richg101

I'll rephrase my comment.     The 4k bmpc will probably be delayed due to being their flagship camera which they will need greater control of manufacture, hence using a smaller more specified team of assemblers, maybe in Austraila.     The pocket, at its price point could only be manufactured in the far east, and in large quantities, otherwise NO profit will be seen).  I'd imagine what ever plants they have chosen will have a minimum order of 1000 units of each component, probably more.  I see this situation:- No one plant will receive data for all the components, but instead maybe 3 or 4 plants will all handle individual boards.  Then a final plant will undertake the assembly, packing and shipment.   Our deposits will likely fund this initial outlay, paying the plants per unit (which i'm perfectly happy with).  The 3 month lead time is probably an underestimate, but i bet its close to this!

the pocket camera is at a price point where they will have to have subcontracted another manufacturer to undertake the work in the far east. i seriously doubt the pocket will be assembled by the same stretched plant who were assembling the original bmcc. At the price point no where other than the far east could handle manufacture of this camera within budget (I assume if retail is $999, wholesale is $499, and manufacturing is probably $50-100. Since the profit margin for bm is low, they will need to sell lots to recover development costs and start to see a profit. Hence they cannot allow it to get to a point where orders are cancelled. Only the far east could deliver the quantities required for an item of this price point IMO. The chinese plants deliver. and BM will have contracted a trustworthy plant and probably have australian techs in there full time

I literally cannot wait.  All I want in a battery grip type lump on the bottom, shaped to match the styling of the camera, in order to add some ballast when the m4/3 speed booster, FF58's, PS35's and SB85's + isco36 go on there!     10bit 422 is a dream for me in such a package.  this is exactly what I wanted the nex hack to deliver.   

I had been hankering for an Ikonoskop, but put a deposit down on the pocket cinema camera as soon as I was told it was on CVP.  #4 on the CVP waiting list!  Whoop!

If it gives 10bit colour, s-log, s35 crop, and is half the price of the 1dc I'm in!

That is outstanding for the century and a longer lens. Is this 5dmk3? ps. has the little ff58 arrived yet mate? Your 2x oval aperture will really be nice on the century, especially with a diopter.

in my experience a 35mm f2.8 taking lens is very well suited to the century.  you'll need to stick with f5.6 or above for sharp, but f2.8 is usable.  you'll need a tokina to gain focus good enough to read text on a computer monitor from less than 2 meters.  it's stuff like close up text that struggles most with the century.     this is from an aps-c user.  so a 28mm f2.8 will probably result in similar quality from your gh3.  and results will be better due to your smaller sensor.

http://vimeo.com/63207859

Hey guys.     Sorry for the late reply.  please email melting_bloke(at)hotmail.co.uk requesting to be added to the waiting list (let us know either Dslr or PL mount.  We're about to start going through the waiting list taking orders again.  We just didnt want to take orders and have people sitting around waiting for something they have paid for.:)  

Stunning! 

indeed very cheeky.  has anyone reported him?  

yes.  the fundamental difference is that the log profile is what the sensor see's prior to any processing.  therefore the log profile maintains all and more of the information that would be captures in a non log profile.     with the ridiculously low contrast lenses the sensor often might not even pick up shadow detail due to the lens milking over detail in the darks.   the main factor to these lenses is that they are introducing negative effects on the image seen by the sensor.  it is image degradation in the same way shooting high contrast in- camera kills shadow and highlight detail, only in the physical domain instead of with in-camera processing.

Hey aelxcosy.   Re. the lens options.  Ultimately the quasi f1.5 'extreme' was originally conceived to work alongside the iscorama 36.  amber being specifically to work in unison with the single coated amber flare of the isco36.  The quasi f1.5 in non tinted, 'stupid' low contrast is really really milky.  it absorbs the natural hue from surroundling light sources and creates a cast matching the natural tones of the lighting.  using with an iscorama (which i feel is a little clinical when put up against a lovely little 8mm anamorphic) the quasi f1.5 makes the whole thing a lot more intergrated and unified 'as one' instead of looking like 2 lenses (a anamorphot and a taking lens) working together and each imparting their own look.   without an anamorphot the quasi f1.5 creates a Log type look, without the information being there to pull back in post.  so you have a baked in log/milky aesthetic.  boosting contrast/saturation 'in camera' while using a quasi f1.5 creates an interesting bastardised look.  the exact opposite of a contrasty lens used on a camera shooting log then bringing back contrast in post.  This creates a natural analogue / lo-fi feel which is created in the physical domain (with glass and light) rather than within the digital domain (with grading, overlays, and gamma adjustments).  The lack of information in the shadows is not rendered as noise, but instead a little bit of exposure that wouldnt normally be there on a more contrasty lens.   A variable standard aperture can be created into almost as low contrast as the quasi f1.5, and this is certainly the best option for someone who is a bit unsure.  The quasi f1.5 will need a variable ND filter on the front if you are the type of person who likes to maintain an optimum (base) iso and shutter speed of 1/50.  Though as Andrew Reid pointed out, over exposure is nice on this type of lens since it doesnt look quite as harsh as with a typical lens, and seems to make the aesthetic / flare properties more prominent.  

Hey @quickhitrecord / Nick.   Thanks for your kind email earlier.  It was very nice to hear such positive things.  I have to say, I was not happy packing your lens up after playing with it for only a short amount of time!   Hope you enjoy it man

stunningly sharp mate.  

  you nailed it in one. "For instance, the voice that cracks because it is expressing emotions that go beyond the capacity of what the lungs and throat can bear". What a lovely analogy.  The limitations of the lens, and the potential for the image to be degraded in a baked in fashion where no amount of post processing can bring it back to how it would look if shot on a set of master primes or cookes certainly imparts a physical aesthetic largely beyond the control of the camera operator and post production guy.  I've not being able to take advantage of this personally (within video terms), but having a raw file with massive information to be pulled around, bring ing back the contrast lost optically by the lens creates a very tangible and physical feel.     The standard Helios is an amazing lens.  One of the best.  And as said in our faq, we are degrading the results from this old benchmark lens, considered by most to be a go-to lens for nostalgic appearance.     here is a direct comparison between a standard helios and a ff58:- http://vimeo.com/62310544   And the new owner took this exact lens out on its first expedition last night, linked to a little kowa 8mm anamorphic lens:- http://www.flickr.com/photos/_tee/8593794794/in/set-72157633099963600

  Thanks for the lovely write up Andrew.  We're looking forward to seeing you ragging the gradations with10bit colour on your bmcc, in moving picture.  The sunset shot is rather fetching.  makes me want a large glass of OJ!     @ Wombi.   I understand your point.  There is such a thing as 'too much' and 'cliche'  But 99% of what you see in this style has been worked in post to give the look - especially in video/movies/commercials.  Even a layman can sense a digital post production workflow overlayed over something shot on super contrasty zeisses.  It's very hard to successfully mimmic analogue and physical lens flares and characteristics.  It gets even more exciting when you start to pull the footage around and start adding contrast back to the image shot on a flat/milky lens.  Raw will be the key to getting the most from these lenses, and hopefully soon we will all have access to raw movie capture.           

nice job on this.  we tried for a streak along with ovals on the oval ff58 but didn't feel the results were worth it.  we are gonna introduce an affordable streak filter specifically for use by owners of the ff58 oval aperture version.    

Hey guys.   Cheers for the responses.  Sorry, I been very busy trying to maintain schedule with myself and the team so have not been here very often..  I had literally no idea there would be such a buzz on these.  Looking forward to seeing the results from some of the eoshd customers configs:)  

I love this.  And your model is beautiful.  I want a nikon 1 now!

  When Hans showed me this beast a few nights ago I got serious lens envy.  It indeed looks like a lens not possible to have been made in large quantities.  the way the elements look as if they are beautifully ground and glued by hand.  It's the biggest curved rear element I have ever seen.  Can you shed some light on the reason for it being called the '35' version?  would this have been made for 4 perf 35mm?  the 1.75x squeeze rating seems strange.  but the 3:1 ratio is the best IMO.  3.55 is too much.  3:1 is lush

I love this lens.  a beautiful lump of glass. so heavy and well put together.

Doing some research, these lenses were used in some underwater scenes on Bond 'Tomorrow Never Dies'

It's nice to see your results with the lovely iscorama.  to me a wonderful tool.  the low light anamorphic king.  sharp enough at very fast apertures and no light loss.  When you finally pull the trigger on an iscorama I think you will love the flare factory modifeid helios44 I sent Andrew Reid (optimised to make iscorama a lot more rustic and lower contrast).