richg101

[quote name='Ivor Koons' timestamp='1343385635' post='14608'] It looks very clean, but I am missing something that the name Cinema Camera promises - a cinematic feel. The DOF is too big, even the GH1 and GH2 deliver a better image in terms of a 3D impression. The colors look a bit washed-out, too. The cheap-looking, commercial-like setting might add to that. I can't get rid of the impression that the scenes have been worked on to look as filmic as can be, but this approach somehow isn't successful. I'm looking forward to seeing some less plasticky stuff. From what I've seen till now, the GH series, if handled well, seems to win over the BCC. But that is hopefully going to change. [/quote] depth of focus is more often than not determined by the lens aperture. Maybe the camera operator decided a deeper depth of focus was what was in order. Too much hyper shallow dof used by film maker wannabes at the moment. lets move away from that. Lets be sophisticated. The constant bashing of the sensor size is funny. very few seem to consider how 'low budget anamorphic friendly' a smaller sensor is? Anamorphic is true filmic. And this camera is likely to be a king at the job. on a side note.. The model is rather lovely isn't she. As does the detail. re. moire/aliasing.. I was too busy looking at the subject matter to realize any aliasing. Most viewers of your work won't care about aliasing either.

cheers Andrew. Just got back from a shoot with the 5n so will apply this before any other adjustment layers. cheers!

[quote name='ironchimp' timestamp='1343344875' post='14562'] I work as a vfx artist at a large effects house. A few of my coworkers here have a Nex and go out and shoot on a regular basis. I showed your housing to them and they expressed interest in it... until they saw the price. If it was around $400~$500, I'm sure a lot more people would bite. Myself included. That being said, perhaps you could look into having a small run of units made overseas(China). I'm sure you could find a outfit that could make these for you at a reasonable cost. [/quote] The numbers just dont make far east manufacture an option i'm afraid. And i have gone to far too much effort creating the masters for some factory to run off another 200-500 units and sell them themselves - I have been involved in developing products for prestige companies who have had this happen. I don't want my name to be associated with a knock off 'quick buck' product from china - which can happen if the masters get into the wrong hands. Seeing as I'm not doing this for the money so I don't want anyone like that profiteering from my efforts. An underwater housing of similar complexity would cost you around 1000-1500£, and they make a few hundred of these units. The company can afford to deal in china because they have a stake in the factory, and control direct with a western 'line manager' keeping everyone in check.

there is a guy using a m39 taking lens with the bolex and a sony nex. Apparently getting really good results

[quote name='tony wilson' timestamp='1343253106' post='14507'] a set of lens for the price of 1 cooke speed panchro [/quote] Indeed! I was blown away by the value for money. everyone jumping on contax zeiss, these were a lot cheaper and seem a lot more solid. all metal, huge focus ring throw (3 times what the contax versions are) which is lovely for slight blind adjustments on wide shots. They are sharp but not clinical. Love them! I have a helio 44 from the old man's zenit, but there is a lot of play in the barrel which I cant fix. I'm gonna order another soon.

Thanks for that Tony. I am hoping to move to Iscorama when I have the funds and when one comes up. Moving away from the Century + achromat tokina (of which you kindly supplied). I have been slowly assembling a nice set of early West German (pre t coated) Zeiss Rollei lenses from 35mm - 135mm with intention of using them with an Iscorama in the future. re. your clip. It's the lovely lighting married to the use of a nice organic looking lens that I love about that Lee Marvin clip you posted. I wouldn't want it any sharper:)

i get the feeling from skimming through that a simple lowering of contrast in premiere, prior to any further adjustment layers does similar things to a 5DtoRGB export. No actual losses are being imparted on the footage by OSX, or quicktime, but more that it is a playback issue of any footage that is has originated from AVCHD. I was about to pull the trigger on 5DtoRGB but after trying the demo I was put off by the file sizes. I literally saw this topic 2 days after moving from Windows 7 pc to a hackintosh with Lion. A bit annoying really!

https://vimeo.com/46284513 I went out during a rally a few weeks ago. some of it was anamorphic most is normal, but cropped. can you tell which shots are anamorphic?

[quote name='tony wilson' timestamp='1343220727' post='14483'] no companies have them plenty of owners in the states. put an add up here on dvx and vimeo anamorphic group.. i am sure you will find a taker if you offer 400-500 dollars for rental. they will probably have close up lens as well [/quote] Hey Tony How would:- an Iscorama 1.5x on a well matched 50mm + achromatic diopters compare to:- an all in one modern 50mm unit from Panavision?

or a sony RX100 for that matter!

get a Sony NEX 5N - It will shoot 50fps at full hd. certain lab experiments would benefit from slow motion id imagine.

looks like test models for testing just electronic connection. on one of them the wires cross straight over the path of the sensor. I want to put a 24-70 or 28-70mm L lens on my nex and the total cost including metabones is a bit expensive for me. wonder if they manage this version at sub £150..? Makes it more viable for me.

the rewards are worth the effort IMO based on a few months of experimenting. Limitations can lead to good things. why not rent an Iscorama?

[quote name='lenpict' timestamp='1343088163' post='14377'] Well, I, didn't necessarily mean that I was waiting for the price to fall as much as I was waiting to see if the price without the camera/monitor would end up as? I'm in the states, so I would use the option to avoid the import taxes. (And I already have the camera, anyway.) [/quote] http://www.ebay.co.uk/itm/120951703965?ssPageName=STRK:MESOX:IT&_trksid=p3984.m1562.l2649#ht_1290wt_1348 the auction has run its course now. But there are a further 2 available. Let me know and I'll put a new listing up

Be prepared for a lot of re adjusting of your workflow, your shooting style, etc. Personally I think you should consider the LA7200 or Century at the price you are talking about. You'll need some diopters, lots of light, etc. Kiss goodbye to close ups and below f5.6. Dual focus systems like the kowa might be sharper but would be ridiculous in a real shooting situation IMO. I have created a 1.5 minute short using a century 1.33x anamorphic on a sony nex5n. It worked well. Its currently entered for a festival so I cannot share it though. Get the gear for your own enjoyment. Learn it. it'll take a while before you know if you can trust it to work for you in a real life situation.

Cheers for the kind words. I think at the moment it is not visibly possible to get the price lower than this. It is simply not an item with enough of a mass market potential to warrant overseas manufacture and thus the high price reflects this. Though the price is high, I am very surprised at the lack of interest in pre orders amongst the online community. I am literally breaking my back to get the units ready. The sheer amount of technicalities involved are overwhelming. At the moment 8 units have been pre ordered. But only one to an enthusiastic film maker from the online community. The rest are going to a production hire company to hire with 5n's, PL adaptors etc to use alongside fs-100's and F3's! They will probably earn the hire company 10 fold what they are buying these off me for. Seems a bit sad that the price seems to have made it inaccessible to most of the guys I hoped it would attract, and that all my hard work is not going to benefit many of the guys I'd hoped it would have done. If only all these guys messing with the horrible 600D, 7D etc, with £1000's of pounds worth of rigs, brackets etc were using 5N's instead:) All I know is that after all this work, I and one other lucky guy will have a full 'production' model to use themselves - for their own projects, and that the rig is also going to be put through its paces by a fair few small productions here in the UK, and hopefully further afield. Cant wait to see them with a £££££ PL mount cine lens hanging off the front!

[quote name='Dan Hudgins' timestamp='1343070928' post='14370'] I made adapters for its sub-PL mount for: Eyemo Mitchell NC Bell and Howell 2709 M42 universal screw mount OCT-19 which can mount the lenses that stick back like the 150mm f/2.8 so far all the OCT-19 I have tested fit because the adapter is deeper than one that would be made for a normal PL or Canon mount which may not work with some OCT-19 lenses, I even got the 80mm Anamorphic to fit. I have photos of what my adapters look like, if you want to see you can email me for jpg. [/quote] IMO you should also create C/Y and QBM mounts for the multitude of affordable german lenses available in those mounts. Id have arrived for interview with the camera mated to a hired cooke panchro, with the rest of the set just in view for effect.

looks good. they took a lesson from the e-mount it would appear. very short flange/focal distance there.

Hi Guys. Please can someone measure the total diameter of the metabones EF-Emount smart adaptor for me? [img]http://www.eoshd.com/comments/uploads/inline/18719/500d4c488efc5_metabones.jpg[/img] Dimension 'A' is what I need. The total diameter. I am not worried about the protruding tripod mount plate. cheers

I find the way the structures manoeuver and interact with the light to be the most beautiful aspect to this. The music is also amazing. I have yet to purchase the soundtrack on the basis that they decided only to release it on horrible itunes, and no cd release. I love this too:- http://www.youtube.com/watch?v=dp7z8Gvexas

2 units remain. just had 7 units bought by one company.

that explains it. the 30p + twixtor, partnered with the hyper cinematic way it was shot + the very effective stabilization creates a very pleasing and fresh look. I am blown away by the sharpness of the f.95 lens + Isco 36 on the anamorphic shots. Amazing.

there is little new information disclosed during the talk. at best we get to understand they really are a good hearted company with more than money as a driving force for their decisions.

the in camera stabilization adds a wonderful robotic quality. quite different to what I have seen with anything else. It is very robotic. Some of those shots are at the level of a very high budget car commercial. Very idyllic. What frame rate was this? colors are superb.

best value primes IMO are the OM zuikos. non Mc coated ones tend to work well for video and have a nice flare and the focus pull is nice and smooth. however due to being originally for full frame 35mm film there are limited wide angles. the wide angles go for huge amounts at the moment. i suppose a 21mm, 28mm, 35mm and 50mm set could be had for under 500gbp - the majority of the price being on the 21mm, an 18mm will be harder to trace at a good price. being that they are all around f2.8 and f3.5 means you will need more light. But outdoors, f2.8 and f3.5 still gives lovely depth of focus control while being sharper overall. on the flip side, for the same money look at the Tokina AT-x 11-16mm f2.8. its gonna be sharp enough and bright enough for most applications.