million-discrimination-lawsuit/

I think Adam Wilt & Noam Kroll are the authorities when it comes to Veydra. https://www.provideocoalition.com/first-look-veydra-mini-primes-for-micro-four-thirds/ , http://www.dvinfo.net/article/acquisition/micro-43/quick-note-veydra-mini-primes-tested-kickstarter-ending-soon.html , http://www.dvinfo.net/article/acquisition/micro-43/veydra-mini-primes-delivering-85mm-t2-2-available-for-pre-order.html & http://noamkroll.com/veydra-mft-cinema-lens-kit-review-rokinon-cine-lens-comparison/ . Pretty spot on stuff. Shane said he'd probably do a Part 4 (series: http://www.thehurlblog.com/?s=micro+lenses+part ) with the Veydras... but no joy. I see a lot of people selling these off again. Would be interesting to find out why exactly. Maybe the image is just too well-behaved for some? To me it means: no surprises, predictability can be a good thing, especially if you're into more commercial shooting where you want your results to be consistent.

Grab a Veydra in your favorite focal length and write a 1-3 minute short, or adapt a public domain short story, with 1 or 2 actors. I would use your street shooting skills as part of the production. If you want to go lightweight and handheld, I saw a cheap, rail-free, follow focus that could help with the Veydra's focus throw to keep a simple set up.

There is nothing intrinsically inferior about CMOS in comparison with 'other' technology - MF digital, CCD, film, Foveon etc. The main reason it's colour performance is inferior in current implementations is that the RGB color filters over the photosites are so weak. This is done to enable better high ISO performance which everyone demands but it seriously compromises color fidelity. If we had CMOS sensors with denser CFA's we would have better colour fidelity but they would not be profitable as they would be ISO limited and the market is limited. i think I'm right in saying that MF digital backs are now CMOS ( they used to be CCD) but likley they have better CFA's optimised for colour fidelity over light transmission as the pro user base wants this. Sony also does some baked in NR to RAW files even at base ISO which is visible in fine irregular detail like foliage. It looks like a watercolor photoshop filter has been applied to it. Mostly though with such big files you are never displaying at 1:1 to see it.

Yeah, no problem! This is a 30 second teaser. We're saving the actual trailer for much closer to the release date. This film was shot on a GH4, by the way.

believe me i know. I've been doing exactly that for years. i understand the advantages and disadvantages. full frame is fun and I enjoy shooting in it, but in this case, I *want* a super35 (1.5x) sensor digital cinema camera to shoot films with. I want that because that's the standard I'm used to for motion pictures. besides, I don't like using a focal reducer with my vintage lenses because they exacerbate blooming, CA, and soft corners for apertures wider than f/2.8, which negates the advantage of the metabones' extra stop, or more. fortunately, I won't need that extra stop with a native 2500 ISO (providing it's just as clean as 800 which we have yet to see from the EVA1). and last, I have the 5D3/MLRAW option for when I want the full frame look (which I'm also a fan of for the right project). side note: I used to own a good bit of MFT lenses when I was an AF100 and then GH4 owner. always found them a little too small to operate with my big bear paws. the contax zeiss I'm using now look f***ing amazing and suit me better. I appreciate what your saying. just offering a different pov. yes, two actually. and the latest is finally getting a release date for late this year or early next. in talks now with the distributor.

Also remember to use a strap, keep it taut with your elbows to your side and turn your waist not your arms. It's a good ab workout too.