richg101

ps. superb music in your video. Blaine and Mac. It sa shame this piece isnt longer.

Visual quality remains the same between the vg20 and nex5n. I suppose it is just preference. VG20 seems un popular amongst indi film makers based on the marketing. it is perceived as a camera for recording kids birthdays, and it looks like that sort of product. It's a shame the styling is this way because it would have been a big hit if it were like a micro fs100. The vg-20 is indeed a better camera out of the box for video, but its awfully large for what it actually does compared to the beautifully small nex5n - which can be removed from the housing in 5minutes and popped in your shirt pocket (with 16mmf2.8) On to perception again,.. In the time I have been testing the nex5n and enclosure I can honestly say I would have struggled to be taken seriously by a new client if I was using the vg-20. They make their decisions and assumptions before even seeing a sample of the final result.

indeed. as long as panasonic don't accidentally (or purposefully) cripple the GH3 I'll want to start developing a housing for it from the offset. I saw someone's link to a topic (on dvx user i think)where someone was talking about a rather fancy machined aluminium housing for the gh2 with a load of external inputs etc. I think that would be a good concept if there are fixable flaws in the new gh model. Personally I would go with a ABS case to maintain a degree of hand held friendliness. I think the GH hack underworld is more of a viable place to start offering niche hardware of this style. 'Mattebox' is a Century/Schneider 4x4 sunshade/filter holder. perfect form factor for dslr's

Assuming you are using gh2 or similar 4/3rds sensor. the 45mm should work without any vignetting.  You will struggle getting sharp images at f1.8 though.  personal experience has told me that vintage heavy 'all metal' lenses are better at supporting the weight of an anamorphic adapter.  it is worth just buying a few vintage lenses and  trying them out.  some work well, others dont.  one 35mm might not vignette, an other one might.  try getting a few lenses with maximum aperture of f2.8.  the smaller the objective glass on a lens, the better the results in my experiences. also, a bit of vignette is not always a bad thing.  if you were to crop in post to 2.35:1, removing some of the outer edge to get a less wide final picture you will cut the vignette off anyway. hopefully some more people will chime in.  but test test test!  buy a few cheap lenses then sell the ones that don't work.  ebay is good for that.  the money you loose on shipping will be well spent in acquiring that one lens that just works!

Hi Guys:) - and thanks Andrew for your blog article - glad you like it. Some answers to some questions.  forgive me - this is more of a personal project exercise than a commercial outfit.  It just so happens I work in close contact with a prototyping company so small batch production is possible without needing to talk mass production with chinese manufacturing plants.  Hence the small initial numbers.  If people are interested the working prototype is ready to go into tooling. This is not a product to challenge anything other than standard dslr type systems (in image quality terms).  -And at the moment serves those who are happy working with the very good compressed format from the nex5n but want a more rugged workhorse.  In my heart I wanted higher bitrates, etc, but since then have been happy with the avchd compression.  Here are some answers to some questions:- 1. cooling: The camera no longer overheats.  full stop.  No overheat icon, no shut down. 2. Screen access: the screen is still viewable and touchscreen-able. 3. rear buttons access : the case is designed to not interfere with normal camera use. - all buttons are accessible. 3. review piece; i'll try and put together a demo video for youtube some time soon.  To be honest its the same as using the nex5n but with a bit more of a handful, and more balance when used with bigger lenses.  The solid footprint is great for tripod use.  4. the price is minus the anamorphic - the anamorphic is more of a concept I wanted to put together, like a all in one anamorphic for less demanding jobs - indy film, etc..  Unfortunately we need someone like Samyang to step up and produce something similar in order for it to be economically viable.  Maybe they will listen! 5. `mic `jack`; currently talking with the guys behind the shadow hot shoe adaptor for a low profile interface allowing a 3.5mm stereo input, likely to be partnered with a flash hotshoe too.  we'll leave it there for now.  Generally I am happy with a zoom h2 and a small mic attached to the lens hood.  using the zoom in 48khz mode the audio sync's perfectly with the in camera sound 6. perception:  it is so true.  show up with a 7d, 550d, etc and often the client owns one himself.  Being the way it is at the moment `i guess a bit of a non consumer looking device makes you look more 'pro'.  - this thing has got me a few bookings off the back of its industrial looks.  Here are some more images, some showing the back of the system, access to controls etc.: http://www.facebook.com/media/set/?set=a.243365572449261.52687.100003274617854&type=3&l=5f89ea5a19 Maybe pm me (If thats ok Andrew?) if you are interested in one of the first batch.  If/when I have 10 or so people wanting one I can start the tooling.  I'll set up ebay listings with a 2-3 week delivery time to allow for manufacture and delivery.  Remember, you are more than welcome to purchase the screen and camera separately and just pay for the enclosure.  `i'd recommend the sony clm-v55 - it is small, and tidy with good inbuilt functions.  its a good match.  Otherwise the fitment is standard tripod thread so will accept most screens. Rich

Re. OSS, IS, in camera crop stabilization etc.. (not steadicam mounting) do you think these in camera/ in lens anti shake systems add another 'non film' look to our footage?  and if so, which of these systems provides the closest effect to using a true steadicam system?  I have been comparing some footage using a sony nex 18-55 lens with OSS and it is smooth, but i wonder if it is too smooth creating an unrealistic and digital look.  I suppose when you watch a kubrick movie it is all tripod/dolly work with a bit of steadicam - using very heavy cameras which physically add weight and rigidity to the captured material.   

thats a nifty little lens right there!  It prompts a question relating to your metabones adaptor re. the metabones ef to nex adaptor.  does it provide video mode OSS from IS canon lenses on the nex system?  Does the adaptor allow Af tracking in video mode?  are there any real let downs?  i'd like a canon L 24-70 straight 2.8 on a the emount and the metabones looks like it will allow this.. 

i just dont see a production hiring a bm camera and then a set of panchro's or master primes to use with it - hire companies make most of their money hiring the additions parts that go with high end cameras.  the ,arket for hiring a 2grand camera wont cough up enough to pay for the 50k set of lenses!

I think once the BM camera actually comes into the public (and real life working) domain there will be a host of issues that become apparent that none of us will expect.  Nothing is perfect, and i seriously doubt you will see many BM camera actually in real world working situations.  I bet it's not durable enough for daily use.  Buttons might wear out,  lens mount might be a weak point  Hire companies will be less inclined to back the concept based on the fact that on the face of it, it devalues their business model.  Why back a BM camera and a few nikon zeiss lenses that will bring them 100-200/week? when pros with budgets will be more likely to go with industry standard F3 or red one and all the matching higher price lenses, tripod (worth more than the BM camera itself!) and the rest of the gear.  BM are priced too low to be considered by the hire firms, and too high to be considered by the guys using gh2's.

[quote author=BurnetRhoades link=topic=868.msg6640#msg6640 date=1340921373] Pretty sure the edge performance has to do with not using an achromat like the Tokina.  Redstan in the UK still has some NOS, not terribly expensive and I think I got mine delivered in about two weeks. [/quote] this was shot with the tokina achromat..

[quote author=hornavan link=topic=912.msg6636#msg6636 date=1340919400] I recently recorded a lecture using GH2 and a wireless mike from Senheiser. All seemed well but when I checjed the soudn it was distorted, the level was to high. Is there anything I can do to fix the distorted sound? [/quote] not really.  clipping cannot be undone.  if only occasionally clipping you might get away with careful use of a de-esser, some eq and a few other tricks. 

[quote author=Kickass link=topic=902.msg6549#msg6549 date=1340762888] http://vimeo.com/43572234 This video was shot with the gh2 and a lomo 28mm + a 35mm flektogon for closeups.. [/quote] This is the best anamorphic dslr music video I have seen yet.  and a superb record too.  any more info about this?  whats the link to the vimeo channel?

that indeed looks like a promising little piece.  the length would suggest it will work with a wider lens.  looks like a non focusing 'infinite' type like la7200 and century 1.33x, probably for front of camera use

[quote author=Leang link=topic=903.msg6547#msg6547 date=1340746834] So Panasonic has been running their compression rates at 100mb/s with their DVCProHD and newer AVCIntra for a while, and Canon a couple years back with their MPEG 2 @ 50mb/s.  Sony's new little $3,500 PMW-100 does also 50mb/s XDCAM, and JVC's Pro line has been doing 35mb/s.  It's to my knowledge the new $8K FS700 does a maximum of 24mbs?  Compared to a 220mb ProRes 422 their 24mbs codec holds up pretty nice.  Why couldn't they implement the 50mbs codec instead of AVCHD.  All theories open to discuss.  I'm afraid it's all marketing hype. =( [/quote] I think you'll find fs cams are 35mb/s avchd in camera.  35mb/s avchd is a lot more information than the canon 50mb/s compression system (from what I have read.  canon state 50mb/s to keep them viable for bbc use.  what you get from your 50mb/s canon 7d, 550d, etc is no better than 25mb/s? from a standard gh2, nex vg20, nex7.  35mb/s avchd out of the fs100 smokes canon at their 50mb/s.  I see no reason why anyone buying a dslr would need high bitrates.  the difference between 100mbs and 25mbs is so small.  only camera enthusiasts care anyway

http://www.youtube.com/watch?v=1f6WHDRGzYQ

[quote author=QuickHitRecord link=topic=881.msg6375#msg6375 date=1340380249] I finally had a chance to take my Lomo square front (OCT18 mount) out: [center]http://vimeo.com/44522585 [/center] I actually meant to shoot more footage for a stronger shot sequence but the Lomo is the MOST frustrating lens that I have EVER worked with! It also delivers my favorite image! Very, very cinematic. I bought mine from au8ust on eBay and it is immaculate. Truly a beautiful piece of glass. But the design of the lens is very frustrating. The anamorphic and spherical elements are held together by one small tab (i.e. one point of contact) and focusing is extremely difficult. The front element is very heavy and if I ever tilt the lens down, gravity causes the two elements to separate, distorting the image. And even with the stopper that I added to the Velbon support track to keep the front element from falling off completely, tilting up or down puts the weight on the taking lens makes turning the focus ring very difficult. I have never cursed so much at a lens and many of my shots were not usable. But there is an [i]incredible[/i] look here, probably my favorite of all of my lenses, and I am determined to make it work. I am currently working on a few tweaks that may make it much more usable. One more thing: This is not a low profile lens. Every single person who walked by stopped to ask what it was, which was kind of distracting. [/quote] that looks lovely.  shame you didnt get more usable footage.  re your problem with weight stopping smooth focus ring turning I have found the same thing.  Try to fashion some type of roller support which attaches to a 15mm mattebox rail mount system and provides the front 'anamorphic attachement' to roll back and fourth on a wheel or ball bearing while focusing.  maybe attach the wheel to the bottom of the anamorphic attachment so it can roll on a track attached to a 15mm rail system.  I am considering the edelkrone micro rig as a mounting system for this concept.

thats great.  definitely give the feel of higher resolution.  please could you share your grain png so I can have a play?

I just exported out a quick edit of some skateboarders on a mini half pipe.  this was shot using 1.3x squeeze century anamorphic on the nex5n in fan cooled enclosure, shooting 50fps and interpreted to 25p.  http://www.youtube.com/watch?v=Dt6dtR32Fdw&feature=youtu.be this is about as sharp as I have achieved so far.  no focusing once recording started, the 28mm taking lens + adaptor means its very hard to focus on fast moving subjects on the fly (even when using a 5" external monitor).  being shot at f5.6-f11 meant it wasn't too bad working this way.  I'd imagine using a dual focus system would have made it very hard to get this on the fly footage.    28mm lens is the ideal match to the century IMO, but it does introduce nastiness at the edge which I can live with.  de saturating helps it a bit.  i'll try a 35mm lens next. 

[quote author=Andrew Reid link=topic=853.msg6244#msg6244 date=1340046504] Richg101 - don't like the hostility. Quit it. [/quote] That's a bit unfair IMO.  Some guy decides to ruin the impartiality of the test for everyone by going above and beyond and I'm told off for being hostile.  I'm annoyed, and rightly so, that some idiot has gone and ruined the test by removing our chance to be fully impartial.  Not one of us can now make critical judgement without this guy's trainspotting ruining the concept.  Don't you all think it might have been a nice surprise when our guessing / critical judgements were proved wrong and some of the big boys were outshone by the little boys? Shame

[quote author=evil_thought2 link=topic=853.msg6223#msg6223 date=1340025246] richg .. grow up. If you like to do something useful with your time, why are you on this forum? I gave reasons why GH2 is I. You didn't [/quote] I'm not the loser sitting in front of a monitor all day freeze framing the shootout like its some type of challenge.  What are you gaining from all this nonsense?    You need to grow up.  I'm on here for entertainment while I wait for an export to finish on the other computer.  You are here in between your silly little quest, eating and looking at naked ladies online..  Stop spamming the thread with your rubbishy unsubstantiated trainspotting.

[quote author=evil_thought2 link=topic=853.msg6218#msg6218 date=1340019050] Another mystery solved .. I think F is F65 ... Around 5:27 minutes into the video, we have this clip [img]http://farm6.staticflickr.com/5455/7393384672_c2232bfc2c_b.jpg[/img] This matches pretty close to camera F [img]http://farm8.staticflickr.com/7086/7393384512_9a8c01d047_b.jpg[/img] (slight differences but there are other similarities if you watch 5:27 to 5:31 part and compare it to clip F)  I am sure camera F is F65 [/quote] you have too much time to waste man.  go do something productive instead of spreading rumours based on unclear and unsound information. 

28mm, 35mm, 50mm is ok on aps-c sensor at f3.5-5.6.  yet to try 85mm but i have high hopes it will work.  http://www.youtube.com/watch?v=ZzJFMWAwsj8&feature=relmfu  this was shot with 35mm, f4.0 taking lens

I liked F most.  followed by C.  I thought they spent too much time worrying about making sure not to over expose the window and not enough time making the inside look right.  as stated previously, why not bleach out the background slightly and get a bit more vibrance indoors?   

Never pay the Ebay going rate.  90% of the lenses out there, the owners don't use them, and don't realise they have such potential on dslr's.  search old camera shops with grumpy old men running them, ring up old theatres and ask if they have any old stuff they don't use.  say you are a student doing a project and you need old unused projector lenses.. etc.    play dumb if you have to.  don't let on you know what they may be worth.  ebay is the last ditch for clever people, and the go to for the uncreative types who throw money left right and centre.  tvbay, gumtree, etc.  do searches for 16mm projectors.  the seller might have some lovely squeeze lenses they don't value.

I really like that footage.  I wish the close shots were the NEX 5N - I thought it may not be the case.  Beautful! I have a hankering for a slight boost in contrast in some of the shots just to sharpen them up a tad.  not much though. I took the nex5n and century 1.33x anamorphic lens out to the affordable art fair a few weeks ago.  It was shot at iso200 and f2.8 throughout (28mm lens).  I was surprised at how dim the lighting was.  very few of the works were lit with a key light, just wishy washy halogens dotted around, mixed with natural light and other nasties.  Hence the terrible colour on so many of the shots.  I didnt spend much time tweeking this - it didnt seem worth it based on the softness.  if I had been wise Id have used iso800 and f5.6 and got it sharp.  goes to show that f2.8 is not awful, and usably sharp enough for low light 'night scenes'.  I had a tokina +0.4 achromatic doublet attached for the duration.  it cleaned up a lot, but may have hindered in the distance shots.  You can see it has a sweet spot about 1000mm from the lens. https://vimeo.com/42417208 here is a day for night video I shot with a mate using the same setup, without the achromatic doublet https://vimeo.com/41886220 here is a test at f5.6 in super low light iso 400  https://vimeo.com/44113533  I am going to put together a short piece made of of sub 20 second anamorphic shots like these.