richg101

take the camera as hand luggage. put the box in your luggage. how can they prove you didn't bring it with you when you came into the US? They're too busy stopping people taking drinking water onto the plane to worry about your camera:)

but when the 1080p looks as good as 4k...

stunning. but goes to show, a camera is only as good as the shooter. If you gave this guy a gopro he'd have made something more enjoyable to watch than what most people will ever dream of creating.

Unboxings are handy. the onslaught of consumers / wannabe video bloggers with terrible manual dexterity making the videos thinking it will make them money... Baffling. I actually found this video rather enjoyable to watch. And it does pay tribute to amazing details put into packaging design most people wouldn;t ever comprehend

the difference in price is huge, and the difference in performance is very slight. 1080p from the a7s is flawless IMO. best sub 1000£ you'll ever spend if you get one. There is zero wrong with the image from the a7s. I've compared a7r2 in compressed and uncompressed raw and the difference is so small it's pointless to fill up the card with files twice the size. the 14bit raws vs 12bit raws argument becomes so tiny when you compare two cameras that are so similar yet so differently priced. ps. grab a new a7s - it'll be £150 more than a second hand one and you;ll have peace of mind. Sony make consumer products designed to break and be replaced so having a full warranty is a good bit of peace of mind.

masking tape over all of the open seams and over the glass. junior hacksaw the face of the ring with the text on it so you dont go all the way through, but you have a nice 'nearly through' slot. cut downwards onto the threaded part in line with the slot you already made. use a slot screwdriver in the slot and rotate the screwdriver so the ring splits. you might need to do this on both sides, or even three times. the glue wont be very strong, but if required, soften it with some nail varnish remover. you can also use the nail varnish remover to clean the glue off when the ring comes off

from the pictures it looks like one of the main elements has sheered or cracked due to the cement breaking down at different rates at different areas of the glass surfaces., meaning the thinner central portion has been put under stress and has given way. it might have taken a knock to start the process. If I'm right you've definitely bid a crazy figure for something that wont ever be repairable unless you find another damaged iscorama for cheap. to give you an idea, I was gonna bid on the lens and my top bid would have been $400, simply to have replacement front and rear elements for when another iscorama comes in for repair. a possible, and only a possible... it's likely that it may actually not be cracked at all, and instead the separation simply looks like a crack. If it does turn out to be just the cement then I've recently started offering iscorama recementing services - I;ve done one so far and it went well. However the work involved is dangerous, and it comes with a risk. that on top of the fact that it could be the flint element that's sheered and if so will be irrepairable is definitely something to consider before you pay the seller!.

Agreed. I'd also say that unless you;re shooting on an external recorder, 100mbs simply aint enough for a log profile and the associated hassle. With so many 'LUTs' being made by people with no understanding of what they're actually meant to do I see most s-log footage being 'lutted' to the point where the original dynamic range could have been 7 stops and the delivered result would look the same. I don;t think I'd ever select one of the log profiles. I;d rather shoot in Neutral with the contrast and sharpening dialled down and actually feed the in camera compression algorithm with something nearer the final result so more information is dedicated to detail that'll make it into a rec709 crush down. Let the zebras protect highlights and pull shadows up in post if required!:)

Cute:) - looking forward to seeing some material:) - T38 should be shipped to you soon. how did the slr magic mount work out?

The A7R2 in aps-c 4k mode is outstanding - clean to 25600iso, little to no nasties at all. Full frame is a little ropey but still good IMO, and still way better than what you'll be used to with the a7ii. I shot all of this in full frame mode on the a7r2 _ https://vimeo.com/142447881 password: scotland I was shooting with a 24mm f5.6 lens so the iso was usually at around 3200-12800 in some of the lower light scenes. As you see, the image is good, even on the flawed full frame mode. As you probably know, the still mode is unreal, and having a full frame 42mpx camera for stills and a camera that shoots flawless 4k in aps-c mode, as well as damn good (if a bit flawed) video in full frame mode is a great package - particularly now it shoots uncompressed raw in stills

ps. the earlier 85mm/2 zuiko lenses are available in 'non MC' versions. or at the very least they're not marked as 'MC' meaning the coating quality probably isn;t as refined as a later MC version. Personally I'd select the non MC version to match the older coatings on your sankor:) it would appear the 'silver nose' version is the older one. http://www.ebay.co.uk/itm/Excellent-Olympus-OM-F-Zuiko-Auto-T-85mm-f-2-from-JAPAN-109-/272022055907?hash=item3f55c72be3:g:A8IAAOSwo0JWH5x- coatings are brozy rather than blue/purple/green

does the vertical smear change direction when you rotate the rangefinder? look for any 85mm/2.8 lens. as a rule most 85mm f2.8 lenses are superb quality. The jupiter is the best bang for buck, closing to f2.8 and its a good choice. if budget allows... a 85mm/2 olympus zuiko is a nice lens

I've been doing some digging and think I may have found a very good solution for cheap point source lighting (for a nice single shadow). https://www.google.co.uk/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8#q=LED+AR111+19w&tbm=shop runs direct from 12volt dc, integrated heatsink so no fans needed, and just as important -optics designed for the emitter. 19w of power - about the same as a 100w halogen, cri of 90. A set of 3 would make a lovely miniature redhead setup since we now have cameras that are happy running at 3200iso with little noise.

even the thumbnails here show a drastic difference in resolution. the top image is smeared (take the sell by date numbering as a reference. blow those two images up 2x and the difference is even more obvious.

Your 24-70 lens WILL NOT match the resolving capabilities of the samsung lens. It just won't. The 24-70 will have been designed with an approximate 30lp/mm onto a full frame sensor. full frame capability of the lens 30linesx2pairs x 36mm(sensor width) = 2160pixels (wide) optical resolution onto full frame apsc capability of the lens 30x2pairs x 24mm = 1440pixels (wide) = not even full hd resolution Add to this that the lens is marketed as a digital and film lens meaning it's not optimised for either, its a middle ground. It was also developed before 35mm sensors were any greater than 4mpx. It's old technology. Red strip or not, it aint a stellar lens by modern standards The samsung will likely have been designed to 60lp/mm meaning for the same image area 60x2 x 24mm = 2880pixels wide. immediately the lens is delivering 2x the optical resolution onto the same image width, and 4x the optical resolution onto the total area - That's a big difference. The samsung will have been developed to cater to the 28mpx sensor of the nx1 - some of the most tightly packed pixels on any sensor yet. It'll also have been designed specifically to be APO corrected for the thickness of the sensor cover glass. I'm not saying the A7R2 matches the overall res of the nx1 - it's clear the nx1 is doing great things. but when attempting such a test you should always use the same lens, or at the very least, if one camera is being used with a lens optimised for it, both lenses should are optimised for each camera. I'm pretty certain that if you;d used the 55mm/1.8 on the a7r2 the results would be closer.

in the lens dept the samsung has the edge. the canon L lens designed for 24x36mm and without being corrected for the cover glass of a digital sensor used on aps-c will struggle to match the optical resolution of the modern samsung lens which has a greater resolving power into aps-c (2x the Lp/mm). I think some of the contributing factor in resolved detail is actually in the glass dept.

same lenses on both cameras? were you exposing for +1stop over with the a7r2? s-log is noisy when not exposed at least 1 stop more than the ev meter suggests. also, with careful sharpening in post (when both cameras are set up with their optimum internal sharpening applied), the a7r2 is very allowing of harsh sharpening in post. I couldn;t really understand which images were from s35mm or ff, but ff tests are moot - the a7r2 aint a good cam for full frame 4k

here here! The moment RED announced the vista weapon and the alexa65 arrived the benchmark for cinema went up.

the sensor area in aps-c mode (or any part of the frame less than the full sensor width) will be an upscale. you might have a 4k file, but it wont be from a 4k sensor area. You might find that a central crop in the zoom mode (2.7k upscaled to 4k) is higher res than the aps-c 1080p mode (2.7k downscaled to 1080p). or the clearview zoom might actually degrade the image too much to make the bypassing of the 2.7k-1080 downscale worthwhile.

it says on dpreview that its got v-log L curve for movie mode

full size hdmi! huge body, i love the styling and size. I wonder if the sensor glass is thinner so it works well with their premium M mount lenses via adaptor?

very cool. super efficient shoot schedule there!

If you plan on shooting with the correct exposure / wb and with minimal crazy grades I'd look no further than the a7r2 and a battery grip for prolonged power. rolling shutter is there - in in copious supply, but a7r2 and sb ultra in s35mm mode is an astounding imaging device for 4k. I expect rolling shutter is a little lower than that of the a7s2 in full frame mode. at 25,600 iso I'm amazed how good the a7r2 is! go any higher than 25600 on my a7s and it may look usable, but actually looks horrible in most instances. the mk2 is only a very slight improvement from the tests I've seen so far. I only say this to bring your attention to the a7r2, since this is infact a closer match to the fs5 and ursa due to the ability to shoot 4k onto s35mm. the a7s doesn;t allow this and therefore limits its use with a lot of cinema primes if you ever plan on using them.

I agree. this little lens is a great setup - you;ve rectified it's only flaw with this mod. And i imagine the hassle of getting it to sk grimes and back, as well as his work cost a pretty penny. The strong english pound isnt gonna help things for your sale, but as a 'character' anamorphic lens the b+h can't be beat IMO. having quick focus mod on it makes it rather tasty - particularly for users of the bmpcc and gh4

closely mating the element faces will result in better image quality due to the fact that you;re using the central portion of the anamorphot. spacing it further will allowyou to use a greater amount of the anamorphic glass and in a lot of cases get more anamorphic aesthetic. more distortion, a little more smearing/CA, and in some cases a perceived shallower dof when your subject is positioned in the centre of the frame. I personally love the look of a anamorphot being pushed towards its edge limits!