Andrew Reid

I wouldn't bother fixing the taking lens. The image from it with the anamorphic isn't as nice as you can achieve with other lenses. I am not sure of the value as never seen it for sale on it's own. I wouldn't say it was worth what it would cost to repair it that's for sure!   PS - my original taking lens from my pre36 Iscorama is also kaput… the focus is way off infinity!

G6 users give it a go and if you're not satisfied, email me. The chapters on lenses, post production and cinematography tips for example is 100% relevant for you.

You can shoot away fine with 24p, I did it for a while with a Japanese GH2 in Europe, just make sure the shutter is at 1/50 and you don't shoot at night with a high shutter speed as your lights will flicker and strobe.   As for 60p, you will need to set the shutter to 1/100 which isn't ideal.   My advice is to check the import tax!!

The first 4K images are rolling off the 4K production camera, shot by Grant Petty himself no less. I'm hugely impressed with the image. It breaks new ground for resolution for an accessibly priced movie camera. The download is absolutely huge at 9GB. If you just want a glance at what's on offer, you're in luck because I'm going to guide you through the images now and do a bit of grading... Read the full article here

I have the European version of them, so it is worth checking if the US versions are also PAL / NTSC switchable. No reason why they shouldn't be. The older models are not but with the newer ones, Sony have changed policy.

The RX1 is PAL / NTSC switchable so go ahead, there's nothing to worry about, apart from possibly very significant import tax and duties.

  OK, replying shortly :)

  Nothing planned for Blackmagic yet. What do you think guys? BMPCC guide next up?

I have been working on this all year and the results are worth the wait. Go here to get your copy for just $19.99   Highlights EOSHD’s recommended camera settings for filmmaking EOSHD’s 15 recommended lenses for the GH3 (with new tri-shot test gallery) Official foreword by Panasonic and exclusive interview Post production chapter and 10% off Film Convert Pro 2 with every book A Total Beginner’s Guide in the Appendix and filmmaking-lingo-buster Shooting tips from Andrew Reid Recommended accessories and audio gear 250 pages long 1 year in the making Read more and see the full chapter listing

Nice cat :)   Will you by trying it on the Blackamgic Pocket Cinema Camera? (The lens that is, not the cat)

Zero difference between the two, both sadly rather crap for video, though that's not to say you can't get some good results with them if handled a certain way!   Amazing stills cameras though.

I think these were tested on the Magic Lantern forum and came out similar to Komputer Bay, which I have no issues with but, still, are they worth the extra money?

  Good point.   By the way Rich I have been shooting with your FF58 this weekend. The golden cast light rope photos of Susanna are with the FF58 here  15aaefc88d960e08c33e20169cf1fac1   I had the 85mm F1.2L with me but the FF58 is the one that gave me the best feel.

  No, DO overlook it. GPU just isn't very good compared to Nvidia GTX series and CUDA.

  Indeed focus is very tricky! But I checked very careful for focus issues and took several shots. In each one I found the same and had to rub my eyes in disbelief.   The Leica is not back focussed because if it was off by a tiny amount to the back the strap lugs of the M5 bodies would be sharper than the strap lugs on the SLR Magic shot. Also as you can see, the camera on the back row far left is blurrier on the Leica shot than on the SLR Magic shot. I think they just handle roll off from the focus plane differently, maybe depending on the part of the frame.   Also I have seen MTF charts from a leading photo blog, who did the same test between the two lenses. These will be published soon. Those show the SLR Magic as being better resolving wide open. So the MTF chart actually backs up my own samples.   Click to enlarge -  

If I could take my time and it was a relatively straight forward shoot where I wouldn't expect to do a lot of re-takes, I'd choose the BMCC.   If it was any more complicated than that I'd go for the GM1 (or my FS100) because you can do as many takes as you like and not even think about data management.   Just make sure on either occasion to take plenty of batteries with you :)

  And only one of them anywhere near affordable ;-)

  Yes I did. Highly recommended but no scart socket so be careful what you plan to use it with :)

EOSHD is launching a Shooter's Guide for lenses on the Sony A7R - pre-order it here to get $10 off the launch price Currently the best (read expensive) full frame lenses for low light are the Zeiss Otus 55mm F1.4 and the Leica M Noctilux 50mm F0.95. How does the SLR Magic HyperPrime 50mm T0.95 rate as an alternative? Read the full article here

You will have to get past the armed Iscorama Communist Red Guard first!

  It's true, 2x Isco with single focus, like a 2x version of the Iscorama 42.   https://vimeo.com/13004933   And yes very lucky to get it back in 2009 for £100 before anyone knew what it was worth. At the time I didn't even value it that much myself and wanted an Iscorama!!

  Yeah the 2.39:1 certainly appeals to more people than 3.55:1 but if you can shoot 4:3 using full 1280p sensor vertical res on the 5D Mark III with Magic Lantern raw, 2x looks amazing. It's like turning the anamorphic amp up to 11!

The surprising thing is that Nikon had first claim to the 36MP sensor, which is Sony's most advanced to date (manufacturing wise) on a new process. Maybe they paid a lot for it, but Sony doesn't seem that hung up about giving their best sensors to competitors… yet.   On the medium format front, those sensors could have incredible low light and dynamic range properties. Traditionally medium format has not been much good in low light instead going for resolution. So if they do a 54MP medium format sensor and a 24MP one that would be the right strategy. Give the users a choice. Form factor could be interesting too.

Psst… I'm having an end of year clear out Where would we be without the end of the year and the impending doom that is Christmas? Enjoying summer? Revelling in the most fruitful year for filmmakers and camera geeks on record? I'd much rather 2013 just carried on! Alas the year is starting to wind down now for the Holidays and this seems like a good moment to look back at the most amazing (and not so amazing) events of 2013... Read the full article here

  Which explains why Canon wiped $2.5 billion off their 2013 profit forecast.