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Here is a quick comparison between the anamorphic lenses I have. The goal is to compares the flares and sharpness. Hypergonar Hi-Fi 2 Dyaliscope Champion Singer/Sankor 16D (uncoated) Elmoscope 1 Isco Ultra-Star Schneider Cinelux. All shots with : BMMCC Mitakon Lens Turbo II Helios 44-2 Focused to infinity, using a +1 close up diopter (Hama) except for the cinelux which used the Rectilux Hardcore DNA (Sorry for the misaligned Cinelux shot, didn't see it until edit.) Shot in Raw 3:1, edited and graded in Resolve. Applied the same color correction to all the shots. I chose this lens, so that every anamorphic adapter would not show vignetting. Equivalent focal length is 58 (Helios 44-2) * 0.72 (Lens Turbo) * 2.88 (BMMCC) = 120mm (FF) The flares from the Hypergonar and Dyaliscope are just epic. I really like the subtle flares of the Elmo I The flares of the ultrastar and cinelux are very muted, as expected. The Singer (Sankor) 16D shot is just to show what happens if you want to uncoat your lens What do you think ?

Not with those, but I've been looking at the C200 closely and after watching tons of reviews with sample footage on it, I think what we've seen from the EVA1 is that the noise is marginally less pronounced, tighter, finer and generally more attractive. I also don't see any of the cyan/magenta macroblocking that turned me off from the GH4 and GH5. the C200 delivers a beautiful image but I've seen enough of the thicker "blobby" (it's a word now) noise in its shadows for me to feel pretty confident that the EVA1 is (while still having its own noise issues) the better option for me in that regard. We'll see how I feel when I actually receive mine and put it to the test.

A DVXuser forum member Noah Yuan-Vogel shot at various ISOs : http://www.dvxuser.com/V6/showthread.php?356958-New-EVA1-footage-coming/page8 You can download the clips here: https://www.mediafire.com/folder/f0vva21d3xie8/EVA1 Cheers to @Zak Forsman for uploading the parts on YT:

Most of the discussion in this thread proves my point that climate change isn't up for debate and very good science will be ignored as a result. As a liberal creative person I can't even so much as ask a damn question, let alone consider arguments outside my liberal bubble, without the finger pointing of moral condemnation from fellow liberals. When the simple act of considering some related issues and problems is considered "denial", followed by a lot of frenzied arm-waving idignation and accusations of being alt-right, that is a major problem - and we see it in our politics every day. This is really unhelpful if the human race is to solve the issues of managing our climate and understanding it better. Today, we either fit in one camp or the other. To satisfy a consensus you have to either flat out deny climate change exists, or claim that it is all proven, settled and we know everything. Anything else is heresy. The fact is we don't know it all... we aren't considering some related issues and problems with clean energy sources and impact on agriculture, farmers, food and lives. This is too complex a problem to pledge allegiance to one of just two opposing dumb football teams and attack it with a tribal mentality. It's sad to see people do so on this thread without even having watched the film.

Adobe have decided to save a few bucks and get rid of their built in Dolby audio codec, so that the latest, worst, I mean greatest Premiere relies on the god-damn OS for critical things like the sound track on your AVCHD clips. https://forums.adobe.com/thread/2396890 Adobe are presumably being run into the ground by complacent bean counters who think a monopoly and a successful subscription model is somehow what we voted for. Vote with your feet.

We'll as I see it the two websites that were champion of NX1 was EOSHD (it earned its own hack forum here) and DP Review (they prob got paid by samsung) article looking back at what was and what could have been. After reading the article check comment section is quite interesting. All most 300 replies in 24hours. https://***URL removed***/articles/3890465710/tbt-the-samsung-nx1-is-still-impressive-three-years-later

Any power users want to convince me Resolve has got the strength to edit documentaries and handle all that media? I'm interested. I kinda gave up on FCP a few years ago, but can be swayed back there... JUST REMEMBER: feature length documentary. Anyone playing that game too? Curious to hear the feedback.

You can shoot 4k 50p in cine-d with a unified LUT to match vlog at 25p 10bit. For the price though one could go external recorder for those shots that required 4k 50p 10bit vlog.

Thanks for the info--very nice contribution again!

Does anyone has an opinion how it compares with C100/C300 mk2 cameras in low light?

The Lens Turbo does not remove sharpness from my experience, but add a slight blue flare. I think that the lack of contrast has more to do with my grading than to the helios as it was closed down to f/2.8. But you're right, the helios is not as contrasty as modern lenses. Keep in mind that the Singer/Sankor 16D I have is partially uncoated (front element), so your results ught differ Yep, the Hi-Fi 2 flares are epic ! I find the Dyaliscope to be quite good too

Downloaded some of the footage and played around with it in Resolve, NR handles noise surprisingly well at 8000, more than usable! Shame he used a T4 lens, getting the rest underexposed... Impressive imo but still very hard to judge without proper exposure on base iso

my pleasure. this was also posted today. ExtraShot had to cover up their EVA1 footage when they originally released this review, but today got a green light to release it properly. this is not final firmware however.

I have a Zoom f4 and the UWP-D11s on the way. I'm going to try out a few different boom mics to see what works well for me. It seems like the lesson when it comes to mics is that the ideal (or bang for the buck) choice is going to come down to what sounds best with the subject's voice in the environment that I'm recording, and that's not something that's going to be listed on the spec sheet. I'll test what I can that is locally available, and go from there if I feel like I need to rent or buy something. I'm hoping to test and learn (play with) equipment for the next week or so, and then jump into recording. I appreciate all of the advice. Will definitely run both the lav and boom for the main interviews and anytime the situation allows.

HiFI 2 for sharpness and flares

Great compilation! I like the Singer/Sankor for over-the-top sci-fi applications, and (surprisingly) the Cinelux for the subtle ones. Was the lack of contrast due to the Helios? Does the Lens Turbo II have any affect on the same?

@jonpais ha, I was just about to reply about going into the inspector... if you have VLog, the inspector also has an option to process VLog clips as Rec709. I sometimes use it with ML Raw footage if I want a quick BMDFilm or Arri LogC to Rec709 conversion.

... about the controversial topic - here is an interesting article in the NY Times about Robert Zimmer, head of the University of Chicago makes the educator´s case for free speech: https://www.nytimes.com/2017/10/20/opinion/robert-zimmer-chicago-speech.html

kidzrevil you did exceptionally good job in this thread. Your grades are awesome and filmic. However i have to point out some misunderstandings: There is no point to use Slog3 on 8 bit cameras why you lose color tonality with sgamut on 8 bit sony cameras In one of your post you said you could overexpose about +5 stops without clipping. In this case you used only a small percent of the available tonal range with slog3. But the grade looked very good. But if you film in Cine4 and use Filmconvert on it, it would look the same, but it would hold up much better if you have to grade it heavily with Power windows in Davinci Resolve. Don't underestimate Pro gamut, i think it's the most accurate of all but yes it can clip colors compared to s-gamut. I dont want to offend you and i think you did a great job, but if you read those threads above, maybe you reconsider some of your findings.

Used the Tamron 70-200/2.8 G2 for the first time today. Im very satisfied with everything accept the weight, but thats a trade for the amount of glass and new build.

Another option is to use both. Get an inexpensive shotgun (amazing what you can get for under $60, from Chinese DSLRs minis to the Rhode videomicro) and a decent lav (which you can't go cheap on). Unlike the others here, I don't do this for a living. However, I feel I can re-express some of what's being said. IF you're in a room that isn't echo-y (doesn't have bare walls), then a shotgun will work really well and is much simpler to set-up. Wiring people up is a pain and is invasive. So I'd invest in the lav, but also have a shotgun for primary or backup. Another thing not pointed out is a shotgun will pick up just enough room noise to feel really natural. The lav doesn't. The lav is also bass-y, being close to the chest and has movement noise risk, etc, as others have pointed out. Anyway, I'm always curious about this stuff too!

TowerJazz http://www.towerjazz.com/overview.html

There's some funny info in this thread. Shotguns are perfectly fine indoors. I've used the Rode NTG4 in almost every shape and size room you can imagine. Even solid walls or window walls. The results are more than acceptable every time. If you'r shooting in a room where a shotgun simply doesn't work, then you'll be hard pressed to find any mic that will. That said, of course there are alternatives, and many are better in certain situations, but to rule them out like that is kind of silly. I film TV interviews for a living, and have used many different lavs. I will always chose a mic on a pole if the option is there. They don't take long to set up and make it near impossible for the talent's hair/necklace/zips/itches to effect the audio. Of course, that can also be avoided with mic placement, but a stand can go in the same place every time, and nail it every time. EDIT: you can also have everything set up, so the talent can come in, sit down and go, without having to be wired up first and remember not to take the mic with them on the way out. You also don't need to worry about charging extra batteries etc. because they just take power from your camera/recorder. On that note though, if you do decide to go shotgun route, maybe look at the Rode NTG2 - I know it's old, but it can run on an AA battery OR phantom power. If you use it with a battery, you can run it straight into your 5D3 and avoid having to sync anything later.

in regard to camera gears at least none of us is conservative, let alone alt-right. in regard to social/political matters, its always expected independent content makers reject popular culture, and in our time many liberal/left ideas have become part of the popular culture.

I find it easier to get my kids to read than to watch 'old' movies. The visual entertainment made for them now gets them into a terrible habit of requiring a beat in every scene to keep them interested - even what seemed like fast paced movies when I was younger now seem interminably drawn out to them now. It's a terrible shame and I can't see it getting much better - I think as time goes on the enjoyment of 20th century cinema will become a micro-niche pursuit.