Sean Cunningham

    They already make a M4/3 version and this adapter will be available soon for that mount.  It'll make the BMCC 7D sized almost exactly.   They're only talking about the same squeeze factor right now for the various mounts but hopefully they'll expand on this so that ultimately you can pick a size that hits as close as possible to the full 36mm being represented on your smaller aperture sensor.   As excited as I am to get one of these for my GH2 I'm also excited to see the first RED or Alexa feature eventually shot with one.

  I wonder why some of you are even here.

  What it means is the death of sacrificing video performance just to get the look of full frame.  None of the full frame options currently available, or announced, offer anywhere near the best motion picture performance.     $1000 USD camera (why, when you could buy a GH2, but whatever) + $700 adapter cost = video performance that totally curb-stomps a $1700 full frame camera, or a $2975 full frame camera, or a $6728.99 full frame camera, or a $12,728.99 full frame camera.   That's what this means.

Also, don't forget, the market for these lenses as it exists now isn't actually a "baseline" of no special interest.  Older, particularly manual focus lenses, were dusted off and made re-valuable again, post digital SLR boom, due to the introduction of 35mm lens adapters for DV/HDV/etc. filmmakers,  like the ones Redrock Micro and Letus and P+S have been making for some time.     I paid more for my pre-owned, classic Nikkor lenses than they cost new (in most cases, in some a couple times more) when I started looking for them on ebay back in late 2005/early 2006 and prices are still up there and got a pro Nikon 35mm body for about $35 because nobody was buying film DSLRs by then.

Download the white paper.  The MFT version is essentially built but still being worked on and they've announced a street date already (March I think, there's a similar discussion going on at personal view).     In fact, the optics are reported to be even better performing with MFT than the current Sony version.

Oh, and it's likely no coincidence when you see movie camera cars (besides the weight of carrying giant cameras, cranes/jibs, etc. and at least a few people) they're almost uniformly SUVs on big, balloon tires, compared to what I was driving.   Lower profile radial tires + KYB AGX adjustable performance shocks + Tein S.Tech lowering performance springs isn't gonna be optimal, unless you're doing a high speed chase ;)

It seems to produce very discrete flares at the light without a lot of extra internal reflections and flashing you see in a lot of the 2X adapters. You also have to take into consideration the taking lens, however, and how it plays a huge part.  I wouldn't expect my classic Nikkor to have as many coatings as modern lenses but they did produce it for a number of years.  I haven't bothered to research my serial number to see if it's one from the '70s or a later issue with possibly more clinical coating.   The same adapter, for instance, paired with my Lumix kit lens produces a modest flare when pointed into the sun.   Flaring, along with assumptions about close focusing and sharpness at a given aperture, depends heavily on the taking lens.  For instance, I'm not using a diopter here, @F/2.8, yet I'm getting much better sharpness and edge performance than a lot of posted test videos would have me believe I should be getting.  I can also get acceptable focus, without a diopter, at not much more than a foot in front of the lens.  I credit the Nikkor and it's CRC design for much of this.     A lot of the posted reactions to anamorphics at various distances, parts of the frame, and various apertures (at least where the Century/Optex are concerned) may also be more a reaction to the performance of the taking lens.  Just looking at Ken Rockwell's comparison of various Nikon lenses at the same focal length and the same aperture shows marked, huge differences in characteristics and performance...a lot of which I expect would be, as if by magic, normalized and/or improved with a diopter like the Tokina doublet, without even including an anamorphic of any kind into the equation.   I haven't been shooting with my prized Tokina simply because with my current setup gives me slight vignetting with wider lenses until my new Redstan gets here, otherwise I'd likely just put it on and leave it on for most situations.

  I'm kinda shocked, Tony.  Given that this is an optical and not simply a mechanical design to reproduce wouldn't these be in a similar boat with the knock-off designs for anamorphic adapters out there?  You pretty much universally hate those.   Just an observation, not an indictment.

  ROFL, they should say, "yes, but it'll cost you $6K."

    Seriously?  If it's as good as the initial press that's insanely cheap.  It couldn't come at a better moment either, since Canon went born again d-bag for the New Year.      Thing is now us anamorphic guys have to start looking for old, giant Ultra Panavision 70 and Technirama lenses if we want to combine passions, lol.

Down at the bottom of the "Embed" settings tab for your video, under "Miscellaneous" is an option you might try.

  Only a few years ago I'd have said both HFR and 3D would be an instant turn-off that would prevent me from seeing any film featuring especially HFR in the theater.  Since then I've warmed to the notion that certain subject material it maybe could offer an enhanced experience, even in a narrative setting, if it were carefully done.     It didn't come to mind all through this recent Hobbit hate fest but last night it occurred to me that I would actually be compelled to the theater if someone were to make a new racing epic, ala Grand Prix.     http://vimeo.com/37236984   ...to say nothing of something like Step Into Liquid.

https://vimeo.com/57306424

The Hobbit looked like video because of the high frame rate, compounded by 4K destroying any suspension of disbelief in the wardrobe, make-up, sets and props.  There's no debate on this.   3D simply didn't improve any of this it just might have made the whole experience less crap for some audiences for the novelty of feeling like they were taking part in the most expensive LARPing adventure any dungeonmaster had ever devised.

Oh, it's worse than that.   Inter-occular and convergence settings are manipulated scene-by-scene, shot-by-shot during post production.  That's where the "3D Consultant" actually does most of their work.  

  Is this a trick question?  James Cameron jumped the shark, nuked the fridge, whatever, before Peter Jackson even.  He hasn't said an intelligent declaration for the film press since he had the sack to get "the Letterbox Heresy" published.

Screens are only darker when the theater management and projection department aren't doing their jobs properly.   To this day seeing Friday the 13th Part 3 in 3D in the theater is one of my favorite childhood memories.  The craze back then, in the early 1980s played up the fun.  All the movies that were shot and released in 3D were cheap, gimicky, for fun movies.  The recent craze made the mistake of taking itself seriously and a few lunatic filmmakers thinking serious narrative and traditional, big budget tent pole movies needed it, wanted it or were any good in it.     Hopefully this weeds those fools out and returns 3D to the niche gimmick that it is so that the only people that actually use it anymore are filmmakers just doing it for the lulz and not as an extra dimension to feed their ego or pad box office numbers.   My phone shoots 3D pictures and video but it's nothing I've actually used except as a conversation piece.

This is quite exciting if they actually pull it off and get a sufficient pipeline up and functional.     So sad I didn't see a little dot on Austin in their first round of hubs.  San Antonio and Houston have Alamo Drafthouse franchises now, as do several other states and cities now, but I couldn't help notice the irony that one of the first hubs isn't in the city with the headquarters of the coolest, most prosperous independent theater chain in America, not to mention two of the coolest comer film festivals in the world (SXSW, FantasyFest).

...   Except the irony here is NVIDIA pro drivers aren't as good as their consumer drivers.  Not in Windows or Linux.  They have more features but my experience with them is they're quite flaky.  Not as bad as ATI's pro drivers but one of the dirty little secrets about professional, expensive computer stuff (both hardware and software) is that it loves to crash, takes a long time to configure and once you get it functional enough you can actually get work done with it you don't want to ever touch it again for fear it'll stop working.

Was the "Prince of Darkness" sample part of the music track you used or did you add that in?

  No, it's not.     Hack the Planet.       Your examples don't really impress me as much as maybe you were hoping.  One, I'm a licensed Houdini user and one of their, or used to be, top users worldwide, so I've never cared much what Maya ran on or how much it cost.  Too limited.  Two, I was one of the first Nuke users on the planet, version one, when it existed as a command-line only program in 1993 and nobody outside 300 Rose Ave.  could run it on anything but overpriced IRIX boxes.   I know full well what R+D and product development costs.  I'm also smart enough to recognize double-dipping.  It's their prerogative to do as they please and it's the consumer's prerogative to beware, be educated and more clever than they're being assumed to be.

  Oh really?  ATI and NVIDIA have been doing this forever.  Clever hackers have routinely been able to reveal the brains of a $200 graphics card marketed to consumers and gamers as having the same internal functions as the "pro" boards costing $2000 or more and the additional, expensive hardware functions, like hardware realtime antialiasing, etc. could be turned on and that the pro lines were largely badge engineered and priced to what the intended customers were expected to pay and not a reflection of the difference in design or cost.     They were essentially the same thing with the consumer version clocked down and sometimes having slightly slower memory but this all depended on who you got your GeForce from because NVIDIA just set the minimum spec.   Quadros, for instance, were just expensive GeForce cards (usually with much poorer drivers, ironically).  Pick the right GeForce and you could save yourself a bundle with a free bit of code.   Making fewer versions of silicon and turning off and on functions lowers their manufacturing cost.  Same thing happens in all sorts of industries.  When Ford owned both Jaguar and Aston Martin folks weren't too keen when it got out how much three similar looking cars from three different companies with vastly different price tags shared both mechanically and from the plastic parts bin.  Toyota, Nissan and Honda have been doing it in America with their badge engineered brands designed for narrow-minded round-eyes.   Sony did the same thing with TVs for the longest time too between their consumer line and the XBRs, the former having very little mark-up and the later having almost 100% in some instances.

  Obviously this is not the case.  Unless those red badges are lovingly hand made, complete with tiny bubbles and imperfections, proof they were crafted by the honest, simple, hard-working indigenous peoples of … wherever.

  Their pro division has always felt sorta threatened by their prosumer division, going back to Extended Definition Beta.  They get consumer (aside from their royal screw-up on BetaMax marketing) and they get pro but they've never really been able to let the middle ground really breath or properly react to competition or market desires, even when the jump was the difference between $5,000 and $100,000 or more.     Both they and Canon stalled releasing proper 24P options to their prosumer customers until Panasonic and JVC forced them to actually compete for real.  Now it's practically ubiquitous but they nearly dragged their feet until the DSLR revolution began and prosumer went tapeless.

Would be happier if they first did something on the order of an Andromeda before just pushing to ride the next compromise.