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I had previously watched a vid by woodencamera, detailing the process, with the intent of selling their $300 kit. I eschewed the kit and traded cents for sense. Or maybe I have that backwards! Part way through destroying most everything but the electronic bits, I realized just how large and old and fu mbly my not quite over the hill appendages had become. I briefly imagined how a pile of parts would look back inside the tidy Bmd packaging. Would blaming the Fedex man for the destruction be reasonable? I mean, violence against packages during the Holiday season is well documented I reasoned. But then the allure of an extremely light weight oled with real glass optics and a buttery smooth adjustable diopter that I can use with the glasses that I need for my not quite over the hill eyes won out. 18 tiny screws later, and some very intense moments involving an sdi cable the the diameter of a tooth pick, the evf was ready. I anxiously powered it up. Nothing. A feeling of panic quickly ensued. Then I remembered the evf has an awesome feature where it powers off when it senses your eye is away. I immediately placed my eye up to the display. I was greeted by the sight of my slightly dirty floor. Like the Koolaid man. Ooooh yyeeeaah. But the joy of performing an open evf transplant was short lived. I realized if I couldn't find a way to mount the evf, I would have to repeat the entire surgery again to install the kit from woodencamera. Ooohhh nooooo. An hour of trial and error later. I found a Manfrotto pico clamp. Success.

I got a review unit of the 7artisan 50mm f1.1 lens. As a Leica-M mount its of course usable on Sony, Fuji, m4/3 and it covers full frame. Is it the sharpest lens out there? Nope. Is it as expensive as f1.2-0.95 usually are? Definitely no. For video users it might be interesting to know that the aperture has no clicks or steps (personally I would have wanted that). The focus is super smooth. But also, has a nice throw. A lot of lenses these days have a 2m mark and then infinity. This has a 3, a 5 and an 8m mark. Which is very handy for zone focus as well as making video focus pulls easier. I have only used it really quickly while I was picking up my lunch. So the the samples leaves a bit to be desired. They are all from the X-t20 at f1.1 because.. you know.. why not Remember to click the image twice to see how it really looks.

I am sure you are sure of many things. You cited newsshooter completly in the falsest possible manner. I am sure that makes your recent comments even less convincing.

Hello everyone, let me tell you the story of how I got the cheapest single focus solution. And how it compares to the Rectilux HCDNA (results a the end of the post) Last month, I found this anamorphic adapter on ebay : It was cheap, and looked like a weird anamorphic projection lens using prisms. So I bought it (Gear Acquisition Syndrome :D). Then I took it apart to clean it, and noticed it consisted of two prisms (for the anamorphic part) and some kind of focussing solution in the front. So I 3D printed an adapter for it (around 5GBP printed at a local shop) and tried it. And of course it confirmed to be a single focus solution ! So I had to test it ! Here are the results compared to the hardcore DNA : Taking lens : Super Takumar MC 105mm f/2.8 Camera : Canon 50D Anamorphic lens : Schneider Cinelux Single Focus Solution : Rectilux HCDNA vs GB-Kalee Small Anamorphic (front part) (Same grade applied to all shots) Here is a picture of the setup : Of course, the GB-Kalee is less convenient : - Minimum focus distance around 1.8m - Smaller element diameter (would work better with smaller anamorphic) - More difficult to focus (as my copy of this adapter is quite beaten up) - Needs a mounting solution for both back and front as there is no filters. (But the HCDNA is similar here are the threads are not standard size) So, What do you think ? I personally think this GB-Kalee needs a rehousing !

Hey guys, I wanted to share this rehousing mod I made recently for my Iscorama 36. It's a replacement for a front piece of old plastic housing, that is made of anodized aluminum and has cine gears, retaining 72mm front filter threads and adding just 50 grams of weight. It took me quite some time to figure out this design and I'm pretty proud of it! It solves some real-world problems like close-focus, enabling you to focus down to 1.1m, but unlike DIY mode it has a hard stop at 1.1m and infinity, and looks way nicer then a grub screw drilled into a hole. I made a little video explaining what it is, since after I posted this on facebook people started asking what it does and what are the specs, and asking how to buy one. https://www.dropbox.com/s/wd1w620ddxnv2je/proxiscope.pdf?dl=0 I have decided to order a small batch of these, and already placed an order at one of the shops that does the first stage of the milling. I will make another video showing a closeup process of swapping the housings, so people can evaluate the effort and see if the price (which will be announced at the same time) is right for them. This is intended as a do-it-at-home kind of mod, but you can also take it to the nearest photo technician and they'd be able to do it for you, it's a simple process that takes 3-5 minutes to perform. I also made a PDF with some specs, you can find it here. https://www.dropbox.com/s/wd1w620ddxnv2je/proxiscope.pdf?dl=0 If you're interested in getting one – shoot me a message and we'll figure it out, there's a little queue forming already

(Above, shot on the NX1 & full frame NX-L). The Samsung NX1 is at this moment in time the best value for money 4K Super 35mm camera with the best ergonomics and autofocus. I still end up using my NX1 more than my Sony A6500 and Fuji X-T20, which pale into insignificance vs what Samsung did nearly 3 years ago. Now the NX-L speed booster has developed further since my last article and I've been shooting a lot more with it. Read the full article

We're just gonna have to agree to disagree

Yes we had capable HDR cameras for many years. The important step is to be able to store more than 10 stops in either log or RAW. The only thing that was missing was the capability of monitors to display such a large contrast. Once we got that NLEs supported a HDR pipeline. Having HLG in camera is meant for delivery purposes. If you are a heavy grader then Log or RAW still is the way to go. Creating a LOG to HLG LUT should be fairly straightforward. You just have to be careful of banding if you are working with limited bits.

Thanks Jonesy, I really appreciate that. Man, this movie is so Lo-Fi it’s kind of taken on a mind of it’s own. Due to a family medical issue, I lost some filming time this Fall and due to casting issues... nobody likes working for free... I am constantly rewriting the script to accommodate actors and tempt them for casting. Over the next month I am going to put together a 30 second teaser to try and drum up some interest from a couple actors I want to cast... so to make a long story short... soon hopefully. I’ll leave you with another screengrab from my last shoot and best location I have found...

If I recall correctly, it's a broad enough color space for 1080p, whereas 609 was okay for 640i, 2020 being appropriate for 2160p and above (afaik it also includes at least 10bit, HFR and HDR). How do you say "709". Seven hundred and nine? Or seven o nine? Then for my foreigners' ears it almost sounds like someone from the very distant future: Because english is not my native language, I couldn't tell. I do hear a difference between, say, Alex Jones and John Oliver. This thread turned out to be an HDR seminar. I think that those who followed it have a deeper understanding and a better overview by now. jonpais, will you report on your Atomos experiences? You could write, edit and sell your own E-book about HDR. And hurry, before Wolfcrow changes his mind about the topic and does just that! This kind of answers my repeated questions how 709 video would look on an HDR TV: more or less the same as on an SDR TVs, probably with better blacks. With the resolution race, new standards had to be sold by proving how poor the lower resolution looked in comparison. For early adopters (consumers or producers) HDR stands out without such direct comparison. But the day may come when some couch potato says, why do they still broadcast all this dull SDR stuff ?!!?? You can't, of course, make your own stuff futureproof with technique, but only with content. According to Stephen Hawking, he isn't. He will either freeze to death, drown or will be eaten by CGI wolves on a boat in the streets of Manhattan. Raising the brightness (and power consumption) of TVs won't prevent that.

Agree with the first. Concerning the 2nd, I believe everybody else that's using Sony sensors hasn't got that problem, I think Panasonic just felt like betting on their own horse... which has seen a struggling season so far, so can they whip it back in shape or should they or we bet on another one instead? In case of that last one... Canon's selling point to me has been: DualPixel AF. They used to allow for quick turnarounds due to basic codec with 1080p, not too heavy on storage, and pleasing color science, basically allowing the users to throw on a curve, add some sharpness, cut the timeline and hit upload. But of course these days any camera shoots sort of pretty colors and some offer a very solid 1080p mode. But you still might pick Canon because of their DualPixel AF. Which is madness, that you buy a camera for a single feature. So it's really a missed oppertunity here by Panasonic not having good AF-C on a videocentric device.

I watched his video on WHY he switched and it is hard to argue with his points. I believe he shot primarily / entirely in 1080p with his Sony cameras, so that is one thing to keep in mind. The 1080p on the 5D IV does look good. How is the DR and rolling shutter on the 5D IV? My hope of hopes is that Nikon would release a new D750 / D760 that would have on-sensor phase detect AF and great 1080p, and still have the easy-to-work-with codec and really great colors. And please get rid of the mode dial lock function.

Jon, you'll be happy to hear at least one of the "snobs" at LGG, Marc Wielage, uses the c7 for daily grading, but not sure If he uses it for hdr work. If you buy a certain remote for the lg's you can access the service menu which lets you turn features on/off (specificallyMaxfall) but use at your own risk! Sounds like you've put some time into figuring @$&* out. Oh, and now that you can see what your looking at, I can't understand why you still like the gh5?

They're raw stills graded with my photoshop presets... The video frames look just as good though... NX1 colour has always been a highlight.

Yeah he had this video about gear:

Interesting stats, I often wonder, since I watch most of these videos on my phone if I could tell the difference if a video was originally shot in 4K or in 1080p and if a good lens on 1080p would translate better on YT/V than an okay lens in 4K? I did recently get tricked into thinking a 5D3 Video was shot in Raw when it was really shot in regular Canon firmware 1080p. Even this video, I thought was 4K 5D4, but the guy shot it on the 5D4 in 1080... now the 1080p on the 5D4 is a pretty high bitrate MOV but still, I would have thought I could easily tell the difference between the two... even on my phone... Btw, he is a Sony shooter that recently switched to the 5D Mark IV.

However you make a great point @jonpais ... how do you think the majority of viewers watch videos online? And if you create content that is specifically made for those people, would it affect what gear you used?

I had the NX1 and it looks great in daylight. I struggled with NX1 in lowlight, so the speedbooster is a great way to help with the lowlight. This speed booster overcomes the odd choice of the NX1's flange distance as compared to other mirrorless cameras. If my NX1 and 50-150 was not stolen out of my car I would still be shooing it today because l love the way it handles ergonomically. Regarding it's capabilities as a 4k camera, depending on what you are shooting the rolling shutter maybe a deal breaker, it made me move on to the GH5 rather than purchase another NX1, but I'm not a: "must have shallow depth of field person" so I am not the target audience for this NX1 speed booster anyway.

I was lucky enough to grab a Proxiscope from Max as soon as it became available...he had previously sent me his prototype to do a test fitting on my DIY close focus modded pre-36 iscorama. Here follows my review after using it for a few weeks... Full Disclosure: Although I was graciously approached by max to test out his prototype, I did not take up on the kind offer of a discount in the purchase price of the final housing. This was due to me wanting to give an honest review, as well as back someone who was going to add a great partial rehousing option to those with iscorama 36 lenses. Therefore my review is from the perspective of a regular customer. I am very happy to report that the Proxiscope housing works flawlessly, not only with MC and pre-36 models- but with lenses that have already been DIY modified (cutting/ shaving stopper and body to allow grub screw stopper to be inserted for new stop etc). This is possible due to the proxiscope locking metal collar that completely bypasses the original plastic section and the front section having an integrated relocated metal stopper. The ingenious design allows the new front to enable the same close-focus ability as the DIY mod, but in a MUCH more elegant and reassuring way. No longer is the fear that the grub screw will work loose and let the rama front go smashing to the ground for example. The integrated focus gear to the design is much better than any third-party gear ring, as those never quite conform properly to the isco's tapered front. The anodised finish of the Proxiscope is very complimentary to the original isco design as it does not spoil the classic look with obnoxious bulges or with added weight that then restricts it to rail mounting. Focus markings are clear and are denoted in meters, I think feet measurements are also an option. The Proxiscope comes in a nice wooden box, with all the tools needed to install, with easy to follow video instructions to be found on YouTube. Installation takes about 4 mins and can be 100% reversible to original factory condition. In a world where everyone wants something for free, some may question the price. These people need to take just a second to consider the design time, R&D testing and small-run costs of getting anything of quality made these days. Also the fact that the current cost of a Tokina +0.4 combined with a decent focus gear will run you a comparable amount - without actually giving you the benefit of an 'in-body' solution that the Proxiscope does...Oh, and it's under half the price of the cheapest VD rehousing mod (that you have to wait 90 days+ for!). So, all in all...a very impressive product that massively improves the practicality of using iscorama 36 lens types for modern film making whilst still maintaining the isco's classic look and light weight. Rehousing is solidly built with clear instructions for installation. Fully compatible with 'factory' iscorama 36 lens types...as well as those with previous DIY close-focus modded lenses. (pic below shows slim UV filter attached - not part of Proxiscope)

They probably used the space in the a99ii for the mirror.

The Canon 5diii has a few advantages for photography over the Nikon D750 and vice versa (but the same with your current A7s). Your Canon lenses would be a big factor to me (usable on the Canon and usable on the a7s with MF and less so for very slow AF). They both have dual card slots (an advantage over the A7s). They both have better weather sealing (A7s only has some limited dust and moisture sealing). 24mp for the Nikon, 22 for the Canon and 12 for the Sony. The Canon and Nikon have much better AFC and tracking AF (for many, this is a big deal and would be what makes the Canon and Nikon better for photography, for me not an issue so I prefer the a7s for photography for many purposes). They both have OVFs VS EVF (individual preference- mine is now an EVF any day). They both have flash sync at 1/200, (A7s 1/250) the Nikon has a built in flash, the others don't. The Canon AF works to EV -2, the Nikon to EV -3 (the A7s to EV -4 at least). The D750 has a 1/4000 max shutter speed, the 5D iii (and a7s) 1/8000. The Canon has a fixed screen, the Nikon (and Sony) tilting. You would give up a fully silent shutter with either the Canon or Nikon as well as focus peaking. I would think the 5d iii might suite you better?

I like my D750. For stills, the image quality is excellent, the RAW files are very malleable and I often just need to get exposure "in the ballpark" and I can adjust it up or down a couple of stops. I've been able to recover highlights that I thought were blown. The LCD Screen is very nice (tilt only, but a very good, bright image, and the screen is not to reflective). However, as nice as the screen is, it is let down by the poor live view autofocus. The LiveView (LCD) AF is slow and it is quite time-consuming to move the focus point with the selector pad on the back (I think Nikon calls it a "D Pad" or something like that...) If you enjoy focusing through the viewfinder then the D750 is quite good (although the newer cameras have a better AF system, according to most people). Personally, I HATE using the viewfinder, so I can't say that I am in love with the D750. Just a lot of like.

Another vote for the D750. It'll be a good stills choice for years to come, a lot of people still rate the D700 highly.

Ages and ages ago (last year), I wrote up this draft for a blog post about the Nikon D750 (partially because I was considering buying one myself):

If you decide on the 5d3, don't worry - you are in good company; the most used camera in the 2017 world press photo awards was the 5D3, as this illustrates: https://petapixel.com/2017/02/16/cameras-captured-winning-shots-world-press-photo-2017/ Given your lens set and experience with canon, that seems like a pretty good bet. However, the D750 has an articulating screen. 5D3 doesn't. This is handy both for video and stills. More important to me, the D750 appears to have markedly superior shadow recovery vs 5D3 https://petapixel.com/2014/10/14/nikon-d750-review-nikon-youve-created-monster/ The ability to lift exposure on the D750 is an excellent feature. I'm not sure how AF compares. It will probably be cheaper initially to go with the 5D3 given your lens set, but if you are considering a lens upgrade in the short to medium future, possibly with an eye on the D850 when the price drops, that's not relevant. For me, I'd probably go with the crowd here and opt for the D750, based on shadow recovery and tilt screen and a future Nikon. But if you got a good deal on the 5D3, you get access to ML and you will probably win a world press photo award.

I'm gonna join the D750 fan brigade here, I've been shooting that camera now for the last 3 years and there is something really special about that camera. If Nikon put the internals into a stronger weather sealed body, even with absolutely no other upgrades I'd buy it all over again. If you need to save a bit I'd suggest getting the Sigma 70-200 2.8. I got mine for like AU$1100 and it's at least 85% as good as the Nikon version which is more than twice the price.

Hands down the D750 will be a superior camera both for stills and video (non-ML raw). Tricky point is you already have three Canon lenses, but none of them are super special fancy ones so I'd feel no hard feelings about selling them and getting instead the Nikon 24-120mm f4 + Nikon 50mm f1.8G + Nikon 70-200G F4 / Nikon 80-400mm f/4.5-5.6D / Nikon 80-200mm 2.8D (or a totally different mix of lenses instead, if you feel they'd meet your needs better than your existing collection of focal lengths).

The 5D3 is really cheap used at this point.

I had the D750, loved it. But Im starting to lean towards my D500. I almost traded it for a DF or D750 after a while. But now... I think its a keeper.

With the Canon 5D3 you can shoot Magic Lantern RAW and blow all the Sonys away You can also shoot serviceable H.264

Yeah Fuji is nice. I read Noam Kroll’s blog and although he shoots mostly with cinema cameras now, this past summer when he decided to get a dslr/mirrorless, he went with the X-T2 over the GH5. The G9 seems okay. I still think the GH5 makes more sense since they’re essentially the same price now. But I understand you’re reasoning behind the G9. My friend picked up his first 4K camera the other day, the E-M10 Mark iii and even with its measley 4 stops of IBIS, I found it better than the GX85’s. And the color was fantastic... so organic. The E-M1 Mark II has 5.5 stops, so that camera will probably have IBIS as good, or better than the advertised 6.5 of the G9. Olympus IBIS is pure insanity. I saw a video from it and it looked like steadicam footage even while walking. These cameras are crazy now. As you know I love my 5D3 but I am contemplating a cheap Olympus or Fuji. Even the 1080p out of the E-M10 Mark II looks pretty damn good and for $400 would be perfect for the hybrid hobby use I want a second camera for.

First batch babies are getting ready for shipping.

Still plugging away on my film. And still could not be happier with ML Raw and the 5D3. I went out on Saturday to to do a couple pick up shots because my first attempt was a little noisier than I wanted and I wanted to get this scene before the water gets too cold. So I took out the Canon 35mm f2... what a lens. Anyway here is a screengrab from the shoot and a test color grade after I processed the footage. I'm still hoping to test the 3.5K builds soon, but right now... for my needs... the 1080p is more than enough.

Thanks for the tips - but we're all different, shooting different things in different scenarios for different purposes and a different audience. On this most recent shoot, the A6500 + Zhiyun Crane was a huge, huge asset. The fact that you can now use tools like this instead of rigged up, expensive stuff and get professional level results (with operator skill) can't be underestimated.

The camera is not the thing shooting video, you are. So if you think having a smaller camera will allow you to be more creative, run for it ! PS : Rent one before switching, you never know until you try :D