Andrew Reid

  Thanks, I'd be interested in doing that. You will have mail soon.

http://vimeo.com/61304882 Catch the EOSHD interview with Leica's Jesko von Oeynhausenand and hands-on with the Leica M type 240 here The new Leica M (dubbed type 240) has a CMOSIS full frame sensor, and a first for a Leica camera - video. Not since the Leicina 8mm camera (EOSHD article) has a Leica product been viable for cinema. The Leica M of course is primarily a photography tool, but it is interesting to see if Leica have taken the same no-compromise approach to image quality in video mode as they have always done with stills. Furthermore Leica are a company with no high end cinema camera range or video camera market share to protect from themselves (yes - never did make sense that did it?)  

The tint you can compensate for in post, but somehow the response of the sensor has an influence even on raw.   We went into the test knowing how to expose the Ikonoskop - it is true that you expose for the highlights, whilst the BMCC is the other way - it benefits from being exposed more to the right.

  Partly yes but look at the 2nd shot in (the musicians). That is more towards magenta.   Like I say there is a very fine line in the colour tint in Resolve with Ikonoskop footage compared to the Blackmagic raw.

  Weird isn't it... The BMCC's sharpness and dynamic range seems to work against it in this comparison.   It just seems too smooth and broadcast like.   The Ikonoskop is a bit quirky and not just when it comes to the image, which is why I love it.   But it is VERY hard to put your finger on exactly WHY the image is so cinematic.   We used a very nice Zeiss 16mm lens on it which will contribute, but the colour and feel of the image is mainly down to the camera.

  Certainly more than the other blogs who leech from 100 RSS feeds and sell ads around other people's content :)

http://vimeo.com/61364609 Read more in the first part of this article Back in November I tested the Ikonoskop A-cam dll with Rob of Slashcam.de and Ludwig Reuter of HD Video Shop here in Berlin. We spent a few hours comparing it to the Blackmagic Cinema Camera - here's how it turned out.  

  It's a stupid question and you know it Mark. I suggest you look again at the definition of censorship and murder.   You're suggesting it is censorship to ban snuff movies and the showing of such films.   It is not censorship at all - a real murder is criminal activity.   Are you saying the police are trying to 'censor' criminals or 'prevent murders'?   You can be anti-censorship of the arts and movies as well as being anti-murder.

Some questions mate... I take it the Schneider needs the prime lens to also be focussed to the same mark? How sharp is it at fast apertures? What aperture would you consider it L series standard sharpness? Minimum focus distance of 3m / 10ft judging by the pics - am I right - any thread for diopters?   The clamp - is it height adjustable and would it be big enough to fit around a 77mm barrel? I'm looking for a bracket for my Iscorama 54 so that it doesn't shift around with a follow focus. Currently I have a basic support cradle for it on rails, but not a full bracket.

Nobody blamed the directors on Oscars night.

  It was the right platform to complain on. Got people's attention didn't it?

Actually Seth MacFarlane was so heavily watered down he was almost turning translucent. The main problem was that he wasn't very funny, and that he was crass and not very likeable. I don't find the frat boy humour very cleaver to be honest. If only more stage time was given to the people the ceremony was meant to be celebrating, and less to him, singing and dancing. It was like the Tonys.   He was a bit like a slightly insipid glossier version of Ricky Gervais. At least when he's offensive, it's funny.

  Again... It's his creative license.   Vampires don't exist Mark but you're making a Vampire film!   It is what makes us filmmakers... creating our own stories. Why chastise Tarantino for doing the same?

So convert the DNG to CineForm on your $600 PC. Hardly a big ask??!

So Hollywood sees VFX artists as 'cheap labour'? Maybe. It's all about money. Why blow something up for XX amount when you can do it for slightly less.   Life of Pi did well at The Oscars. What sickened me was cutting the VFX guys speech off. They're allowed to suck the ass of the academy but when it comes to their own rights, and their very survival it is... Jaws theme.

Joaquin Phoenix on the Oscars - "Pitting people against each other...It's the stupidest thing in the whole world. It was one of the most uncomfortable periods of my life, when Walk the Line was going through all the awards stuff. I never want to have that experience again."   This year, Oscars host said he hoped Joaquin was 'on his meds'. Very sensitive considering his brother River Phoenix died from a drug overdose.   Rain, Leaf, River, Liberty and Summer - you live up to your names. Seth you live up to yours.

Yes it made me feel a bit uncomfortable too, realising that a good part of our advanced western civilisation is built on suffering and human sacrifice.   I felt the film was holding up a bit of a mirror to the audience. I didn't feel guilty for the slave trade but I felt guilty having been born into a privileged country and a privileged society relative to the people who had to suffer to build such a thing in the first place.   We're still abusing the poor today in order to get our iPhones made cheaper.   This kind of shit never ends.   Django really brings that home to roost. Whilst the upper class imperialists in the film are chinking the Chinaware and having a jolly good old time, the slaves are out in the fields dying and suffering so that the English can put sugar in their tea back home. That's history.   If anything Tarantino's portrayal of history is 100% HONEST. Brutally honest. That is why I liked it.

Man... this guy.   That 'fancy pants writing' won an Oscar.   So what if most of the white people in the film are racist. That's the story. It's his creative license to do it this way.   Regardless, the issue of slavery is impossible to deal with without showing the brutality white people carried out in the name of business. You'd be ignoring a whole chunk of history if you DIDN'T show it.   What you're forgetting is that Samuel L Jackson's character in this is a black guy, who happens to be one of the worst racists in it!!   The biggest supporting role in the film, if not the lead role, is Dr Schultz - a white guy - and his character is an icon of fairness and principals.   The wrongdoing of the racist characters in this film ACTUALLY HAPPENED in history. It isn't painting 'the entire white race' as ignorant and evil at all, because the 'entire white race' didn't run the slave trade. A very small sub-section of it did. Seems you don't understand that!? Read a history text book and you'll read far more extreme race wars than Tarantino depicts here.   It is a massive and powerful statement this film makes against racism.   And don't forget that slavery isn't just about race - it's a class war waged by the rich on the poor and it still happens today.

  Me too. I also have a 16mm anamorphic baby Iscorama which would go nicely on this. It is c-mount.

The D16 Digital Bolex - pictured above in the hands of the biggest 16mm advocate of all, Darren Aronofsky Roald Christesen recently got in touch, to share some footage shot with the CCD in the upcoming Digital Bolex. He's a developing new Cinema DNG transcoding software and has been testing the sensor as part of that process. The image this camera produces is looking superb.

[vimeo]http://vimeo.com/60863477[/vimeo] Discussion of the prototypes on the EOSHD Anamorphic Forum Many anamorphic lenses especially the affordable ones require the prime lens to be set to the same mark as the anamorphic on the focus barrel, making a focus rack during a shot impossible by hand and shot setup awkward. Now an ingenious electronic follow focus by Markus Houy has been created making our dual-focus anamorphic glass single focus like high end Iscoramas or LOMOs. EOSHD interviews Markus and finds out more about his plans for the device.

The lens is 23mm on the Fuji X100.   I don't mean equivalent.   I mean 35mm F2.0 on an APS-C sensor. More like equivalent to 50mm on full frame and therefore more versatile.   Wide angle for me is a special purpose lens not an all rounder.   Yet the ridiculous thing is - APS-C DSLR owners have been crying out for faster 18mm lenses for years and neither Canon or Nikon have provided one.

One of the main advantages of large sensor - shallow depth of field... So they put a wide angle 18mm on it with a relatively slow aperture. Doesn't make much sense to me.   Nice design otherwise. Just that lens is really restrictive. I'd have rather it had a 35mm F2.0.

High sensitivity has no advantages for bright light shooting. It just forces you to use very strong NDs and narrow apertures, or else the highlights look rubbish when pulled down to ISO 400 and under.   Leica discussed this with me at Photokina when I talked about a possible ISO 25 setting or a digital ND.   http://www.eoshd.com/content/9060/the-new-leica-m-as-a-filmmakers-tool-an-interview-with-leicas-jesko-von-oeynhausen   Look at the 'digital pull' image to ISO 25 for an example of the image quality problems when doing a very large pull from a high sensitivity & over exposed image.   Think of it in terms of dynamic range. At ISO 800, in bright light you're gonna get a lot of over exposure unless you shoot at a very narrow aperture, etc. etc. You can pull that raw data down to ISO 100. The camera does it with the image processor which is why it can offer the low ISOs. But to pull a native ISO of 3200 down to 100 is harder. Think of an over exposed raw still shot in daylight at ISO 3200. You can only pull it down so far in post. At ISO 3200 the exposure is going to be even brighter all else being equal - that requires even more latitude to keep hold of highlights. The roll off to highlights will become very steep when you pull the exposure down on that ISO 3200 raw, and some areas will be completely burnt.

"Sony intends to defend itself vigorously in the Red lawsuit. Sony looks forward to prevailing in court, thus vindicating the Sony engineers"   http://filmmakermagazine.com/66162-sony-responds-to-red-blackmagic-fix-and-avid-continues-to-decline/   http://www.sonyalpharumors.com/sony-doesnt-care-about-red-and-ships-out-the-f55-and-f5/