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A few stills from a shoot last night all on the Pocket 4K XL and CZ 35mm 2.8.

Some shots from the Baby Hypergonar on GFX 100 The trick here is apparently to use a lens with a rear element as small as your thumb. On a sensor the size of the albert hall. Light works in mysterious ways.

Instructions unclear. Bought two more cameras using stimulus cheque.

NEW BLOG POST https://www.eoshd.com/anamorphic/preview-of-coming-attractions-anamorphic-goes-medium-format-with-fuji-gfx-100-and-a-look-at-the-leica-sl2-5k-43-mode/

Hi all, This short vlog may be of interest as it's just a little chat about the dreaded Gear Acquisition Syndrome, and shot on S1H All natural light, VLOG 10-bit 4K 25fps full frame, I used a Tiffen Black Promist 1/4 and some stos of ND, Lens is the L mount Panasonic 50mm 1.4 Lighting is a window and a large silver reflector

Easy to forget that one.

Leica D-LUX/D-LUX7 Leica V-LUX/V-LUX5 Nikon D500 Nikon D5 Panasonic FZ1000/2000/2500 Panasonic LX10/15

Yes. The irony. The time has come to face up to it. We're addicts!

I'd say: forget about green screen. Not only is proper lighting - and postproduction - for grey screen complex/difficult, but the Sony isn't really the right camera for that task because of its 8bit 4:2:0 codec. (Greenscreen work is one of the reasons for using raw cameras...) For a good and inexpensive mic, I'd first go for a lavalier, especially if you speak to students. The Audio Technica ATR3350 is a really good low-cost solution. - And I wouldn't use an on-camera mic 10 feet away...

I think with the new update and the NR -1 setting coming the amount of detail and texture should be quite similar to RAW.

These videos prove it?! Right.

But then you wont hear about the GFX 150. A very versatile focal range in my opinion. For MFT the Oly 12-100 f4 is an amazing lens for just about anything. I think the FF f8 equiv. DoF is a feature not a detriment.

True, although 24-70 and 70-200 are very close to 3x! (and there are lenses which are basically kinda the equivalent, and do match that 3x zoom exactly: such as the newly announced Tokina 25-75mm, or the Tamron 70-210mm) Short zoom ranges are less of a problem for photographers, it isn't unusual to see a news/wedding/event photographer with two camera bodies slung from their body, each body with a different lens on it. Yet to see anybody running around carrying 2x EVA1/FS7/C300/whatever bodies at once! I went to go look up what dream "all purpose" zoom lens would I get instead of a Fujifilm GF 45-100mm f/4, but wow... I had to look up its price first! (so I'd pick a lens with a matching price) https://www.bhphotovideo.com/c/search?Ntt=45-100mm&N=0 For a brand new medium format lens, $2.3K is surprisingly "cheap"! :-o Wasn't expecting it to be that "affordable". (as that is the other problem with medium format, not only are their bodies expensive, but so is their glass! Body prices are coming down, wonder how long until digital medium format is cheap enough for Sigma or one of the chinese third parties to jump in and make 3rd Party AF medium format lenses on the cheap?) Guess that rules out me mentioning even the "cheap" Canon 18-80mm T4.4 instead as my desirable lens! Even the cheap Fujinon MK18-55mm T2.9 is a bit out of range. There is a dearth of choices of 3x+ cinema zooms cheaper than that Fujifilm GF lens! The DZOFilm DZO 20-70mm T2.9 I suppose.

Great to hear, Andrew. Looks so handsome on the FP with that grip! I loved the original Soligor ad for the lens. Best print ad for me for years. It made me buy the lens decades later after its appearance.:) Hopefully I get to test it more this weekend on the S1. Maybe some horses. It looked like a great match for my speedboosted GX85. Great little camera with nice ooc colour if one takes the time to play with the profiles a bit. It´s just fun to do the look in camera. Starting to mumble like Greta Gerwig. Oh well, great thread, so relaxing and informative. Perfect time to go to bed.

I’d probably rent if it’s a fairly high paying job. Although, I never rent usually, and always want to keep whatever I use on a shoot, hehe. I have been using DIY anamorphic for about 7 or so years. I use an Iscorama pre36, but have used other 2x in the past. Nowadays I mix the Iscorama with a modified prime lens to enhance the oval characteristics. I attached some stills from a recent music video to give you an idea of the iscorama. and here is some old footage shot with a Sun 2x which I got for £30 - So here’s some examples of DIY anamorphic in controlled settings, and I think it can really shine. So if you want to keep an anamorphic for all future projects, deffo look into an Iscorama or a 2x setup with rapido clamp, or the aviascope seems OK. Then you have a variety of taking lenses to choose from, and it’s cheap !! But you could always rent a set for the shoot, but I always think that I wanna keep it and use it whenever I want, hence me going the DIY route. Purchasing a single anamorphic prime is also tempting, but it really depends on your budget.

The Pro version (Gen 1) with the aperture ring. I have not yet figured out how to transfer control of the aperture to the camera body jog dials instead though. To be honest I'd prefer it there than on an aperture ring that is too close to the body and has no markings or hard stops. The other thing I like about the Sigma 17-70mm F2.8-4 is the overall rendering. It is pretty spectacular for such an affordable zoom. Really nice bokeh and focus roll off. Amazing resolution and contrast in the middle. I have both the old and new versions of this lens... will see what the difference is.

Darn! Great light. Great captures! Thanks for showing. No 2 and 3 are especially beautiful.

Just personal preference. I prefer the look of the 3.2k and 2.8k Alexa to the Alexa 65 and Alexa LF, it seems more organic and has more texture and I think that's part of the reason vintage lenses are so popular on the 65. And features I watch that were shot at 2.8K look better to me than my own 4k+ footage (pretty obviously). But when I worked in post with a variety of cameras the Alexa footage always looked so much better than the F55 and Epic footage to me, too. It's just got a smoother look to it and the texture is smooth and looks more organic and more like film so even if the shadows are noisy it's a good look, and when you lose that texture it either looks more digital or more plastic to me. I know other people who feel this way, but I know a lot of people don't. It could be fine. The Gemini and Black Magic stuff doesn't look too bad to me, presumably since it's not over-sharpened. Oddly, Alexa ProRes is sharpened by default so who knows. Maybe it's the low frequency sharpening on Alexa footage that I like, but I dislike the edge enhancement on a drone or iPhone or something. I can't say for sure, just speculate. But when you capture too much fine detail it looks worse to me. There's an interview with the DP on the Crown where he goes through all the steps he took to make the F55 look more organic. He wanted to use an Alexa but he wasn't allowed to. I guess I can relate to that. It's just personal preference. I really like the look of S16 and 2-perf S35. I like a more painterly image, I was more into Kaminski than Deakins. I like high speed film when I shoot stills. But I also want the texture to look good. I think it's also sort of a running gag, they keep delaying it and the joke among Alexa fanatics is they're delaying it because the 2.8k is already so good.

Still very restricted here about how far we can go from home but managed to use some of our allotted exercise slot this evening to take a bit more footage with the FP/45mm/Anamorphot. And yes, that is a snake in the bottom left of the top picture. And yes, I did shit myself when I saw it.

Ah...so maybe breaking it and covering it in barrel grease is the secret. I need to do a YouTube video about it immediately with a thumbnail of me holding it at arms length in front of the camera whilst doing an open mouthed shocked face

I would like simpler lens designs to make a comeback in the cinema world. The large size and complex mechanics of most cinema glass is mainly to prevent breathing and chromatic aberration. Breathing correction accounts for half the size of the Master Primes for example. I find that unless you're shooting for a massive cinema screen, breathing isn't really too much of a problem unless you rack from infinity to close focus on a static shot. If you're shooting with a lot of camera movement, it's barely noticeable at all. And hell, considering how much is shot on older anamorphics these days, even big-budget blockbusters, breathing is clearly not the issue it used to be. Also, I disagree with the tact many manufacturers have taken with adding "character" to their lenses after the fact. They build hyper-modern, ultra-sharp lenses and tweak the coatings for more flare and ghosting. The result doesn't look "vintage" to me at all. It's looks like a modern lens with flare superimposed on the image as if it was done in After Effects. Sigma is especially guilty of this. Their "Classics" are duds in my opinion. The Cooke Classic Panchros are much more successful in this aspect. They actually replicate the small dimensions and steeply curved surfaces of lenses past and the result is much more pleasing. Hell, even their Cooke S4s are practically vintage now, even though they set the standard for cinema glass just 10-15 years ago. Compared to the new Zeiss and Leica glass, their fall-off, vignetting and flaring appear to be from a different era. I also think that the obsession with fast apertures is driving the direction of lens design towards a clinical direction. Having a lens that's usable but pleasing at T1.4 requires twice the engineering, twice the size and twice the price as one that's T2. It's actually easier to build a lens that's clinically sharp at that stop (and much much easier to build a lens that's useless at that stop) than one that maintains focus while supplying an image with character and charm. See the Leica Summiluxes, Cooke S5is, or Vantage Ones. Previous generations of high speed primes (Zeiss Super Speeds, Canon K35s) were mush wide open. Basically lens design = A. Pleasing, vintage-style character B. Crisp sharpness at WFO C. Price Pick only two. You can't have all three.

MFT is a great format indeed. When I mean dismiss any of them, I meant to ignore either of both actually. You can surely skip one of those if you have the other one, of course : ) But this camera series is a dream come true, my fav acquisition system ever designed, produced and delivered to my book : -) Mainly shot on P6K, here's a trailer of a feature film co-produced by me currently @ post production:

Some small compensation for the lock down. I've been taking mine out on our daily exercise outside. It's pretty quiet around here outside as expected. Dogs are getting more walks then they've ever had in their life and must be wondering what's going on... I am probably heading towards the 11672, the latest summicron version. I like the bokeh of it. As you say, getting a used one with a lens this new is difficult. Have fun though - avoid checking for flicker in the shadows and enjoy the cam first!! cheers Paul

No offense to Crimson Engine, but it's a strange suggestion for people to use an incorrect colorspace as a starting point with a camera that has pretty great color in its own right as Paul has mentioned! (Something can look good with weird settings, but you always want to strive for base technical accuracy + aesthetics in my opinion.) You might also consider using the ACES pipeline since it has a film print like "look" built into the display chain already. It takes the color matrix built into the DNGs and scales them for output for your monitor without weird translations or conversions except to ACES' own massive color space. You'd be free to add in a Colorspace Transform node and try out different camera color sciences to see if something else is more to your liking (Alexa, RED, Sony, etc), but I've found it's a quick and repeatable way to get excellent color out of the camera quickly. The attached shot was achieved just by dropping in the sequence and pushing exposure and saturation a bit to match to what I saw in person. (Metered the window light with an external incident meter as I tend to do.)

Got them, thanks Can confirm all of that but you do have green shadows at the very bottom. The scene still has quite a bit of light even at 125 ISO but i can see from the enclosed screenshot where you have a green/magenta at very lower shadow step. You can see it on the left edge in the shadow under the object and also on the darker reflective horn thingy. In 10 bit if you shoot with something that is genuinely black in the scene and then shoot the same scene in 12 bit you can sometimes see by eye but if you raise the whole thing you can see very clearly (like my lenses one which was very very little light and high contrast). This shows the major difference between 12bit and the other modes - the shadow detail. Now you've been using BlackMagic Film and actually that is reducing it a little which is perhaps why you're not seeing it. I'm not using BMDFilm but using the matrixes in the DNG via the normal DNG setting. I don't believe you get the best out of the camera with that setting but i suppose i need to look it that in greater detail. Maybe it does make sense. BMD Film seems to drop the exposure and take some of that tint off but BMD Film is expecting the colorimetry from a BMD camera, not a Sony sensor. cheers Paul I wouldn't touch MOV with a bargepole. There are many better cameras which shoot MOV out there - this beauty is all about the RAW and no compression. cheers Paul

Finally getting my rig finalized. Zacuto is sending me a new Zwiss plate (noticed this one is mounted upside down) since the rod receiver was tweaked...but I'm absolutely loving this setup. It allows for power all day and powering my SmallHD ultra bright monitor along with the camera and any other potential accessory I may attach down the road. It adds the weight to make things really stable handheld. The battery just goes right into my shoulder/chest area as I use the Smallrig grip with my right hand and pull focus with my left gripping the rods/lens. Leaving the Zfinder attached allows for quick mobility by removing system from rails (quick release plate) and going really discrete while still maintaining stability. The z-finder frame that originally was included sucked and popped right off, so I improvised. Works well and doesn't flop around at all. Will always be recording CDNG in 1080 or UHD 12 bit...don't see this cam being used any other way. If sigma can just fix a couple of the issues...I'd love it even more!

Mr. Yamaki replied again and said the engineers are aware of the flickering issue and are actively working toward a fix. They hope to have it included in the summer firmware release