nahua

I finally got some Anamorphic footage, rather than just tests. Here's my footage of EMKE Hawaii performing at Hard Rock Cafe Honolulu. I only have 2 anamorphics (waiting for #3) so the I faked it by making the 5dmkIII super shallow DOF. Not the best option, but it fits in just fine. Please enjoy! [media]http://youtu.be/LgwQpM8YnJU[/media] [media]http://youtu.be/JEasP2JZlyo[/media] Wide: Panasonic GH2 14-45mm w/ Panasonic LA7200 Anamorphic Adapter - Driftwood Quantum X - Vibrant Profile -2 everything Medium: Panasonic GH2 Nikon 50mm F1.8 w/ Bell + Howell 16mm Anamorphic Adapter - Driftwood Quantum X - Vibrant Profile -2 everything Closeup: Canon 5dmkIII 70-200 F2.8L - ALL-I - Standard Profile Adobe Premiere CS5.5 w/ Neat Video + Magic Bullet Looks

4 years on and finally we get the tools we wanted. I'm glad that a lot of companies saw the potential that Canon did not. Even though Sony is Sony, they sure are coming out with some real winners. This will be the best Photokina yet!! Can't wait!!

I'll defend JCS in that yes resolution chart tests are needed. But I definitely like the look of this camera. And I've been working awhile now with 5dmkIII, and although you can sharpen the image, it doesn't work for all situations. And you still are dealing with crappy compressed footage, and crazy "mosquito" noise. I like the noise with the BMC, looks very fine indeed. I just wish that this camera was put through its paces with a real director (not some vinbloomyfloosy BTW). I think this camera will really deliver the goods!! Exciting times ahead!

I think Andrew's analysis of the Zacuto shootout was spot on. I really think it is up to the DP to make the most out of a camera. It doesn't take a genius to know that a $250K camera whips a $700 camera. I'd like to see a DP shootout for 2013, with better DPs. The DPs that did the 7D and FS100 were terrible. And light the scene like a real scene, not like a "demo" or trying to show how little dynamic range a camera has. I think the empirical test would have displayed the dynamic range, so why do that for the creative? In the end this was a great (if too long) shootout, and I look forward to 2013!!

The follow focus is Edelkrone's Focus One. That isn't a matte box, it's the Panasonic LA7200 Anamorphic adapter mated to my Panasonic 14-43mm lens. I'm getting some lens supports for it. I may get a matte box in the future, but so far I don't need one. I wish Edelkrone would have a sale too. LOL BTW you can get parts of their rigs separately, so you if you have some rods you don't need to get their packaged rigs, you can make your own.

I like that Sony is out for blood. Their consumer electronics are tanking, but their cameras are ever evolving. But don't think that Sony is going to let their proprietary uber-expensive ENG cameras go to waste. Remember that all these new cams will still be limited by the codec and that compression will be the killer deal. If Someone 1.00 can crack the NEX code, then we're talking. Otherwise these cams will still be limited. I hope Chrad is right and that a NEX S35 sensor with RAW is coming soon, but I doubt it. We're still talking Sony here...

[quote name='dreams2movies' timestamp='1345152438' post='15840'] WOW, looks GREAT MAN!!! I need a setup just like this for Weddings!!! and for filmmaking too. Is it up for Rent! Lol So which EVF did you go with? you got any videos of it in motion? if not, can you do some! [/quote] Sorry I don't have any videos of me using it, I'm usually the one taking videos. It's really great for weddings. I'd like to rent it too! LOL I have a SmallHD DP4, so I could get the eyecup option, but I usually use the fabric hood (sorry not shown). In any case it works really well even though it cost me an arm and a leg!!

Sorry it took so long for me to upload this. Edelkrone Modula 5 w/ Focus One follow focus. SmallHD DP4, Zoom H4n w/ Azden shorty shotgun mic (going for a Rode NTG2 soon) and generic LED light up top. [img]http://www.eoshd.com/comments/uploads/inline/13677/502cc27749ed6__OB_2194.jpg[/img][img]http://www.eoshd.com/comments/uploads/inline/13677/502cc33a26d2d__OB_2204.jpg[/img]

Cost in this case is relative. Because are you going to rent an Alexa or F65 for an interview? How about a short film for two to three weeks? I don't have an infinite budget, and if I'm creative with my lighting then my GH2 sure is a great bang for the buck. Besides, if you can afford to rent an Alexa, you wouldn't even care about this shootout, would you?

I've used both lenses. Remember that pancake lenses are sharp and good for still shots. They are terrible for AF video motion shots. The 25mm Leica is much better for video, but it isn't without drawbacks. AF for anything under F2.0 is challenging, and it will hunt a lot. And if you're doing manual focus, the focus ring on the 25mm is way better. Trying to do manual focus on a pancake is impossible with a follow focus, don't know how you'd get the gears on it. However if you're doing still shots, the pancake lenses are great value for the money. And they are tiny. Good luck with your decision!

This is correct - for stills. Although you can leave the SD card in there, you just don't want to shoot directly to it. However, it has no effect on video (yet, waiting for magic lantern). I have tested with All-I and IPB for video, no write problems.

I own the Leica 25mm and it's not stabilized. But it is very sharp, produces very nice bokeh. Not a great test, but you can check my raw video on youtube: http://youtu.be/fegdWuleupE Tried to do some shallow DOF: http://youtu.be/bDEEfWSn9Ho

I have an Edelkrone, I'll try and take a pic and post it tomorrow. Great rig, but it is bulky.

[quote name='markm' timestamp='1342989225' post='14317'] Thanks Per Driftwoods vy canis majoris day with a sandisk extreme 32gb 30mbs card. 25fps and a 200mm lens in tele mode Two shots were fast moving action. One was stationery. Everytime the picture froze and the battery had to be removed. However I did manage to get one shot and that one was fast moving. Maybe though a few seconds shorter. This clip was 14 secs. The others were maybe 20+ secs. I had to wait 20 mins for each shot and walk miles to get them. I assume that it was the sheer amount of information that changed on each frame except the stationery one. Anyway The GH2 is a great camera but I'm pretty certain I wont make a film with one! [/quote] It's your card. I had the same thing happen to me with the new high bitrate hacks. I have two different 64GB cards from Sandisk, one gold the other red. Both recorded just fine. Switched to my 32 GB cards, gold and red, and both died in 1 min. Using Canis Majoris Night Matrix. Oddly enough, the Canis Majoris Skin Tone hack worked fine on all cards, even spanning. But there's no question the 64GB cards are the ones to use. Even the red one from Sandisk is fine. I thought the gold 32 GB, supposed to be 95mbits/sec, would do fine, but it crapped out. I'm going to be selling my 32 GB and start getting all 64 GB.

Have you looked at the prices? $799 for the "kit", $199 for the EF adapter, and that crummy little external flash ($150!!) because they couldn't fit one on there? Seriously Canon, you're just out there to gouge every last penny out of your "loyal" customers! I'm sick with Canon and their super inflated pricing. Late to the party with mirrorless, and now ever the more clueless. Maybe Canon lost out on their best engineers and thinkers, because their tech is stagnant and their pricing ridiculous!!

Everyone has opinions but the worst are the trolls. Only interested in working up a furor over nothing. Same stupid arguments - film is best, digital is plastic, lighting is crap, blah blah blah. I want to hear real constructive criticism, that's why I come here. I like your viewpoint Andrew, not all of us have unlimited budgets, or even dream of that. I like to have constraints, it fosters creativity. If you had everything, where's the challenge in that? And there's so much cynicism out there - screw the trolls. Keep on talking, your viewpoint is sharp and witty. Forget the 5D-whatever-sponsored-sellouts - I stopped looking there a long long time ago!

[quote name='steve zacuto' timestamp='1342480997' post='13997'] Couple of things. Let's talk about the GH2, the hack they used was not stable and crashed a lot. I don't think it would be viable in a real production. One thing that seems to be misunderstood is that the scene was supposed to be very dark. The original lighting was supposed to be a room with a few practlcle lights on in the house and the extreme light coming in form the window. What Colt and Jonny did was to over light the scene and make it a bright room. I think people interpreted this as having the most DR as opposed to being the most pleasing and artfully done. I preferred Polly and Rodney's interpretation, it was more about retaining a moody scene. There are two tests. In part 3 you are going to see how the cameras look out of the box in an apples to apples test with no lighting changes. In part two you saw what talented DP's can do with these cameras. Together this shows you the comparison of what is-- and what is possible. Steve [/quote] Steve I think this was a wonderful test. And that it was blind is genius. I understand since it's a test, dynamic range is a big part of it. I think it will be more telling in part 3 to see the differences between "stock" lighting VS "creative" lighting. But the overall tone of this piece is more important - that the creative vision of the cinematographer is the key element. It doesn't matter what you use, the skill of the cinematographer will determine the look of the finished film. What a difference a year makes. This test last year would be a clear wash, but this year there are more and better cameras. Can't wait for part 3, can't wait for next year! We certainly live in exciting times!!

If I had a NEX 5N I would buy this in a heartbeat. Sadly I agree with other posters, the Sony CLM V55 isn't as robust as a SmallHD monitor. Small, compact and easy to use, but the color rendition is not the greatest. Kudos to Richard for making a great housing! I wish he would make something for the GH2, even though it doesn't need the cooling, it sure could use something for the handling.

That footage is really nice. But where to find a 105mm close up? I found a really really old 82mm close up set, but it still vigenettes on my LA7200. It barely fits my 25mm Leica on my GH2, but I can't use it for my 5dmkIII under 50mm. And none of my Canon zooms work with the LA7200. I have to find some old primes with small barrels to get it to work. BTW I have the Cokin P101 and P102, but the plastic is only 77mm and vigenettes. Where to find large close up filters??

Thank you so much for this thread. I need to try this on some of my night footage which has so much macroblocking noise, no matter how high the hack. I hope the film grain will help mask the noise and add some character to my footage.

Thank you everyone for posting here. I'm going to try these techniques, mostly for Canon 5dmkIII footage. And thanks for those podcasts! Very enlightening!!

I have the opposite happen to me.  Just like recording without the monitor, the true colors show after I hit record.  I've never had it the other way round.  I have both the DP4 and DP6 monitors.  I hope you find a solution.

People make such a big deal of DOF for Full Frame vs M4/3, but it's only one stop.  I intercut 5DmkII and GH2 footage all the time.  Only one stop difference really - F2.8 GH2 = F4 5DmkII, same for ISO, ISO1250 GH2 = ISO 640 5DmkII.  Sure lenses can be an issue, but it's not such a big deal.  Besides how often can you realistically shoot at F1.2 and rack focus? Seriously?  Because you still need to shoot F4 at least to keep people in focus on a 5DmkII. I for one would welcome a M4/3 pro camera successor to the AF100/101.  If it has the GH2 sensor, 8bit or 10bit, at least it would have all the features of a pro camcorder - like XLR audio, audio monitoring, ND filters, peaking - all the things I wish my GH2 had.  I would gladly pay $5-6K for that.  Don't know why there's so much hate for M4/3 on this thread really.

[quote author=FilmMan link=topic=566.msg3725#msg3725 date=1334165136] 1080p downsampled from 4k - don't mind this as easy for in post production. 4:2:2  8 bit color - should be robust enough.  Around half the price of Canon c300 but FS700 has the future 4K and it does the slow motion.  People are complaining about 8 bit vs 10 bit.  The majority won't notice unless some serious heavy duty color grading - and that may not be an issue?  I like Sony being upfront.  The pricing seems to be fair - remember the C300 is around double in price.  Thanks for posting Andrew! [/quote] Yes Sony being up front - that's something new from a company that's so proprietary about their products.  Very different from Canon and Nikon's intros for the 5DmkIII and D800.  I'm liking the new Sony, although still waiting for the official product and real product tests.  Let's hope this is a trend that Sony continues onward.  I'm seriously hating on Canon and Nikon right about now...

And you failed to report the "softness" bug that plagues Canon's OWN Digital Photo Pro software?  How Canon themselves have made such a terrible error on their bundled software??  Great going Canon.  Thanks to Adobe for stepping up where Canon is just a massive FAIL.  Of course Canon is releasing a fix, but come on?  Where is the QA here?  Seriously Canon is just making me mad... http://www.robgalbraith.com/bins/content_page.asp?cid=7-11676-12482