QuickHitRecord

​Yes.

The password is "B&H". Without the metal ring, they weigh 19 ounces.

Updating with photos. Lens I: Lens II: Lens III: Lens IV: Lens V:

Here is a link to my eBay account (329 transactions with 100% feedback): http://www.ebay.com/usr/shaneintherain

Up for sale are five unmodified Bell & Howell Anamorphic Projection lenses. I bought them a few years ago hoping to modify them and make them available to the anamorphic community (you can read more about that here: http://www.eoshd.com/comments/topic/6411-bell-howell-16mm-anamorphic-lens/ ). Unfortunately, the costs and turnaround times were prohibitive, so I had to drop the project. But they are still great lenses (single focus!) and can create nice images in the right hands. While these lenses are readily available on eBay, it is difficult to find a decent copy. These five are the better of the nine or so lenses that I have owned. None of them is pristine, so if you are looking for a collector’s item, you’d best look elsewhere. But they are all functional. I’ve priced them according to condition and image based on what I have seen them going for on eBay. These lenses are all fungus-free. Note: I don’t have a macro lens with me right now, so I haven’t been able to shoot close ups of the glass. I will describe them in as much detail as I can. I - The best-looking of the batch. This one looks to be in the same condition as the one that I modified for myself. There are VERY faint cleaning marks on the front element (visible only if you hold it at a certain angle). The rear element has a very faint streak towards the edge (about 1” long). Not sure if it is a scratch, but I haven’t been able to remove it by cleaning it. Focus action is smooth. Comes with original box, and silver ring. - $200 II - Bronze finish instead of black. Slight cleaning marks on the front and rear elements. Very faint smearing on one of the internal elements (may be able to clean it). Some internal dust. Focus action is smooth. Footage looks as good as Lens I! Comes with original box, and silver ring. - $175 III - Black finish has been removed from main body, making it gunmetal gray. This lens has been lots of cleaning marks on the front and rear elements. Some internal dust. Focus is a bit uneven. No box, but comes with the silver ring. - $125 IV - The previous owner superglued a 49mm step ring onto the rear. I haven’t been able to remove it. There are lots of cleaning marks on both front and rear elements, and some splotchy markings in the coating on the rear element. The rear element has a rainbow-colored sheen on it that I have not been able to remove. I also see some internal haze. Focuses smoothly. No box or silver ring. - $75 V - Front element has moderate cleaning marks. Rear element has cleaning marks, and the coating is worn out in a streak right through the middle of the lens. The internal elements appear to be a little hazy. Focuses smoothly. No box or silver ring. - $75 Here is footage of all five lenses (with a quick rack focus test and tilt to demonstrate glass clarity; clearly some are better than others), all at f/2.8 with an Olympus Zuiko 100mm f/2.8 on my 5D3 (raw): PW:B&H Price includes shipping anywhere in the continental US. I’ll take payment through PayPal (as a gift).

I have been thinking about this lately as well. It seems that the more gear that we acquire, the fewer personal projects we take on. Lately, for me, the idea of only owning three primes is suddenly very appealing. And for all of the thousands of dollars that we pour into shoulder rigs, monitors, follow focuses, etc, shooting with a stripped-down camera is extremely freeing. The pressure of creation is off, and the limitations become exciting. Taking this a step further, I have been thinking a lot about taking on what I'm calling the "1450 Challenge": for my next personal shoot, all camera dept. gear (including lenses) must fit into one Pelican 1450 case. Also, I agree on your point about computers. As an experiment, I recently sat down at the dining room table with a notebook (a paper one!) and a ball-point pen. I scribbled an outline for a feature film that I have been wanting to write and got more done in four hours than I had in the last four months while sitting at my computer. And then as soon as I went back to type the whole thing out in Celtx, the process slowed right back down. Less is more.

I have been following the Nebula 4000 thread over at DVXUser. It gets good results when it works, but a lot of people have been having trouble with theirs (and then trouble getting a refund, in some cases getting to the point where the retailer was getting verbally abusive). I would definitely take a look at that thread before buying one: http://www.dvxuser.com/V6/showthread.php?330675-Micro-Gimbal-for-GH4-BMPCC-A7s-699-USD

I only shoot in raw with the 5D3. I haven't tried to push it beyond 1080P.

​The 5D3, and a 256GB KomputerBay CF card. I'm pretty happy with this setup. I only wish that the camera had an articulating screen (but the BlackMagic cameras don't have one either).

It was a pretty simple decision for me when I faced the same choice a year and a half ago: the BMCC (both models) and BMPCC have problems with color moire. The 5D3 shooting raw does not. Though at this point, I'd personally wait another month to see what is announced at NAB.

I enjoyed that, and I don't care what it was shot on. I connected with Ed's personal insight. Good stuff.

Nice work!

Here is what I do: mount MLV files with MLVFS (you can do this while they are still on the CF card), import them into Resolve, apply BMD Film 4K color space if desired, dial in white balance and exposure, export to ProResHQ or ProRes4444, and use these more manageable files to edit and grade as normal.

I was recently on a similar quest and I ended up buying a pair of Alzo 3200s (200w daylight-balanced, open-faced LEDs). They are not the highest CRI lights out there, and there's a definite green spike (this was shot at night): I've lessened it with 1/8 minus green gel: I opted for these over the 3300s because they don't require a ballast. There is some fan noise, but in the one thing I have shot with them so far, it hasn't been a problem.

Ebrahim, here's a download link with raw frame grabs from the 5D Mark III straight from the camera: http://adobe.ly/1vPe9Ub

From past shoots, I've seen some minor aliasing from the 5D3 and the C100. I didn't see any from the FS7 during my short time with it. ​I agree, I think that the C100 is too sharp on its own for most narrative work (though, it's perfect for corporate work). The 5D3 has a certain mojo in this regard that the C100 lacks, which is why I keep it around. Regarding exposure on the C100, I remember checking the waveform and putting her skin at 70 IRE. It's definitely brighter than the footage from the other two cameras, for which I did not have the benefit of a waveform while exposing my shots. I looked at the original C100 footage and I didn't see any blocking. Must be a Vimeo thing.

​It's not a "grade". I did not touch the colors for the FS7 and C100. I referenced the scopes to push exposure to be as consistent across the three clips as possible for the sake of comparing the footage.

​The Wide DR on the C100 is in-camera. The 5D as it appears out of the camera would give weird skintones. It's like a placeholder LUT applied since it's in raw. I just changed that LUT. Good point. I looked at the settings and it deferred to 720P. I've updated it to 1080P.

I had the opportunity to rent an FS7 for a shoot and in the down time, I tested it against my C100 and 5D Mark III (with ML raw loaded): There is additional info in the video description for those who are curious.

Unrelated to the Amira, but I did a test shoot with the FS7 this past weekend (SLOG3), comparing it with the Canon C100 (Wide DR), and the 5D3 (raw). I standardized everything as much as I could during the shoot, but I'm not sure how best to treat the footage in post for a direct comparison, especially when dealing between a mix of LOG and non-LOG clips. I could grade everything to look about the same, but I don't see how that would be useful to anyone. How would you tackle this, Ebrahim? Perhaps this deserves its own thread...

How about using that GX7 in your picture? Seems like a great camera for what you are talking about, and you already have one.

I like this one because it doesn't require anything placed underneath the camera like a lot of flip-up loupes do, which allows me to use a quick-release plate of my choosing (in my case, I like the low-profile and anti-twist features of the Really Right Stuff arca swiss plates).

I use this one: http://www.kinotehnik.com/products/lcdvf/overview I have been pretty happy with it, and the price was right.

Here's what Sekonic's DTS software is telling me about my 5D3 (shooting a Sekonic Exposure Target II with my L-478D meter): H264:BMDFilm (4K):BMDFilm (4K) + CineLog LUT:All three stacked: There's more in this thread that I started on DVXuser: http://www.dvxuser.com/V6/showthread.php?331363-5D3-Dynamic-Range-Raw-and-H264

Premiere or Resolve for the edit and Resolve for the grade. No cages here either.