richg101

wow. he made a mountain out of a mole hill when he described what most of us would call a crop. quite silly really -they threw away 1/3rd of their sensor. I thought the image looked less organic for a 2.40 aspect ratio. a bit like Prometheus. Re. Upscaling. I have played around with a 4k film grain overlay on top of nex5n footage and it really does add a perceived increase in detail. I imagine whatever they used in the post production of the alexa files would have made the most of the non 4k original files. I certainly didnt see any issues. looked superb

Great looking film. amazing locations.-particularly the finale set in scotland. amazing! I'm not one to be taken in by the 4k marketing. but to those suggesting it was soft, it's a matter of opinion. being anamorphic it will be slightly softer than a non anamorphic picture. also, your theatre may have had a badly configured system. It certainly wasnt soft

nah.. Digital isnt really rubbish, but in comparison to 70mm film it is! http://uk.imdb.com/title/tt1560747/technical I just saw the trailer for 'The Master'. Wondered why it looked so good and checked the specs. Panavision Super70 is the answer. Just WOW. Wonder what Hasselblad lenses were used?

also, strange they say one image is taken with their .95 50mm, then the other is with their new anamorphic lens prototype. the image is a wider aspect ratio than the .95 50mm image but the person on the image is wider in the anamorphic shot. looks like they just stretched out the normal shot does it not?

no oval bokeh... they must have gone with a cantury / la7200 type design and achromatic'd it up a bit. looks sharp... too sharp..

http://www.personal-view.com/talks/discussion/4466/most-wanted-anamorphic-lens/p20

http://www.youtube.com/watch?v=6ryZataJ1GE&feature=g-high-u shows the vg-900 in full frame mode using adaptor with aperture control.

[quote name='Leang' timestamp='1351881528' post='20893'] My point is that the LA-EA3 is like a dongle key so that the body recognizes FF activation. Like an encryption. FF lenses bodied to APS-C adaptor endeavors seemed easier to manufacturer since the sweet spot of the glass is centered. FF coverage is literally wanting the actual lens. I just think Sony is playing smart hardball for proprietary protocols they market. I hope I understood you correctly. [/quote] You dont need the la-ea3 to use full frame. if you use a e-mount aps-c lens then it auto crops to aps-c mode. if you use la-ea3 it allows full frame when using alpha mount lenses. if you use non sony lenses then its auto to full frame. you can select aps-c crop if you want, or leave it at full frame if you lens works on full frame. (most vintage slr lenses cover full frame with no vignette. My zeiss qbm mount worked great. looked superb

there is already full frame adaptors for all mf lenses. (e-mount to whatever you want). MTF already makes a adaptor for ef to e emount with aperture control. metabones will probably make a mofied version of theirs too. search 'camera diner' on youtube. its not up yet though. I think they normally upload the day after the live show

search out the 'camera diner' episode from last night. nex e mount special. probably being uploaded right now. it was live last night

I have seen the vg900 with voigtlander (leica mount), Zeiss (c/y and qbm mount) and canon L lenses (EF) using the MTF electronic aperture control lens adaptor (£1000). No one will use the A Mount glass, if they already have A mount lenses they can take advantage of the free bundled adaptor. metabones are sure to create a electronic nex to eos which allows full frame coverage. at the moment the current metabones adaptors cant cover the full frame so you need to select aps-c crop mode.

load of rubbish. you need to stand closer than 2m away from a cinema screen to tell the difference between 4k and true high quality 1080.

well done man. deals can be had:)

thing is, no one can touch the c300 c500 for handling. they are lovely, compact, all in one units that smash out their broadcast legit signal into cf cards. own one of these and you can hire it out week in, week out when not using it yourself. it'll pay for itself. After being in close contact with the c300 a few times, briefly using one I fell in love. sony can reel out loads of higher specs than the c500 but id rather have a basic 50mbit broadcast ready, in camera 1080p from a lovely small package than have to cart around a 'wheel around' flightcase full of all the modules and hard disks for the f55.

[quote name='Bioskop.Inc' timestamp='1351597240' post='20604'] I've realised that Diopters are great time savers if you don't want to change taking lens. [/quote] i'd like to buy 3 more iscoramas and never have to remove them from a taking lens again. one for each focal length. 35, 50, 85 and 135 re diopters I have been thinking about a +1.6, +2 and a +3.5 achro, but thats the best part of a grand£ for the three.

a 135mm taking lens is a superb choice for close ups. as long as you can get back a few metres from your subject you can get beautiful close ups with very shallow depth of field. outdoors, I expect a 85mm lens to be optimal for an all round lens for use without the need for diotpers. you can get in quite close or move away from your subject to get a wider field of view. i'm looking at a schacht 85mm f2.8 with 19 aperture blades for this exact job

anamorphic wont allow you to shoot your proposed shots. If you cant get it with the tokina, you wont get it with any anamorphic option out there without modifying the car to shoot from and exterior point (camera mounted outside). Car interiors will need a set of diopters without doubt. since car interiors and a bathroom scene might not actually gain anything from anamorphic why not just crop for these shots and keep anamorphic for your shots which really need it?

[img]http://www.eoshd.com/comments/uploads/inline/18719/508adaea4a981_gallery_18451_14_1333.jpg[/img] colored bits are where you grip. untwist in the same direction as you would a 49mm filter from a normal lens.

hi Nick. the two sections are attached via a standard 49mm filter thread. grasp the widest ridged part of the taking lens, and the tapered area of the anamorphot nearest the ridged part of the taking lens (where both parts meet). try not to grip any other part of the amamorphot or compress the two buttons either side otherwise you will force the alignment grip and maybe damage the fine teeth inside. Might need a bit of force, just use hand strength. if you need more grip put an elastic band around the tapered part of the anamorphot for extra grip. cant help with that funny bolt on the camera end of the taking lens. maybe to preset the aperture to a specific amount?

vimeo.com/52122205 some of the shots really show how superb the images are on this

[quote name='riccardocovino' timestamp='1351182245' post='20290'] So you need to offence someone you don't know, saying "Idiot" is your way of defending ideas? What a pity someone has always to turn talks into a defence of his poor self estimation. Some guys you never heard of? [url="http://www.bruceweber.com/"]http://www.bruceweber.com[/url] [url="http://www.gregfoto.com/"]http://www.gregfoto.com/[/url] It's not my fault if you don't know worldwide famous photographers, just your ignorance, but it's clear you don't want to learn something from anybody, mr. Richg-Kubrick. Anyway if you think that BBC will start buying dozens of Canon 1DC for news make yourself a favour, become a dealer and get lots of money. I'll be happy for you. [/quote] Kubrick is the best film maker of all time. he followed his own opinion, didn't let people ruin his vision. This is why he created some of the best cinema ever. I found your assumption idiotic that just because Red paid (maybe not with money but with free cameras) a pair of names to endorse their products you use that as an example of the red scarlet being a contender against a full frame stills camera. if that isn't idiotic I don't know what is. I'm sorry if you got offended. But I found it quite offensive that you came into the topic claiming the Red scarlet is a direct competitor to this. When they are completely different. I'd chose the scarlet over this (if I needed 4k scripted cinema only), but would chose the 1dc if I needed both stills and video.

[quote name='riccardocovino' timestamp='1351171191' post='20277'] Can the Scarlet shoot proper stills? YES! - please search before writing, it's so easy, directly on Scarlet's own page, it's widely used for photography on fashion magazines, or Bruce Weber and Greg Williams are stupid folks who don't know their work. Can the Scarlet bet set to 'run and go' with intention of acquisition for news and documentary with simple post workflow? YES! - a friend of mine is a documentarist using the Scarlet. Can the Scarlet be set to auto mode for fast paced non cinematic documentary stuff? This one is soo funny! AutoMode is never used by anyone serious.. please! Leave it to GoPro stuff, and by the way, AutoMode is half useless with RAW footage. Would anyone consider a Scarlet for still and motion paparazzi work? - Paparazzi taking 4K motion video? Are you serious? For news, run'n'gun, etc they have different stuff that fits the work better. You really think someone would buy a 4K DSLR 15.000$ worth for recording news?! [/quote] Can the Scarlet shoot proper stills? YES! - please search before writing, it's so easy, directly on Scarlet's own page, it's widely used for photography on fashion magazines, or Bruce Weber and Greg Williams are stupid folks who don't know their work. - Wrong. So some guys I have never heard of were given a scarlet for free in exchange for them endorsing it for that purpose. NO ONE ELSE WILL BE DOING THIS! They'll be using either a Canon / Nikon full frame, or a Medium format with digital back. A fucking scarlet on a still shoot in the real world. you fool! Can the Scarlet bet set to 'run and go' with intention of acquisition for news and documentary with simple post workflow? YES! - a friend of mine is a documentarist using the Scarlet. - Your friend is probably lucky enough to be working on stuff where there is little deadline and they can afford to pay someone to process everything in post. Let me know when the BBC start employing scarlets for documentaries such as Panorama! Can the Scarlet be set to auto mode for fast paced non cinematic documentary stuff? This one is soo funny! AutoMode is never used by anyone serious.. please! Leave it to GoPro stuff, and by the way, AutoMode is half useless with RAW footage. Assuming you are serious paparazzi who needs to capture exclusive content and get paid for impromtu stuff there wont be time for setting everything up on a scarlet. You idiot. I'd love to see someone trying to get a low light unplanned interview with a scarlet. They'll be walking off before the thing has booted up! hahaha Would anyone consider a Scarlet for still and motion paparazzi work? - Paparazzi taking 4K motion video? Are you serious? You obviously don't understand paparazzi and how they earn their money. Being able to shoot from a distance and crop 4x while still maintaining full hd? yes please. if your job is to get shots of fat celebs on the beach from a distance. or you actually plan for the future. 4k will be standard in a few years. For news, run'n'gun, etc they have different stuff that fits the work better. You really think someone would buy a 4K DSLR 15.000$ worth for recording news?! Yes. the BBC will. The hire firms will. The guys shooting both stills and video will.

[quote name='riccardocovino' timestamp='1351160357' post='20267'] Canon is TOTALLY out of market with this product. Do they know that at the same price you can get a SCARLET?!? 16-bit RAW Processing : Compression choices of 18:1 to 3:1 1-12 fps 5K FF 1-30 fps 4K HD 1-48 fps 3K HD 1-60 fps 1080p HD 1-120 fps 1K 4K RAW and all the specs for making REAL cinema. Why should I go for a DSLR? Give me one reason, one... (and please don't answer full frame.. cinema is NOT full frame) [/quote] Can the Scarlet shoot proper stills? NO! Can the Scarlet bet set to 'run and go' with intention of acquisition for news and documentary with simple post workflow? NO! Can the Scarlet be set to auto mode for fast paced non cinematic documentary stuff? NO! Would anyone consider a Scarlet for still and motion paparazzi work? NO!

what people always seem to disregard is the politics of the professional field. nowadays it is very rare that a 'professional' product is much better than the consumer version. But still the professionals (people working day in - day out with these pieces of equipment) will buy the professional version. At 15k I know i'd buy it if i was swimming in professional contracts in both fashion photography with the addition of videography. For those in a position, they need to be 'perceived' as professional. -using something a step up from the guys who buy 1dx's for hobbyist wildlife photography (there are lots of wealthy people who do this). There needs to be a product out of reach from the forum people like us. They need to maintain hierarchy and unfortunately this affects us tech heads who want the specs supplied in the most expensive product. In recent years the internet has created a false sense of self importance amongst hobbyists. The gap between professional and 'know it all' hobbyist has been made to be perceived as very small, when in reality these hobbyists and enthusiasts are and never will be in a position to really need the specs from the 1dc. I try to avoid getting sucked in by all the hype of these cameras but often get bitten and taken in. Canon are in it to make money. They actually make things and sell them for what they deem they are worth. In the professional field the consumer watchdogs are null and void. most people who use one of these will have hired it for a week anyway. the hire firms will lap these up and i know i'd rent one if i needed 4k and a superb stills camera.

Zuiko 28mm f2.8 works well on anamorphic lenses and may well not vignette on the isco 54. otherwise, try the 35mm f2.8 zuiko. both can be had very cheap. I personally use a distagon 35mm f2.8 which works well on a isco 36.