Leaderboard

Will do; that's a relief! The challenge with in-cam monitoring (at least on the GH5) is that the interpolation with 17x is the worst I've seen. I remember hearing the S1/H could accept 33x, is that so? This is an area that I want to spend some time studying once a few things are finished. There is variance; the Alev sensor has been said to be tuned between the photosite dyes, UV/IR filter and color sci to have more consistent results across different light sources (there used to be a blurb on their site about this, the old Classic page). The conversions are inherently light source specific (i.e. sunlight or halogen) Count me in!

More pictures of the front lens, you can see the two small cracks, no influence at all on the image Here is some videostills and stills :

Global Shutter cameras have always been a compromise, sometimes really serious compromises. This is why it is no surprise that there is only currently just one professional grade cinema in widespread usage: the Sony PMW-F55 (plus the very niche Phantom). And you clearly do *not* need a global shutter to be widely successful, ARRI doesn't. Thus I don't want small startups with a promising future like Z Cam, to waste their precious limited resources on developing a camera which will be a flop such as their global shutter Z Cam E2-GS As for the RED Komodo, we all know RED has a very very long history of... should I say "lying"? Let's just say, "over promising" / being "hyperbolic" / "generously optimistic". Let's wait until we see Komodo available in stock at retail stores to buy, and has reviews from non-biased / non-censored reviewers.

Remember it ? All the usual caveats of "absolutely not its final form" but thought I'd show a (very) rough glimpse of its (very) rough format. Things have been quiet on it publicly because as I said in the very original thread that what was first shown was merely a jumping off point and it pivoted into what is now a very different product. As you should now be able to guess from this image, it is doing something a little different and offers both AF-S and AF-C modes for, lets just say, more than one focus target The purpose of this thread, aside from the update to prove its not slid into Sony A7S-III territory, is to provide little updates on what is happening as we edge towards release of the actual product particularly as the previous thread is a bit defunct in terms of what its final form will now be. I'll put up some video samples soon, although @Andrew Reid has had some over the past month so should be able to vouch for it actually working I won't be getting too much into the detail about whats going on under the hood until later on and I will be doing a blog post with Andrew to provide more insight nearer the time of pre-orders which should be in August. FYI, the cables you can see are powering the PBC and not going to the camera so no camera mod is required ! So, for now, fire away if you have any questions if you have any interest in it but if you can please just keep it to general operational stuff.

another interesting test from my favorite Korean youtuber Actual comment at 03:50: "I did 3 tests. What survived the harsh test was only the NX1 that was shooting these cameras." I would like to see Fuji give as something more video orientated. I am not sure why they haven't yet but I believe it is coming.

I know of no movie or story that hasn't been embellished or exaggerated at some point. Any creative person tends to wax lyrical or poetic about things, its human nature. When they stray too far, well i call that click bait. 🙄 Getting back on topic if some dude from panasonic whats to call it some type of galilean action i'm fine with that. I presume he knows more about such stuff, more than i do anyway. I have a stack of my brothers kids photos hanging up around the house. I have met those kids precisely twice in thirteen years. Does that make me a pedophile ? My parents live with me, grandparents tend to like grandkids as a rule. so i ended up with a bunch of photos of kids that arent mine. Since most parents are justifiably proud of their kids and have photos, it doesn't bother me that cosimo combines two interests ( kids + anamorphics) Kids make for cheap talent if anything, a meal at macas and its all good 😀 What isn't normal is that you come into this thread and cast slurs and aspersions on some dude. Your either a troll or idiot or both. Cant really see how the forum benefits from having you around @Andrew Reid your the boss, whats your take on this ?

The XLR addition in the XC15 allows easy quick control over gain settings and usage of phantom powered boom mics. Although yes, the likes of an additional stronger ND in it is something the "XC10 mk3" should have too.

Yeah high dynamic range, codec, and resolution are the selling points these days imho. In that order for me as well. If Zcam was able to make something like BRAW internally they'd be a huge competitor IMHO.

Generally, the darker the image, the more the saturation. Furthermore, most digital cameras give a lot of saturation in their non-raw files, and Canon cameras additionally boost the reds. Starting with the brightest sample posted, the image below was yielded merely by boosting the gamma/mid-tones, bringing the blacks down to zero, reducing the saturation and backing off the reds (for Canon): If one wants to keep it a little darker (and still have it look like daytime), be more gentle in boosting the mid-tones but further reduce the saturation, and keep the blacks at zero and keep the Canon reds reduced as in the image directly above: By the way, the fringing/chromatic-aberration doesn't look too bad, and a light touch with a CA/fringe filter should take care of it nicely.

@Cosimo I applaud your work.Thank you for sharing, and contributing. For me and many others, experimentation is the cornerstone of learning about anamorphic. Non-conctructive criticism of other people's work seems petty and antithetical to the anamorphic community. Ignore the haters, and keep doing what you are doing!

Yes, with autofocus chip, so I can use my Phase One lenses for video. This would make a very good adapter for professionals who use phase one cameras, as phase one is so kind to NOT OFFER VIDEO!!!! @Brian Caldwell

Hey guys, I started livestreaming on my channel - anamorphic on a budget, you're not familiar - and I'm doing a Helios 44 anamorfake next Wednesday at 11:30am PST. I'm giving away the resulting mod at the end of the process to someone in the stream, so there's a chance you can walk away with a fresh lens on the way. I'd love to see a bunch of you there. I'm answering questions there too, so if you got something to ask, that's a good chance!

True. Even Phantom Cameras have a Rolling Shutter, with a Global Shutter switch. The dynamic range loss, low light issues and the image degradation must be pretty substantial.

Cool discussion so far, and a few notes from me: like @PannySVHS says - first one so who cares! Congrats for getting the gig, shooting it, getting an edit together and publishing. It takes more guts than people think to actually get things done and get them out into the world than people think, so total respect for that. I'm completely out of touch with what is in style these days (actually, who am I kidding, I was never in touch with it lol) but I can say I definitely enjoyed it, the song was great and your video seemed to match. What I mean by that is that you had a concept (daydream), you had a style (kind of retro vibe), you made framing and editing decisions, and the band made a bunch of decisions when writing the song, and for me they all matched. As someone who has learned a lot by just shooting many projects, I can give some thoughts on how to get better and develop your style.. which is to work out what worked well and what could be improved next time, and the three sources of that information should be the client, the target audience, and you. I'd suggest that you concentrate on only one or two major things to improve before your next project. Obviously little things can be addressed, but if you focus on too many things then firstly you're not focussing, and secondly you'll get depressed about how many things could be improved and you're less likely to do another one. So pick a few things that worked really well, and one or two things to work on, and actively try to include them in your next one. My last thought is just to say that you should do as many projects as you can. There are a bunch of things that we only learn by doing over and over and after a while certain patterns will reveal themselves and we'll understand that something we do in prep has a certain impact in post. Great stuff!!

hahaha. Just doin it for the love! (I'm the dude with the glasses btw). I didn't really set out to make this thing I just shot and it happened. Lenses on E2 +MBXL: nFD taking lenses - 85mm f1.8, 135mm f2.8, 200mm f4 Anamorphic: ISCO s8. Rapido FVD8A variable diopter. (There's also a couple of shots of the yellow rail and kicker which were taken with el-nikkor 50mmf4 and Kowa8). Lenses on GH5 + MBXL (housing shots mostly): nFD 24mm f2 Sony 1.33x anamorphic Drone and Action Cam: Hero 7 Mavic

Feels like todays vlogger need 4k 60p, can probably thank gopro for that. Good microphone preamp. Tilty flippy screen. IBIS. Light weight and decently sized. No recording limit. Good AF. So it needs to have all that if they want to market it towards vloggers. If it is what the G90 shuold have been then it might be close to perfect camera for many uses.

Thanks, and yes I love the files as well.

Links below!

Yeah, its all about perception. The HC500 is £3100 so the caddy at £354 is more than 10% of the cost of the whole camera for what appears to be an M.2 to USB-C interface in a plastic case! But if they'd just made the camera £3400 and included the caddy then I don't think anyone would have batted an eyelid because its still great value for money. Separating it out like that just makes it seem like a colossal rip off.

You would guess that following Sony's lead generally basing their new one on the RX100 that Panasonic would base theirs on the LX10/15 so it does seem unusual for them to give it a "G" model name if that was the case. Though they could just be harmonising names and some of their models do have different model names in Japan (GX80 is GX7ii etc). If it is based on the LX10/15 with a mic input and a sideways screen then it will be pretty decent. I'm guessing they'll add HLG (it already has Cinelike D if you use my little discovery ) but they might struggle against the Sony AF and the Sony also has quite a neat face based AE function that is very useful for vloggers. If they keep the F1.4-2.8 lens of the LX10/15 then it will certainly be much faster. However.....If the "G100" name is referencing that they've repurposed the LX100 with a swivel screen and a microphone input then, well, that would be very interesting even for those of us who've never stared into a lens and said "Hey guys, what's happening ?"

Hi folks... I got a GX85 a few months ago. There's a few quirky things about it that I find odd. Since this thread is really about external mics I won't go into them here. 1. Thanks to BTM-Pix I now have the service manual 2. I;m an avid modder of all sorts of things 3. I had been using a Panasonic point and shoot for years before getting the GX85. I was astounded at the poor sound quality of the GX85. It's noisy, there's always hissing noise, etc. Not very good microphones and you are stuck with them. 4. Looking at the service manual, I have a pretty good idea what to do and where to add an external mic jack. 5. My camera will get taken apart soon to see what I can do to add a mic jack.

I'd stay away from slow 35-70's made by Hanimex, Maginon, Cosina and etc. The ones with 2.8 starting aperture are optically better in almost every regard. Nikon, Vivitar and Tokina have such good lenses. There is also the rare Zeiss Vario-Pancolar 35-70mm 2.7-3.5 which is my personal favorite. It has a prime-like character with superb central sharpness and awesome bokeh. Here is a sample: Only slow but good 35-70 is Leica's and Minolta's fixed 3.5 or 4.0 versions. I want to also add the very rare Konica AR 2.8/35-100 varifocal lens to this list. I was able to find one but it needed a repair first. I can't wait to have it back. The only similar lens I can find is Zeiss's Vario Sonnar 2.8/40-120 for Contarex.

I’m very grateful to be connected with JVC! They posted an interview they did with me on their IG profile talking about my film Marcy Made and how it was filmed with the JVC-GYLS300!

The procedure because its a bit of a hack of their connection and handshake procedure is Put the camera into Wifi mode. Connect device to camera in Android settings Hit Connect in the app. As its a new connection, the camera may ask you if you want to make a new connection so click OK It will then likely fail as it doesn't like the first connection Close the app Re-open the app and click connect again and it should be fine from then on at every boot. The cameras will only accept one wifi connection at a time so make sure that the Panasonic Image app is closed before using the app. You can check the basic connection by loading this attached html page on any web browser on any device connected to the cameras wifi so either the web browser of that Android device or your pc etc. Just click Connect and then Handshake and then at least you'll be able to try the HLG profile from that. LX100 MARK 2 TESTER.html

OK So for anyone wanting to try this, I have made a really simple method to do it. I have tested this numerous times on my GX80 and it has lived to tell the tale but obviously do this at your own risk. All that this process does is fool the camera into thinking its talking to the smartphone app and then the commands it sends are exactly what the smartphone app sends. Or would do if the smartphone app thought it was talking to a camera equipped with Cinelike D ! So as such it is only getting sent what the Panasonic app would be sending to it so there are no hacky or sneaky debug things getting sent to it. Again, though, proceed at your own risk. Although I would say, if you’ve tried that region switching hack on YouTube with the 10 million key press combos during power up then you’re already brave enough to try this! Bear in mind that my unit is a GX80 and the firmware is version 1.0 If you have a GX85 or have got a different firmware then I just don’t know because obviously I haven’t got any other devices to test it on. Here we go then…. Follow these instructions exactly and you should have Cinelike D on your GX80/85 You will need a laptop or a phone with a browser, the camera and to download the simple html file attached. 1) Switch on camera and turn on wifi as though you were connecting the app and you should see the waiting screen on the camera 2) Load the Deploy Cinelike D.html file into your browser 3) Select ‘Handshake’ 4) You should see the browser page change and it confirm that its connected to a GX80 5) Hit the back key on the browser 6) Select ‘Connect’ 7) You should see the browser page change to say ‘ok’ and the camera give you an ‘Under Remote Control’ message 8) Wait until the camera screen shows you a live view 9) Hit the back key on the browser 10) Select ‘Deploy’ 11) You should see the browser page change to say ‘ok’ and the camera should NOT now be displaying the Photo Style you had selected (i.e. Standard, Vivid etc) 12) Cinelike D is now active on the camera 13) If you go into the menu on the camera and select Photo Style you will see that it is blank and you can’t navigate to other Photo Styles such as Standard etc. 14) To restore the Photo Styles hit the back button on the browser and select ‘Restore’ and the camera will display the Standard photo style and you should then be able to go into Photo Styles and change them. 15) Repeat 9-14 to switch between them to your hearts content! So, like other settings, the Cinelike D profile will persist when you switch the camera off so if you want to use the other Photo Styles again then you MUST go this process again to re-enable them. However, if you would like to switch between them without using this method again (and who wouldn’t) here is a neat way round it. When you’ve done Step 12 and got Cinelike D on, set all your other parameters (4K24p etc) as you’d like them and save these into C1 of the custom settings. Then go to Step 14 and use the ‘Restore’ to get your standard Photo Styles back, set all your other parameters (4K24p etc) as you’d like them and then save these into C2 of the custom settings. Now when you switch the camera on, you simply choose C1 to have Cinelike D or C2 for the standard Photo Styles and forget about using any nonsense about using browsers and wifi connections! In couple of weeks I’m hoping to show you how you can do stuff like this and some other useful bits and pieces from a little hardware gadget that will work on the Panasonic cameras but have fun with this in the meantime. DEPLOY CINELIKE D.html

So for other Sony F3 users definitely adjust your flange focal length from time to time. My wide angle shots were not up to snuff sharpness wise and I figured out it was because my mount fallen far out of alignment.

Sorry, I did not mean to sound mean. But this is not how internet works, I am free to voice my opinion. I see a BS post and I call it out. OP pretentiously talks about "galilean action" and "horizontal artifacts", yet the images are highly uninspiring home shots with some of the ugliest flares I've seen. Then he proceeds to post lenses that look butchered. It seems he just took a hacksaw to some schneider cinelux lenses, then butchered some other lenses and randomly paired elements until he got a useable image. Using pseudo scientific terms to describe this process does not make it anything different. Just pure lens hacking. Pointless exercise, because no self-respecting DP will use something like this to shoot anything remotely important. Sure, if you want to learn by destroying lenses – go ahead. They don't make them anymore though. But what really worries me is that I see at least 4 different kids in these shots. I don't know how old OP is, and I don't want to assume their gender, but this is not normal.