andy lee

Iscos flare really nicely I use them alot I really like the sky blue flares they make. I use a Helios f2 58mm with them as the Helios also flares like crazy giving a very artisic combination of Isco anamorphic and Helios taking lens both flaring together.

WHAT ! No Lawrence Of Arabia !!! Sir David Lean and Freddie Young's master piece! I'm not impresssed with this top 50 at all , it would be in the top 2 for me! Yes I love Vertigo it's an amazing film, the film is beautifully shot one of Hitchcock's best

I dont link the anamorphic to the taking lens ever, The taking lens just sits directly behind the anamorphic so it is as close a possible to the rear element of the anamorphic Once you start using step down rings and spacers you are moving the taking lens futher back by doing this.

thats a 70.6mm industry standard thread for projection lenses - on the back of your Isco

I worked on Canons and have switched to Panasonic Gh2 with the Droftwood Quantum 9b Hack and havn't touch my Canons since then.

GH2 is AVCHD Canon 5d III is H264 I wouldnt mix the two!

I bought Andrew's GH2 book its very good and then bought a second hand gh2 body off ebay and hacked it its the best thing I ever did ! buy a gh2 now

http://vimeo.com/22053639

[size=5]this one is for Tony !![/size] [size=5][font=arial,helvetica,sans-serif]the greatest film of all time gets a 4k scan and restoration - I can't wait to see this on the big screen in the UK!!![/font][/size] [size=5]Freddie Young was the best!!!!!! [/size] [size=5]see press release below [/size]. [url="http://www.hometheaterforum.com/t/322381/sphe-press-release-lawrence-of-arabia-50th-anniversary-blu-ray"]http://www.hometheaterforum.com/t/322381/sphe-press-release-lawrence-of-arabia-50th-anniversary-blu-ray[/url] [img]http://i42.photobucket.com/albums/e307/blackmore1/lawrencejpeg.jpg[/img]

Tak made a custom lens for Elizabeth Taylor in the days before Photoshop and Imagenomic ! to make her look slimmer! today I do the same by stretching the image vertically ! Quoted from Creative Cow :- For [i][b]Taming of the Shrew[/b][/i], Miyagishima made a custom 100mm anamorphic lens for Elizabeth Taylor's personal use. "She would tell her cinematographer, this is my lens," says Hummel. "When it would un-squeeze, she would look more slender." [i][b]Empire of the Sun[/b][/i] was one of the first films to use the [i]Primo lenses[/i] that he and Iain Neil helped develop. "They were literally screwing them together and putting them in cases to send cinematographer Allen Daviau," says Hummel. [img]http://library.creativecow.net/articles/kaufman_debra/Tak-Miyagishima/assets/elizabeth-taylor.jpg[/img] [size=1][b]Elizabeth Taylor in "Taming of the Shrew." - Columbia Pictures 1967. "This is my lens," Elizabeth would say. When the custom 100mm anamorphic lens would un-squeeze, Elizabeth would look more slender. Photo: Everett Collection.[/b][/size]

Hi Tony I've been using Helios 44-2's with my anamorphics for a number of years now as I like Russian lenses lot! I have also used Kiev 88 lenses as they are made by KMZ who make the Helios The Kiev lenses are medium format and big, very well made , the Mir 65mm f3.5 and Mir 45mm f3.5 are also very good with anamorphic lenses [img]http://www.eoshd.com/comments/uploads/inline/19952/5013195bf1591_FREAKASYLUMCINEMESCOPE1logo.jpg[/img] This is a Helios flaring away like crazy on a set we built for a pop video I directed - 'Take the brightest light and point it at the camera then start putting things infront of it!'

do you mean how the image in live view on the back screen changes as you hit record and the image goes darker and more saturated? it looses about 1/2 a stop. I dont think anyone has found a fix for that even Vitaliy Kiselev see this thread [url="http://www.dvxuser.com/V6/archive/index.php/t-234675.html"]http://www.dvxuser.com/V6/archive/index.php/t-234675.html[/url]

very useful fix ! thanks for sharing !

I use it to shoot pop videos for MTV its a great stable platform to work from, every easy to use and the side handles are great for hand held 'Fig Rig' type shots it uses a Giottos quick release plate modified to compensate for the GH2 tripod mounting hole being 2mm off centre. Why did Panasonic do that ! haha! its so annoying! This puts your camera back on the centreline for your rail system. Rosettes are Red Standard.

You could have just bought the Tecnoir Cinema Rig , its does all your list of points and Red and Arri spacing Great stable professional platform for the GH2 I use it for work all the time. [img]http://i42.photobucket.com/albums/e307/blackmore1/tecnoir-rig-panasonic-gh2-b.jpg[/img] [img]http://i42.photobucket.com/albums/e307/blackmore1/tecnoir-rig-panasonic-gh2-c.jpg[/img] [img]http://i42.photobucket.com/albums/e307/blackmore1/tecnoir-rig-panasonic-gh2-a.jpg[/img] [url="http://www.ebay.co.uk/itm/180938623923?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1586.l2649"]http://www.ebay.co.uk/itm/180938623923?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1586.l2649[/url]

Use a Magna Com! I use Isco and Schnieders and they are optically amazing ! Takes those fast primes and makes them useable on a GH2 . I got the idea from seeing Stanley Kubrick using a Kollmorgen Magna Com in the 70's on his infamous 50mm Nasa Zeiss lens to make it wider approx 35mm focal length. So I went out and bought a Schneider Magna Com ! stunning glass! then an Isco ! also stunning! It works... I use them on the Tecnoir Rig!!

[b] [size=2][size=3]Quoted from Joe Marine at No Film School[/size][/size][/b] [b] [size=3][url="http://nofilmschool.com/2012/06/blackmagic-listening-requested-feature-added-cinema-camera/"]http://nofilmschool....-cinema-camera/[/url][/size][/b] [b] Blackmagic is Listening, Requested Feature Added to the Cinema Camera[/b] [img]http://nofilmschool.com/wp-content/uploads/2012/06/Blackmagic-New-White-Balance-Options-224x168.jpg[/img]While most [url="http://nofilmschool.com/2012/06/new-canon-7d-firmware/"]companies listen to their consumers to a point[/url], it’s not always clear which ones are actually hearing said consumers. The [url="http://www.bhphotovideo.com/c/product/855879-REG/Blackmagic_Design_BMD_CINECAM26KEF_Cinema_Camera.html/BI/5955/KBID/6829"]Blackmagic Cinema Camera[/url] has been [url="http://nofilmschool.com/tag/cinemacamera/"]featured on this site quite a bit[/url] — mostly because it’s a product many have been looking for: a low-cost option that records to quality codecs without bulky recorders and resolves a full 1080. Blackmagic has done two better, and is offering RAW recording in-camera as well as their professional DaVinci Resolve color corrector all for $3,000 (same price as the [url="http://www.bhphotovideo.com/c/product/842926-REG/Nikon_25480_D800_SLR_Digital_Camera.html/BI/5955/KBID/6829"]Nikon D800[/url] – though the sensor on the Blackmagic camera is not full frame 35mm, it’s between MFT and Super 16mm). We’ve now gotten word from John Brawley that the camera’s firmware is being finalized and it seems Blackmagic is actually listening to suggestions. The camera was originally only going to ship with three options for white balance in its ProRes and DNxHD modes, but now we’re going to get six: 3200K, 4500K, 5000K, 5600K, 6500K and 7500K. This picture appeared on [url="http://johnbrawley.wordpress.com/"]John Brawley’s blog[/url] showing [url="http://johnbrawley.wordpress.com/2012/06/24/bmd-new-white-balance-settings/"]one of the new white balance settings[/url]: [img]http://nofilmschool.com/wp-content/uploads/2012/06/Blackmagic-New-White-Balance-Options-616x462.jpg[/img]The other problem that many had noticed were the dead/hot pixels in the [url="http://vimeopro.com/johnbrawleytests/blackmagic-cinema-camera"]only test footage that has been released[/url] so far. According to Brawley, they have been working hard on the sensor calibration, and those dead/hot pixels are nowhere to be found. From a conversation [url="http://twitter.com/#%21/brawlster"]I had with him on Twitter[/url], it seems like hot pixels shouldn’t be a problem as they have been on DSLRs. Also of note, there is no phantom power — at least not yet, but there is an on-board mic which should work well as reference audio for syncing sound if you are using dual-system. The most interesting thing about this camera is that it seems both professionals and amateurs alike are excited by the possibilities. As you can see [url="https://www.facebook.com/media/set/?set=a.398258513557700.106898.118532781530276&type=1"]in these pictures from a French rental house[/url], people are going to get professional lenses on this little guy in no time: [img]http://nofilmschool.com/wp-content/uploads/2012/06/Blackmagic-Camera-Optimo-PL-Lens-616x532.jpg[/img][img]http://nofilmschool.com/wp-content/uploads/2012/06/Blackmagic-Camera-Tricked-Out-Cine-Package-616x382.jpg[/img] It looks to me like those lenses have been adapted to Canon mount, as most of the PL to Canon adapters I have seen are very large and tend to protrude from the sides — but it’s also possible that it’s an adapter I’ve never seen before. Just like with the Canon DSLRs, a PL mod or lens adapter should work with some lenses. It may only be a matter of time until we see people modding the lens mount to accomplish this task. I’ve got ideas about modding the entire front with a Micro 4/3s mount, but I’ll have to wait and get the camera before I can see if that’s feasible. As with any mods, they will certainly render your warranty useless — so everything should be done with that knowledge. Too often we have to deal with a tremendous amount of compromises in independent film, and for once a manufacturer is delivering a relatively inexpensive option that resolves a true 1080 image, as well as all sorts of professional quality codecs in-camera without having to spend another penny. Of course, specs don’t always tell the whole story, and it will be interesting to see some uncompressed video straight from the camera to really see how it performs. Link: [url="http://vimeopro.com/johnbrawleytests/blackmagic-cinema-camera"]Blackmagic Cinema Camera Test Footage – Vimeo[/url] [via [url="http://johnbrawley.wordpress.com/2012/06/24/bmd-new-white-balance-settings/"]John Brawley Blog[/url] & [url="https://www.facebook.com/media/set/?set=a.398258513557700.106898.118532781530276&type=1"]PhotoCineRent[/url]]

[quote name='MOONGOAT' timestamp='1343205421' post='14473'] I thought I heard somewhere that CS6 could do this. [/quote] I would not like to mix file types in an edit - it may end up a whole lot of bother if CS6 falls over mid way through the job.......

I hope the rolling shutter on the BM is as good as a RED or ARRI - who knows!! I think it will be similar to GH2 as sensor sizes are similar I think the GH2 is an amazing camera but the one thing that lets it down is the 'jelly wobble' on any quick moving shots ! Andrew please check your PM I've messaged you again re: Editz ta Andy

[u][b][i]How would you compare it? Youtube? Positive examples for digital in it's own right and dignity are the latest films of David Fincher.[/i][/b][/u] Yes I agree with Axel the film grain details are lost on Youtube's brutal compression David Fincher's 'The Girl With The Dragon Tattoo' is one of my favourite films , the cinematography is simply stunning! Jeff Cronenwerth is very very good ! 70% of it was shot on Red One camera the Rest on Epic when they got one. Buy you dont watch it thinking this is digital - It looks like film! The lighting of the scenes is second to none and the overall darkness and colours used of the whole film is great. It has a Yellow/Black colour palate which is very good when everyone else is still doing Teal and Amber to death!

BM is Raw files GH2 is AVCHD = cannot mix files in edit unless you convert them all to the same file type before hand. I would buy 2 x Gh2 and stick with what you know until we all see BM camera is as good as they say! I think the Gh2 will still give the BM a run for its money!! Has anyone seen a rolling shutter test for the BM camera yet!!! they are keeping that well quiet !

Hi Andrew I just PM'd you , have a look thanks Andy

will be useful!

2002- 2007 I used to shoot on Digi Beta Cam before I got the Canons and even this was too clean so we used to add 'film grain' and noise in post to make it look like film. All the pop videos I shoot on Canons have 'film grain' added after the grade as the final step before it is output to make it look 'less clean'. You can mimic Kodak film stocks that I used to shoot on in the 1990s like Vision 100T and Vision 200T 5274 wery well in post. Plus you can try differnt types of 'grain' to get just the right look for your project so you are happy with it. I agree with Andrew you can make digital look very much like film in post - I've been doing it for many years now.

very interesting about Red and their so called Bayer type 4k Sensor that is now taken for granted as 'really 4k' when its not ! = very good marketing campaign !! $$$$$$