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After using ok lighting (672C and couple 500LED lights) for a few years I decided to step up lighting kit this year, first to the flexible lights like Falconeye RX18-TD and finally settled on Aputure C120D II, and result is quite a dramatic different, I think for the first time we got client ask us what "filters" we use so the photog's photo can have similar colour as our video lol (and that was just a quick grade in Premiere). I really wish i had done this lighting kit upgrade sooner. Definitely will make some of the videos we did much better ugh. Light with Falconeye RX18TD: notice the subject is underexposed and background still overexposed, and the light gives a bit of magenta shift. Lighting with Aputure C120D II on dome mini II, subject is well light and background is well exposed, skintone is pretty good with no colour shift. Client asking what "filter" we use. Light setup for the day.

Another year in this great community. This is my small and modest Christmas card (g80 + leica 12-60): Greetings to all

Nice job, and thanks for posting.

Probably needs a fixed screen and 8 bit to make up for the 4K60p. There must always be an inexplicable nerf to keep the universe from imploding.

It is rather funny and a good amusement that these discussions are popping up again and again. At least every time when there is a new cheap solution. And in the meantime we had so many "game changers" that I already forgot the name of the game. Thank you Tito, for sharing your experiences. Tinkering with that kinda stuff is also a good amusement for many people: Adding inserts, filters, grease on the glass and even bigger bumper stickers "super-duper-anamorphic". Sorry didn't want to be offensive. This Siriu seems to bit a show off lens compared to what it does. These Suriu, FM lens, SLR, Vazen, Bolex-System Möller, Isco-Göttingen, Century, Optex, Pana LA7200, bla bla bla they are all toys and we like to play. It should be mentioned though that Isco had the longest experience in anamorphics and developed the most versatile best all around system. They put in the biggest effort. They offered everything the photographer (development on special paper) needed as well as for the small gauge shooter. Including solutions for cameras an projectors. Their program included trips and workshops. It was addressed to the wealthy enthusiast. Looking at old price list the prices were always very high. Throughout the range quality was incredible. My Isco-LeitzCinegon combo is the sharpest you can get for super-8. They made special stuff for Beaulieu. Schneider Optivaron with the 54 is a dream. And you know the good diopters Tito. That all was not enough! You know how the Iscorama-dream ended. As so often the quality was too pricey. To sum it up: There is no evolution/revolution! It is just getting cheaper because of chinese production and inferior quality. But that is for sure ok! Diversity is good. And if you shoot in 4k, 8k or whatever... who cares. But when Caleb shoots 16mm he needs something proper as he mentioned. And keep in mind: Some day you could be in need of other focal lengths. And then the price advantage will decrease as you have to buy more lenses. So a maybe not so cheap adapter could be the toy of your life. But for many it is the search, the hunt and the tinkering what it is all about. I like good movies. I think 99% don't care if their favorite movies are shot spherical or whatever. But it is a difference if you project a "real" movie in anamorphic. I like your work Tito!!! ?

Especially with the release of "The Mandalorian" just recently, and "Star Wars: The Rise of Skywalker" tomorrow, the risks of Wookie attacks are much higher than normal!

Thanks for highlighting that link from @noone , I'll need to remember to check out that article when I've got time. https://www.lensrentals.com/blog/2019/11/practical-use-of-field-curvature-graphs-the-50mm-primes/

Sage already answered that. That could be done; granted it wouldn't be tailored to the sensor. I'd like to support it directly, and I think there may be some rental options that would make that feasible.

Thanks to @noone for posting that link to lensrentals - that article completely changed the way I think about DoF and lenses. I hadn't previously made the link that field curvature is actually a map of DoF, so that's hugely useful. It also has a number of very significant consequences, and may help to join together DoF, field curvature, the FF look, how an image transitions between in-focus areas and out-of-focus areas, and 3D pop. I'm contemplating and will return with my thoughts once I've re-adjusted my head and worked out what this means.

and here's one from the Pixel 4. skill > tech

And to you, as well! ?

That´s unfortunate. When I´m recording concerts I´ll expose for the brightest moments or at least for the spotlight on the singer. Those animated light-shows can really be all over the place, but that way I can have as much control as possible. Thanks for sharing that lesson, nevertheless!

Please don't use a blimp indoors :-( And definitely don't use it indoors with a wookie condom on it!

They had no clue its possible through HDMI, or worth the effort. It was Atomos idea. And S1H was developed long AFTER Atomos shared the idea with Panasonic.

Adding a feature no other camera under $2000 has is not a disaster by any means. Because they did it finally: https://m.dpreview.com/news/3228623333/nikon-announces-z6-z7-raw-video-output-upgrade-new-firmware-adds-cfexpress-support Both the the delay and $200 fee is direct result of Apple-RED fight over that stupid patent, which didn't end up well for consumers. Bash Nikon for many mistakes they did that everything around was under their control. This one is not one of them.

https://www.rokkorfiles.com/24mm VFC.htm

I thought I'd share this crop factor comparison tool I made, which now includes anamorphic options after reading some discussions in the anamorphic topic. It's a simple simulation made with Unity and plays in the browser. http://gobuildstuff.com/CropFactorApp/ Let me know any ways I can update it to make it more useful. I know the UI isn't great--I slapped the original app together a few years ago for fun--but if you mess around with the controls it should make sense eventually.

V-log is great. I shot around 30 greenscreen videos with my GH5, here are some. Just make sure that the chroma is evenly lit.

Yeah this might have been an understatement

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

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.

If I could sell a kidney in time I would!

Just FYI. ( :

Wonder if the 60MP mode will be implemented for stills? Or just 15MP. No 8K, I take it.

..and ergonomics.

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

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

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.