richg101

[url="http://www.vimeo.com/meltingbloke/videos"]http://www.vimeo.com/meltingbloke/videos[/url]   the first two are the new ones.  a few old ones too.  almost like a public service announcement for those who have not tried matching zeiss to their iscoramas.  Contrary to what a lot of people say, I think it is quite nice using razor sharp lenses with the Iscorama.  It seems to like them, and doesnt affect charpness very much at all..  Though these vids are more to show flare characteristics, previous videos show the zeiss/isco combo's sharpness more obviously.

28mmf2.8=£50 35mmf2.8=£60 50mmf1.8=£40 100mmf2.8=£70 GH2 is significantly more money than the nex5n on both used and new market from what I have seen New 'body only' nex's can be had for £300. The same GH2 offer is £500. And lenses cost more for the gh2 because you not only need to go wider, but also brighter. you need a 21mm f2.8 on a gh2 to match the width as on a 28mm f2.8 on the nex. the 28mm f2.8 zuiko is about £50. try finding a 'wide angle' f2.8 (or faster ideally for the gh2) (to get the same width as a 28mm on the nex) for less than £150. Maybe I was a bit over the top in saying it would be twice the price, but there is certainly going to be a £200 difference in total when you factor in a set of lenses which need to be wider, and the currently more expensive gh2. People need to also consider than since this is a film course, the thread author will hopefully be learning how to light a scene, and set wb to obtain good results out of the camera, nullifying some way the reasons for needing higher bitrates. To me, the fact that the film course will likely have some tasty lighting such as kinos on tap, while the user is still likely to be working in tight spaces such as homes of his and his friends, in this instance the extra width from the larger sensor comes out on top and is more valuable than high bitrates IMO. If exposed well, the very flat 'portrait -3-3-3 profile' 24mbs avchd can be cranked in post to great effect.

It's a coin toss IMO.  GH2 is more expensive, can be hacked, but lens choice is more limited due to smaller sensor.  Nex5n and a set of olympus zuikos from 28, 35, 50, 85, is gonna be half the price of a gh2 and having to go slightly wider and faster in the lens dept due to smaller sensor and less sensitivity and the superb flat profiles available in the nex5n.    Give a nex5n and a gh2 good light (which will be a main factor of your course) and there will be little difference in quality.  the nex5n might have the edge in smaller confined spaces due to allowing wider field of view.

After the horrific picture quality of the vg-900 I saw on the recent EOSHD BMCC test things went cold for me on my opinion of the vg-900.  however i just stumbled upon this:-    [url="http://www.vimeo.com/54131282"]http://www.vimeo.com/54131282[/url]   bigger quality mp4 file can be downloaded for proper reference.  I have to say, I find a lot of what I see here rather stunning.  and i am now getting more interested in the vg-900 again.     what you guys think?  

Im running a hackintosh.  I had £1000 to spend including OSX Lion, mac keyboard and case.  Im running cuda (the cheapest mac compatibale card) and an overclocked i7 2.8, 16gb of ram and ssd main hd.  never look back.  tonymac86 all the way:)

ditch the handheld stuff and stick with the locked down shots and I'd have been fooled into thinking this was a big budget.  superb colors.  amazing look overall.  I just felt the handheld stuff kind of goes against the big budget cliche look of westerns in general.    

http://www.vimeo.com/54368431 A short that I made about 2 months ago. This is a short cut of the full 25minute documentary.

[quote name='ScreensPro' timestamp='1353761934' post='22242'] I'm sure most of you have seen this: [media]http://www.youtube.com/watch?v=UB8ulHWBWsU[/media] Definitely has a special look.... Not excatly filmic, but not video either. [/quote] to be honest, with the production values on this piece you could get equal results from any current dslr with 1080 capability. this aint 3-4 guys playing with a hdslr, this is a full commercial budget short that cost probably as much as a 30 minute bbc drama. looks nice though

even though the guy got given a pre production camera, just like most of the guys who got gh3's, he probably hasn't got a clue how to get the most out of it.

anyone who thinks BM will follow up with such a cheap offer on their next camera will be sorely let down. I recon the BMCC pricing could make BM really struggle in the future when people complain about the price of their update that will actually need to make them money. I seriously doubt BM are earning enough profit from sales of their camera to make it economically viable. the sums don't add up. and their manufacturing facilities won't be able to cope with the demand. they'll have to go to china and then get ripped off due to not having the size or power to maintain security by running the plant themselves 100%. just takes 1 clever chinese floor manager to rip them off and ruin them. without the might that Sony and Canon have they wouldnt be able to stop a copycat product. BMCC inaccurate pricing has created a false sense of value for money which will affect the profits and technological output of all other companies. a canon 1DC will bring in a lot more paid work than the BMCC will. the price structure reflects this

[quote name='Leang' timestamp='1353582801' post='22105'] Here's what's funny. Every dealer gets a nice cost by volume. If I was a sales kat for said retailer let's just say for example that the cost for a 1DX is $5,200 - and the retailer sets it at $6,800. ok... sounds like ordinary high dslr profit... But then when you learn that a 4K version of it at about twice the price, and from my understanding the exact same build, but different firmware, that's a rape in manufacturing scheme! I'm wondering how Canon set the cost for retailers on the 1DC in justifying a "firmware" difference. Think about it. It would be bad business politics if they set the cost for the 1DC around $7000. You then see the profit gain from $12K. or who knows. what was the S-log price upgrade for the F3 when it was offered? premium pricings for firmware upgrades are one thing, but exagerrated ones are another! or can anyone justify the cost for this weird body scheme? [/quote] it's a simple fact of "you pays your money, you get your camera" most retailers will not hold stock - it will be special order. Canon have simply priced it as a professional flagship stills camera for 7,000 and a motion picture camera bolted onto the back for another 5,000. find a 4k cinema camera that can serve paparazzi, product photographers, fashion, commercial and wedding photographers in the still photography domain. for that matter find a 4k ready motion picture camera for under 5,000 as it is. then find one with a full frame sensor? and a near waterproof/dustproof body. if the full hd of the 1dc is nearly as good as the c3oo it'll be a bargain. what will be eben more of a bargain is if ML crack the 1DX and open up the same specs as on the 1dc.

[quote name='EOSHD' timestamp='1353504320' post='22066'] I'm testing the Ikonoskop tomorrow :) [/quote] Hi Andrew. Please can you do me a favor and test it with a century style anamorphic on a 16/25mm taking lens? I'd be interested to see how this adaptor works on a 16mm sensor..

@ brucker. To be honest i think using your nikon 1 could have its advantages. get a century and a nice fast 16mm taking lens and it'll probably create some lovely images due to the smaller sensor. the 16mm on the nikon 1 will look like a 35mm lens on a s35 sensor due to the crop of the nikon. 35mm is a nice all round lens and with the extra 33% width you'll have a similar horizontal field of view as a 25mm lens on s35. this is wide. 90% of the time it will be too wide:) A tokina 11-16mm f2.8 and century on your nikon 1 would be amazing! though quite expensive:)

I was of the same opinion. But then found out Wilkinsons cameras are offering interest free on the 1dx. When the 1dc comes out it will probably be the same. based on current preorder prices in america the 1dc works out £1500 more than the 1dx. People waste £8000 interest free on a new ford fiesta!, I'd rather cycle on my pushbike and have a 1dc which can take photos at the most professional level before medium format, while also shooting lovely movie (maybe only slightly better than the 1dx, but I think the 1dx looks rather good.:) ). I recon shooting 4k, applying some softening to the 4k and downscaling in post to 1080 will yield some nice organic stuff. There is also the added benefit of having 4k to fall back on and remain current a few years down the line. I think if I had this costing me £150/month on interest free for 4 years I'd be making sure I was getting the work in to pay for it. I recon it would still be a viable tool in 4 years.

certainly the best value for money camera at the moment. Industry standard stills, with ability to shoot 4k. I'd probably buy this of all the cameras on offer at the moment.

Well done Andrew. What a shame about the vg-900. to me the poor image quality of the vg900 was more of a surprise than the difference between the fs100 and the bmc. If only the BMC had been built into a housing like the c100/c300. they get everything right apart from their stupid physical design.

trying to recover costs of paying for 4x4 tiffen nd's I considered creating some dumb adaptors with slots to accept some cut down tiffen filters (cut into quarters 1"x1") which slot into the adaptor itself. a wheel of variable filters would be clunky, but a set of micro tiffens (professionally cut) out of bigger tiffens (bought at trade price) would sell well i imagine. Just line the slots in the adaptors with felt and it'll work great. Sod 4x4's :)

[quote name='BurnetRhoades' timestamp='1353284294' post='21910'] [img]http://www.eoshd.com/comments/uploads/inline/13968/50a97ac24a62d_YESSSS.gif[/img] [/quote] SLR magic wont be able to manufacture something like the Iscorama for less than twice the current going rate of a used iscorama on Ebay. Even at £3000 for a new anamorphic exact copy of the iscorama 36, and/or a set of matched primes for £3500 a pop, PL mount, they would sell lots. I'd happily do a feature film and know it would be good enough for the big screen using my Iscorama + Zeiss primes on an Epic or Alexa. Problem is, SLR magic might struggle to market to this end of the market

thanks for the comments. @pju, this is interesting. and could make or break the project

thanks for the comment. very true. if needs be, the lens / or drive circuitry will be left attached and housed in a compartment. the risk is worth it IMO. being able to run a f2.5 angenieux 10-150 cine lens is gonna be lovely. and a set of Cook primes. he has a set amounting to over £3000 so gonna make it work. otherwise the only option is ikonoskop i fear. Nikon v1 is an option, but isnt a match for the image quality of the sony rx100

I am about to undertake a rather outlandish project for an owner of a load of 16mm arri standard mount lenses. He wants to use them digitally (he originally used them on a arri 16mm camera), cost effectively (ie, cheaper than the ikonoskop). Looking at camera options we are limited. we need a sensor which is close to the same size as 16mm film. So far the Sony RX100 seems the best move. it has better image quality than the nikon 1, but has a fixed lens which will need to be removed to allow access to the sensor. The idea is to mount a de-lensed rx100 into an aluminium chassis, with a sony e-mount fashioned onto it with a 18mm flange focal distance. applying an e-mount will mean he can then use any e-mount lens adaptor (ie. a emount to arri standard adaptor). The aluminium chassis will incluse an arri rosette for mounting of a side handle, and will also have a number of 1/4" threads on there to all evf's and other stuff as well as tripod mounting. I will also create a sturdy fixing point to allow mounting of a loupe to use the existing screen (with peaking) as a proper viewfinder. I'm gonna go with a footprint to match edelkrone's micro rig, so it will be around the same size as a typical dslr. Does anyone have any comments? any interesting ideas / features I should employ?

http://vimeo.com/53689385 not yet watched it but hopefully they will cover some in depth stuff

Grab a century, have some fun. after a few months you will know if it is worth upgrading or not. as stated, slr magic need to aim these at the hire sector. make a front element that can handle large sensor and wider apertures and stick it on a selection of matched taking lenses. or a straight 2.8 35-70 zoom. There are not enough people willing to shell out over £1000 for one lens. but plenty would hire a set meaning plenty of hire companies will buy them.

as suggested by [url="http://www.eoshd.com/comments/user/21340-bioskopinc/"]Bioskop.Inc[/url] in past posts, a wide prime with a series of matching diopters to get closer would be nice. an f2.8 35mm monoblock and a set of diopters (+0.5, +1.5, +3.5) would be a nice little package. 35mm is a nice all round length. and for closer shots where you want a bit more of a portrait feel a +1.5 diopter from 1.5mts away on a 35mm focal length would give lovely close face shots with nice bokeh.

[quote name='jgharding' timestamp='1353061277' post='21762'] I like 2.66:1 plus it makes longer waterfall and more oval background, but I'd not say no to a 1.33 with no dual focus.. Dual focus is a pain, just getting to play with a Moller 32 now, looks lovely but it's slow. 2x stretch is bonkers, but you can just crop the edges off. Screw Iscorama's old patent, they should just that method and use the money for the patent case when they clean up. Same goes with Kodak optical reducer patent, I mean those guys are flogging all their stuff, someone needs to buy that patent too. ;) The SLR magic has OK flares, the Apefoscope ones are just too too much at the moment. There are times when you want a lot of flare as an effect, but those are all over the place and pin sharp, great work on the project so far, kudos for doing it too! those flares need some serious taming in order to be aesthetically balanced though. Also waterfall style oval bokeh is pretty essential to the look of anamorphic, I'd say moreso than the flares, it's what creates the milky depth... [/quote] What with Schneider owning Isco (and its patents) I imagine they would be pretty hard to fight if a patent were breeched. A patent is a patent. Why should some new guys (particularly a chinese company who are already annoying a lot of established and well respected pioneers with release of price undercutting products) profit from some very hard work done 40 years ago? Why should such companies be allowed to profit from others' work while also putting in jeopardy the future of these proper companies and the likelihood of new products? Anyway it's hard to modify a concept like this without it being very easy to prove where patents have been breeched. Copying a dyson cyclone technique leaves a lot of variables as get out clauses. copying and slightly modifying a set of lens elements in series, with one rotating for focus is a lot harder to do without it being obvious. If SLR magic come up with a fresh design themselves it will hopefully change my blighted opinion of Chinese manufacture and 'innovation' into something more positive. I get sore about topics like this because when a consumer aimed company (SLR Magic) might start to interfere with the profits of the high end established firms they end up watering down the overall top end innovation - consumers need to be patient and wait for this to trickle down to their level. Stealing just 1 sale a month from Hawk, Panavision, etc is a lot more damaging than people would think, and would be horrible to see if that sale was gained from the illegal use of intellectual property.