richg101

they dont overheat.

because the outcome of allowing us to use s-log2 at the camera's optimum iso would probably mean the camera will compete too much with their professional division. They added s-log2 for marketing reasons it would seem. bet better results will be had from writing our own profiles. I just wish Sony would introduce a professional version of this thing with proper xavc 10bit so the s-log is worth having. the new sandisk uhs-2's will handle that no sweat. forget 4k, just give us fullhd at 10 bit like the bm pocket does, but in the awesome a7 body with that evf. I'd pay an extra grand on top of their asking price for a professional firmware update offering proper x-avc 10bit.

fotodiox pro are very good I have to say. They seem to focus on specialist items as well as for the masses. I use one of their awesome adaptors for schneider 6000 series medium format PQS lenses on my A7R and am very happy with the results. I hope their glass choice lives up to the quality and attention to detail they apply to their metalwork. will probably grab one of these. thanks for the link man

kubrick had the best cameras lenses and film stock available, yet still ripped them apart so he could use crazy nasa lenses for some of his planned shots.

on the subject of smaller anamorphics on full frame. using long lenses will reduce any vignette however you will still be subjected to heavy transmission losses. a 100mm f2.8 lens on full frame with one of these small anamorphics wont show any more exposure than f5.6, even when opened up to f2.8. depth of field will get shallower as you open the aperture, but the actual exposure wont increase. - this is because the actual surface area of the objective element on a 100mm f2.8 will be around 3 times the surface area of small anamorphics like this. without the front surface area, light simply cannot be transmitted in enough quantity.

topic locked.

people seem to forget that the 5dmk3 with the raw hack delivers the best image of any camera available to the wider masses. Those who are happy with the 8bit (which sharpens up great) can use it as it comes from the factory, or go for a c300 if they want ultimate usability in video jobs. Those wanting more can use the hack on the 5dmk3 which is free. Canon know this and haven't closed down ML.

the separation you're seeing on your rear element will have close to zero negative effect on the image quality of your iscorama. You might see marginal drop in contrast, but only in very bright conditions. Don't be too concerned about it. Here are the facts:- 1. The adhesive they used on your iscorama is an emulsion based glue meaning it will actually be very very easy to separate and re glue by any decent optical firm. Also, this type of adhesive doesnt stand the test of time and could have faulted due to a change in temps from hot to cold. Having a nice vintage iscorama comes with the risk that the adhesives might no longer be quite as resilient as they need to be for repeated use in professional environments. 2. since 90% of the optic surface remains bonded, the spacing differences will be null and void. I imagine if you have any change in imaging capability it will not show on anything less than the d800 or A7R in stills mode. 3. I put an iscorama with similar separation up against a mint one a few months ago and there was no difference. 4. The separation may gradually get worse, in which case only then think about having it sorted out. 5. I've been quoted £250 to repair such a separated optic in the past and decided to leave it as it was after being informed it is not worth the bother and that the effects of the separation in the grand scale of things is tiny. The only benefit to having it redone is that you'll obtain a greater resale value. 6. I've split cemented optics about 3 times a day every day for about a year and a half. Not once has a emulsion based join been a problem. i'm actually considering rehauling my own iscorama completely this year but havn;t found the time. Ring Camserve. They have a good lead to a optics company able to separate and re adhere elements. Van Diemen are an opto-mechanical company and will just farm the work to someone else. They wont do the glass work-in house.

Thanks Rudolf:) Glad you like it man. Just testing two different 80mm lenses. (80mm is a 'normal' lens on the Forbes 70)

its more to abide by convention than to obtain a better image quality. the motion blur you get at 2x your frame rate is appealing (due to this being considered the normality for motion picture, though a lot often break the rule). Watch the first battle scene from saving private ryan and you'll see the effects of shooting with a very fast shutter. watch apocalypto and see the results of a slow shutter. its a creative choice more than a technical one IMO

Shame about the mis alignment. That flare colour is lovely. I've always wanted this lens just as a display piece - that front optic is stunning. I'd probably under light it in a glass dome and have it as a centre piece in my bachelor pad.

thanks man:) It's beyond my vocabulary and knowledge of physics to explain why I feel focal reducers don'y quite deliver the same step gradation between in and out of focus areas. I would probably trace my reasoning back to the fact that a focal reducer shortens the focal length and therefore the lens is no longer as 'long'. We're now comparing short and fast lenses vs long and slow lenses. I think the shot at 00"12 on the video above (40mm f4), from around 1.5 mtrs away shows the way the bloke with the camera pings out at you. It's definitely a sensor size issue that is creating this look. I really hope I'm wrong because if the A7s were coupled with a good reducer and hassy lenses, and this look were obtained, Forbes will remain indoors as a display item from then on!:)

Thanks for all the kind suggestions chaps. As it happens, around 8-9 months ago i was in discussion with a colleague about development of a focal reducer for full frame to medium format. Unfortunately in order to obtain adequate quality the optics would have to be large and therefore need to be seated very deep within the mirror box of the 5dmk3- to the point where the camera would need mirror removal to obtain enough room. At the time there were no mirrorless full frame cameras released. Now the a7 range is so strong I feel the development is possibly worth the investment of time, but not by me. As sensor resolutions go up, it becomes increasingly harder to create lenses that will resolve suitable lp/mm's and therefore a very high quality focal reducer that can compress the massive resolving power of zeiss and Schneider medium format lenses into a smaller area is something that will indeed be a viable commercial product. However, it should be noted that it is only the resolving power that one would obtain from these lenses in this instance. the actual aesthetic of the larger format wont be duplicated by focal reduction onto a smaller sensor. Also, the increase in lens speed is also less of a jump compared to existinf aps-c-full frame focal reducers due to the fact that in f-stop terms the medium format lenses tend to be f2.8 or slower, with only a handful being any faster.

Still yet to shoot anything of worth, but here is another 'worst case scenario' type sample. Pulled up the raw by at least 2 stops due to the light levels. Surprised how well the pocket raw files stand up to being ragged

I'm not seeing any order from you? Please email me with info on when you placed your order so I can check your order hasn't gone under the radar.

Thanks Dan:) The grip is hand sculpted to my own hand - the old fashioned way!. Been thinking about maybe casting some in ABS but lack the time to do this. The actual camera bodywork was SLS'd in glass filled nylon - I didnt fancy trying to hand build the bodywork since internals needed to be very precise to accommodate the optical assembly to a very tight tolerance

HAHAHAHA:) Don't get too concerned. I'm still building lenses daily and the 38mm and 25mm add ons for ff58 and trump58 are on their way I promise. It's just taken so much time, money and patience to develop them and then find a suitable manufacturer who can deliver the levels of quality needed for such items. This camera is not something that will take the place of DSO, it was just a sideline I've been doing in my days off and when not balls deep in lens builds - I love medium format still photography and wanted to make something that allows motion capture. There are serious limitations to the system, but its either this, or hire rates on panavision's new camera - but i don't undertake work that warrants such budgetry luxuries! A passion project, nothing more really:)

The FFD is 20mm allowing any lens to be used via a correct mount as long as it covers the image circle required. So the options are:- some medium format lenses :- Hasselblad, Rollei 6000, pentacon 6 etc 6x7 lenses 6x9 lenses large format lenses aero recon lenses The condenser is after the 70mm imaging area to deliver even illumination over the entire frame

the iscorama 36 copes on 150mm. any wider and it vignettes. Just wish I had nice footage that I deem worth sharing. Will shoot in the next couple of days i promise. 40mm f4 for the wide angle is quite crazy on shots 1m and closer.

it sounds too good to be true. and the close to zero light loss is pretty amazing. as in - if you put a f2.8 lens directly to the black magic pocket and shoot, you will end up with a very similar exposure as this hasselblad lens is delivering through all of the optics within the unit. The taking lens within the system is ultra fast, as it the ground glass and the condenser optics. what the system becomes in in effect a speed booster since f2.8 on medium format is approximately 4 times the light transmittance of f2.8 on full frame, and about many many times the transmittance of f2.8 on s16. If you can efficiently capture that glowing illuminated ground glass onto such a small imaging area you're pretty much losing no light (as far as working with f numbers and iso's is concerned) 800iso on forbes + a 80mm f2.8 lens will be a very similar exposure to 800 iso on full frame with a 50mm lens at f2.8

The only lens I know of that might come close is the 10year anniversary zeiss 50mm f1.2 for contax, or the 50mm L. even then, unfortunately they need stopping down to f2 before they get close to the hasselblad at f2.8

55mm f1.2 nikon is not sharp enough wide open to compete with the hasselblad 150mm at f2.8. It's a different ballpark all together.

Obviously we're moving up a notch in sensor size comparing a full frame sensor to 70mm, but the theory is quite accurately shown here. If one were to wish to obtain the same look on m43 they'd need a 40mm f1.2 and it's simply not possible to get a high performance lens of this type. Taking the hasselblad lens to f2.8 maintains sharpness, and dof gets even shallower. - you'd need a true 40mm f0.75 to match it with m43.