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No, come to the darkside. ?

Wow, too many things to address. This forum is getting fun again! Thank you so much for all the input and keeping the argument civil (we have all seen how these conversations can go). I can't disagree with you on everything. If you're here on EOSHD and you have an opinion, you're not a vanilla shooter. ? After too many years of shooting with adapters, what I look for in a lens is not really the end result but a framework that supports improvement. The Sirui has it (so does the Iscorama). Last night I slapped in an oval insert at the aperture and made bokeh 2x. It got a lot better. Then threw in some focus and iris gears just for the fun of it and some filtration. The image is on the sharp side, so I mounted a vari-nd (since I don't want the ovals to change with the aperture) and a BPM 1/4. Things got more interesting when I put on a 0.8x wide angle adapter, which works great and degrades sharpness a bit more. The image is looking a lot more organic and that's what I wanna show on my next video. Now to beat down the Iscorama a little bit more, 1.5x is not that much squeeze either for bokeh, plus minimum focus at 2m and rotating front/extending body make life a lot harder. It's not a perfect lens from the start. The pre-36 also has that weird box-shaped flare. Nonetheless we have solutions for most of these problems. The Maxiscope/Proxiscope addresses minimum focus and focus gears, plus mounting to rails to speed up lens changes, the newest Van Diemen rehousing fixes the rotating front and the long focus throw, another mod fixes the box flares. But still, paying $2k (cheap!) for it only puts you at the bottom of a hill to climb and make it "perfect" (lots of airquotes here). It also only goes as wide as 40mm on FF and no one fixed that one yet. hehe I agree with this too. I'm drafting a new series of videos for next year, focused more on the anamorphic feel than the gear itself and the cornerstone aspect of it is that by embracing scope we're embracing artifacts and losses in IQ. That's what we want. Fortunately, if a lens is sharp there are plenty of tools to unsharpen it. The other way around is a bit trickier. You can always blur a focused shot, but you can't recover one that was shot out of focus. ? Bringing this lens to the indie people is what makes the difference. Anamorphic has always been the snob aspect of cinematography and I strongly disagree with "this is expensive to keep the masses out". That's the core thought that got us in bad shape about... everything in history. As for preferences, we shouldn't dismiss someone else's style just because it's not what we are trying to do. (Unless that person is the owner of The Anamorphic Store. In that case, dismiss them immediately. Ripoff) This is EXACTLY my point in this whole thing. Some people might not like it (I still don't like Blackmagic Cameras very much), but it's important to acknowledge their importance in the grand scheme of things. This lens is an evolution of a movement that I'd say SLR Magic started, by manufacturing new, cheap anamorphics. That improved with the GH4's anamorphic mode and it took a sharp turn up when Atlas came into the game. Vazen is also part of it, and Sirui brings this into the hands of people who couldn't afford any of the previous options. Competition is the only way to make anamorphic cheap and I'm super glad to see it happening. I hope we soon see other focal lengths or other brands jumping onto this train.

Oh shit. Prepare for all the YouTube videos with the word “finally” and “beast” in all caps! Looks like it does 4K 60p.

Yeeaahh, based on REDs previous claims on their forums, I would take everything as marketing bullshit and just wait for independent tests.

Both Resolve and Premiere have problems with 8-bit DNG. I believe Resolve 14 broke support for both compressed and uncompressed 8-bit. Then at some later point uncompressed 8-bit was working again, but compressed 8-bit was still sketchy. This wasn't much of an issue since no major camera was recording 8-bit anyway, but now with the Sigma fp out, it is worked around in the upcoming release of slimRAW.

Just get a Cooke Panchro... much better lens.

Didn't wanna make a new thread for just memes.. ??

Thanks for sharing. I cant wait for your "Shooting Style: Reckless" tests ? Wow! This is some of the best footage I've seen from the S1H.

Some night shots widescreen

I agree. When I hear the phrase, field curvature, I instantly think of the Zeiss 28mm f/2 "Hollywood" lens. By measurement standards, the lens is actually poorly rated but it has that "magical" quality that can be attributed to field curvature and probably some micro contrast to deliver that 3D Pop. This is why I'm such a big fan of Zeiss lenses. The Rollei Zeiss, Contax Zeiss and the ZF Classics offer an affordable entryway into, almost, cinema quality glass with the character that's synonymous with a perfectly, imperfect image. I don't know that lens, but it sounds pretty damn cool. I'm a huge fan of Minolta lenses. One of the biggest drawbacks of going EF mount was losing the ability to use my Minolta lenses. I sold a lot of them but even bought one that was EF modified and plan on making Minolta to EF mods a side hobby now that I have settled on my humble lens collection. I have a 55mm 1.7 in mint condition that cost me 15 bucks. It doesn't seem too difficult to mod. And I need to figure out why the 35mm 1.8 (one of my favorite lenses of all time) I bought won't focus past 3-4 feet. It feels like there may be something inside the lens blocking the helicoid. I just need to find the right screwdriver to open it up with. So far, no micro screwdriver I tried is the right size.

Really no issues when staying on the native ISO and exposing properly. Didn't even had any issues on the GH5. Would avoid it on the S1H though. Also before keying convert to Rec709. After keying you can back to V-Log which is lossless in Davinci Resolve Studio with its CST function. There are lossless workflows using Aces also inside Fusion/Resolve or even After Effects using OpenColorIO.

https://www.premiumbeat.com/blog/just-how-expensive-are-real-cinema-lenses/ Quote from the above link... "Panavision does not sell any standalone lenses. If a studio wants to purchase the lenses, they are usually restricted to purchasing them with a camera like the Panavision Genesis. For this bundle, one would be looking at shelling out $500,000-$750,000 to purchase or $4000.00/day to rent."

Yeah... we're talking about newly developed anamorphics at sub 1k,- moniez, that's pretty unheard of (unless you're talking slap-on lenses for phones and drones by Moment for example). Image is crisp and does what it needs to. It doesn't require taking lenses, dual focus setups and/or diopters. You can throw it in front of a GH5 and put it on a compact gimbal. It's a great proof of concept excercize, that hopefully is the first of many. Unfortunately Veydra ditched the anamorphic route and exist no longer. Vazen looking kinda interesting, similar thing but heftier pricetag and the lens itself is also quite massive, 4/3 sensors only. Do get a 1.8x squeeze out of it. Atlas Lens co. Orion... they seem legit, definitely my kinda thing. But pricey as well. Do get a 2x squeeze and more lens options. Of course there are a bunch of options way north of that as well... but let's not go there. I bought a Kalart Victorscope 2x many moons ago, Vid-Atlantic clamp adapter. Lovely organic image and all, but very soft and well honestly I couldn't be arsed with shooting like that. If you do, hey, power to you, but let a non-purist layman have some fun too. This brings anamorphic to the masses if you will... it puts it right back on the map! That should be applauded, not criticized. There's always bigger and better out there, no question. But people all gotta start out somewhere. And even for enthusiasts like Tito there, this still is something with a new twist he can keep in his arsenal. Remember, this is just their first anamorphic effort. I get excited to think what's more to come from this. As well as what this means for the likes of Vazen and Atlas Lens co who might have to get more competitive on pricing. And personally... I like the image just fine. Most of us are shooting 4K these days... soon 8K will come. Things are going to get more crisp and clinical. Sometimes you've gotta let go of clinging on to what you know, feels familiar and embrace some of the new. Film has always evolved. Whether black and white... color... HD... 4K. Newer generations will bring new advancements and a new picture style. In similar fashion I grew up with a Super Nintendo... and have fond memories of that and that would be my idea of gaming... sat on the floor next to a buddy or sibling with your wired controllers. So I don't get all the Fortnite & Minecraft online gaming stuff people are involved with these days. But hey that's just the way of the present generation. It's all just subjective. Main thing: keep anamorphic alive!

watching ebay i'd have to say a $2000 iscorama is rarer than a unicorn ? maybe a year or two years ago possibly ? Barrel distortion, uneven waterfall bokeh, internal reflections, raimbow artifacts, blooming that is the anamorphic look everyone has been trying to mimic over the years. thats just like trippin without the mushrooms ? if you want hype, go visit the p4k thread, more than a million views and that was before the camera was even released ? what we have been doing is having a gentlemen's discussion on a new lens, thats the cheapest by far, that will alleviate most of the issues of buying a anamorphic projection lens and rigging it to work single focus style, that is groundbreaking gentlemen. Pretty sure tito's already said its not perfect. Does it have to be perfect ? no it does not. It just has to give us flares and an anamorphic aspect ratio 1.33 will do for starters

I've purchased colorized aces slog2.cine3 and, finally, I can enjoy shot in slog mode on my a6300.... It's like have a raw file when you can get a proper exposure moving only one slider, i think that the same with withe balance.. Color are super accurate with finally red object that are red and not orange.... Thank you so much..

Nope. The only advantage is that it doesn't need thick AA filter for native 4k, which is good thing. At 60mp, its not like real 60mp. HDR mode will look artifact free, but sacrifices resolution and noise performance.

Fuji does use Sony sensors...

Its a custom design. The ones in the video are resin printed but the shipping ones are industrial 3D prints in a polished carbon dyed nylon. The unit threshold for break even on injection moulding is too high for a niche product and it would have been a needless cost to pass on to people really. The PBC is the first piece of the jigsaw so expect other things to sprout from it in relatively short order. And not just for the Blackmagic cameras. As the PBC drives the camera's own lens control system, the extent of the compatibility with adapters is exactly the same as the camera allows with the adapter. So, if the adapter (such as Viltrox) can't drive the focus from the camera istelf then the PBC won't be able to either. The difference in the packages is the total value of the package as the First Wave includes the tripod adapter. So the user pays the same price but the discount % is more as it is from a higher total value. Expect to see more coverage of it over the next week or so from different outlets...

I bought it 1230$ plus taxes last month (adapter kit) Since mark II is coming this is typical.

Just FYI. ( :

Now this makes more sense. Samsung S11 is using a new 108mp sensor that will incorporate 9 to 1 pixel binning for 2.4um pixel size. This will provide the same size pixel as the 20mp 1" sensor except with a 12mp sensor for 1:1 4k video. https://www.notebookcheck.net/The-108-MP-sensor-on-the-Galaxy-S11-will-use-9-in-1-pixel-binning-technology-to-devastating-effect.447203.0.html

Field curvature can make a big difference I think and some subjects it would be a pain with and others maybe just what you want. There was an article i saw recently (might have been Lens Rentals?) where I saw it mentioned some lenses transition from out of to in focus very sharply (which would more likely be better more expensive lenses) and that might account more for "3D pop" so a lens that does that AND has field curvature flattering to a subject might be gold (and cost its weight in it). Still trying to find more mentions and uses for the Minolta 24mm VFC lens that actually varies its field curvature....they go for ridiculous amounts on Enay.

But I bet the menu system is still from 2000. I wounder when they will finally redisgn it? 2030? Make your bets.

I hope it has no Flip screen just to piss the YT Vloggers off. ?

EOS R super cheap at B&H atm

Ignition on. If you'd like one, you can order it here https://www.indiegogo.com/projects/pbc-blackmagic-pocket-cinema-camera-controller/x/22750367#/

S1H IBIS Performance. Shot in very windy conditions, all hand-held.

Using adapters sucks though(unless they are fully manual lenses, metabones, kipon, viltrox they all are a hassle to work with jitter, AF, aputure control,...). I much prefer native lenses this is why i like the EF mount, as most glass have a EF version anyway. I havent seen any worthwhile glass that is only available on mft/E mount.

I will never understand the complaints about Sony menus and UI. Sure they are big but then there is LOT in it on a camera like an A7s. I have cameras (some P&S and some ILCs) from Sony (2), Canon (3), Fuji (1), and Panasonic (2) and have had lots from Pentax, Nikon and Olympus and more and I do not find Sony all that different to any of the others.