andy lee

I have every copy for the past 25 years since I started .along with Cinefex ...its a great magazine

Sergio Leone was doing Techniscope 2 perf on Spherical lenses back in the 1960s - poor mans anamorphic - this is just the modern verion of that . Its a common process going right back to the first digital films , even the stuff shot on the Thompson Viper by Fincher like Zodiac 10 years ago was 2.40 extract ..... just Fincher is pushing it to the limits with 6K and the stabalistion wiggle room it gives him if you read the article it says they used 17" monitors to pull focus as they shot fully wide open !! - I bet that was a nightmare for the focus pullers the Dragon sensor is 34mm , its wider than a regular Epic sensor so an even narrower DOF !! they had to use Leicas as the rear element only just covered the sensor , as Zeiss Master Primes did not.... Fincher does like to push the new stuff to the limit!

YES ...............18-to-20-stop range............wow

This is the future this is the way movies are now made 6K Red Dragon ~ framed for-5K with 2.40 extraction from that 6k frame - resized to 4k in post for final master. David Fincher is once again right at the front of the Digital Film making revolution, His latest film Gone Girl uses this technique and a post work Flow in Adobe Premiere. I urge you all to read this article as it is the way forward. Those of you on this forum with 4k cameras can use this work flow to make 2k or 1080p movies . http://www.theasc.com/ac_magazine/November2014/GoneGirl/page1.php embrace .........this has becoming the industry 'norm'. more and more films now use digital 2.40 extraction rather than anamorphic as you can shoot on your spherical lenses which are are also faster , Fincher and Jeff Cronenweth shot Gone Girl on Leica Summilux and WIDE OPEN at T1.3 Im sure alot of you used to do this ....shot 1080 then resize to 720 back in that day - Finchers takes that method to its latest level. this section is very interesting Quote form ASC NOVEMBER 2014 article ''When Red told Fincher and Cronenweth, just as Gone Girl was ramping up in late 2013, that four Epic Dragons were available, the filmmakers jumped at the opportunity to work with the new cameras — even though many of the details of building a 6K pipeline that would allow them to process their imagery at its native resolution remained to be worked out. As Peter Mavromates, Fincher’s longtime postproduction supervisor, elaborates, “We ended up with a 5K extraction out of a 6K field [that will] be distributed in 4K and 2K. But the 4K and 2K are better when you front-load the quality, which we were able to do with the 6K sensor.†Furthermore, “the extra pad,†as Cronenweth describes the larger sensor, afforded the filmmakers additional real estate to better control, manipulate, reposition and stabilize the frames themselves. “Based on the experience we have had on the previous movies with Red, there was no reason not to take this opportunity with the 6K sensor,†Cronenweth elaborates. “In essence, we used the 6K camera to operate pretty much like we had on the last two pictures — to create a 5K 2.40:1 frame line out of the 6K that we captured. That gave us a lot of room outside of our frame for stabilization and any repo we found necessary. This has been Fincher’s methodology all along: to use the system best equipped to help us get the most appealing images through color science and resolution.†Plus, the cinematographer adds, “the latitude was irresistible. Because we were shooting with prototypes, I would say we were working with somewhere in the neighborhood of 16 stops. But that was 15 months ago, and I feel it’s more in the 18-to-20-stop range today.â€

ok here we go again another thread on the FM Module. MOD: lets keep this nice and friendly - no personal attacks on anyone will be tollerated this time.

there is not much differance in image quality between the T3I and the 70D both are apsc sensor so its not a ugrade getting the 70d I would get a Panasonic g6 or gx7 huge improvement in image quaility and peaking and a superb evf or just keep your T3I and get some more lenses with the money you have allocated

gx7 is a superb camera panasonics best 1080p camera to date I highly recomend it - its now replaced my 2 G6s as my main camera the sensor in it is alot better than the GH3 and cleaner alot less noise too Peaking is a must cant work without it the EVF is very good too codec is fine no blocky artifacts at all i

doorstop

I have some very nice Hot Rod Camera handles and base plates they are very good . designed for Pannys

no 2 people have the same artistic vision - so I have no problem sharing on this forum which I do regularly - I'm sure if you gave 10 people the same camera and lens set up you would get 10 totally different results.... everytime. its not the gear its the person behind the gear that makes the differance.

You can't buy experience you have to earn it...I've been doing this for 25 years now and seen all sorts of cameras and styles come and go . All the stuff I learnt shooting Super 16 in the early days and 4 perf 35mm carries forward to all these digital cameras. Lighting and lenses are the two most important factors - very often over looked by people on here . Learn to light thats the key to it all.

Andrew was the one pioneer that pushed the GH2 to us Canon users and made us all sit up and see the light! I remember watching some of Andrews hacked GH2 videos and thinking ....thats it my Canon is dead from now on . Im now on my 4th Panasonic camera having moved on from the GH2 which really did start the Panasonic video revolution for me and many others.

I shot on 5D for 3 years then because of Andrew and his GH2 work on this site I came over to EOSHD and wholely switched to Panasonic for all my work ,my Canons now only get used for a few stills.

Canon are just good enough for the 'masses' - we are specialist camera nerds on this forum and have found all the better alternatives to Canon and how to squeeze every last drop out of them quality wise. People still walk into camera stores and online retailers and just buy a Canon because it has the brand reputation and changing ' the masses' to even think Panasonic or Sony let alone Samsung will still take time. We are all believers - the masses have to still follow us! There are still alot of Canon users on here who will not touch a mirrorless camera with an evf.

28mm f2 Pentax made to the Zeiss design - Mr Reid has one or Buy a Canon FD 28mm f2 - there is not much in it ! or buy a Canon Fd 35mm f2,8 and put it on an RJ Speedbooster = approx 24mm f2 or buy the very very good Sigma 30mm f1.4 and just stop it down to f2

Im not against them just trying to save you money ..thats all

oh yes there is those awfully nice people at Nikon make a lens just for you ..... Nikon 17-35mm f2.8 http://www.ebay.co.uk/itm/Nikon-17-35mm-f-2-8D-IF-ED-Lens-/321597079919?pt=UK_Lenses_Filters_Lenses&hash=item4ae0ae016f and yes it is very very very good!!

a tip for your Nikon 28-70mm I put a 72mm -77mm step down ring so I can use my set of Tiffen 72mm NDs on it you dont need 77mm nds as micro 4/3 is just looking through the middle part of the lens / filter combo 77mm Tiffens are alot more expensive !! same applies to the Tokina AT-X PRO 28-70mm f2.6-2.8 the Tokina also fits directlly into the end of a ARRI LM2 Mattebox

I stack Tiffen NDs 2, 4, 8 and 16 cover all eventualities I dont use vari ND's I use 72mm ones as screw on on s0me lenses and 4x4 and 5x5 glass plate ones on Arri matte boxes

what ! he's not real ? :(

once everyone who uses a Canon or Nikon DSLR for video gets round to using an EVF mirrorless camera they will see that staring at the screen on the back of the camera is a thing of the past once you get used to an OLED EVF you will never look back - I could not work without an EVF ever again. It is critical for focus and makes life so much easier - also I can rig the camera on a shoulder rig and use the evf like an ENG camera this is my main way of working. My eye never comes off the camera now.

Dear Santa this is what I really really want just cos looks nice rehoused ! (and its my favourite lens) http://www.ebay.co.uk/itm/281453583979?_trksid=p2055119.m1438.l2649&ssPageName=STRK%3AMEBIDX%3AIT

its got a cool look to it - Sankor made a range of SLR lenses in the 70s so it is maybe one of those - they are quite rare so hang onto it !

thats more like Cinegrain - lot cheaper $$$ lol lars - if you really think you are having UV and IR issues ..try these ... I dont forsee any UV and IR issue at the moment ...so I wont be ! its a bit 'Emperors New Clothes syndrome' these filters in my book - I dont think they will make anyone a better cinematographer just more glass hanging off the front = more light bouncing around I always use the least amount of filters I can - Im not a fan

I would save your money - Ive never had any UV or IR issues! the only filters I ever use are NDs - thats it - the less glass on the front of your lens the better!! $300 will buy alot of new lenses off ebay!! which are way more fun