dahlfors

Reflashed my D800 with the 54 Mbps patched Nikonhacker firmware now. Didn't brick my camera :)

Thanks for the tip! In fact I already have both a Cowboy Studio shoulder support as well as an Edelkrone Pocket Rig - which both should provide smoother footage with third point of stability together with a viewfinder. Very affordable solution, nothing to lose in ordering one.

One more thing, Andrew. Now that you're shooting with a D800, I'd be happy if you could mention a few words about how you like to rig something like D800 up. From my own experience, I pick profiles depending on what I'm shooting and I keep histogram on, which usually gives me enough info about exposure. But what I can find difficult when going around with a lightweight setup is to get the focus right, especially sunny days when you can't see shit on the display. Personally I've been eyeing the Ikan vk7i monitor and some z-finder solutions - I just don't know if the rear display with a z-finder solution would be good enough of a solution for getting focus right.

Looking forward to see what you find out regarding the new bitrates Andrew! Been considering replacing the firmware myself, but still feel a bit uneasy about reflashing the firmware. Could be an expensive brick...

I've shot with Nikon's 16-35mm VR f/4 on my NEX5-R coupled with a Metabones Nikon G to E-mount Speedbooster. I can confirm that infinity focus does not lie at infinity with that lens either: When I focus the lens towards infinity it hits the infinity focus before the infinity mark, and when you continue turning it to infinity everything goes out of focus. I've had som shots go out of focus due to this before I noticed it, and also afterwards when forgetting about this behaviour. Not an issue with Speedbooster and this lens as long as you remember how it behaves. The lens hits infinity at the infinity mark on the D800. So, if you haven't tried pulling the lens a little bit back from infinity focus mark, try it. Hopefully your infinity focus is off in the same direction. EDIT: Checked more of your shots other than the first image. Yours is surely off in the wrong direction. What I'd do: I'd first try the speedbooster + lens on another camera (Nex-*) to see if is also off in the same way there. I also suspect it's the adapter you use.

I can summarize my experience with the Isco Ultra Star: - Very sharp & high resolving, great for stills too. Comparing my Iscorama 36 to the red ultra star hd plus in 36 Mpixel still photos, the red ultra star has a lot more resolution. Both could look lovely in 4k. - Uneven squeeze. When you have a face in the center stretched to look natural, the faces at the edges of the footage are too wide. If you stretch it less so that faces at the extreme edges look natural, the faces in the center will be too narrow. Which means that a normal rescaling of footage might not be enough to get these distorsions out of the footage. You'll notice these effects too when panning shots. - More of a hassle to shoot with than a single focus anamorphic. - For a price around 150 USD or so, it's a nice tool. Just not as easy & natural to handle as a proper anamorphic. One more thing. Andy Lee on this forum used to sell mounts for these kind of projection lenses, like this auction: http://www.ebay.co.uk/itm/Tecnoir-Anamorphic-Cinemascope-lens-holder-for-15mm-rods-for-DSLR-BLACKMAGIC/231184383644?_trksid=p2047675.c100011.m1850&_trkparms=aid%3D222006%26algo%3DSIC.FITP%26ao%3D1%26asc%3D20140107083358%26meid%3D5696559539177121615%26pid%3D100011%26prg%3D20140107083358%26rk%3D2%26rkt%3D10%26sd%3D231178870001 My own setup with clamps was a lot of hassle and time consuming whenever I wanted to change taking lens. I think you should be able to buy parts on the Internet and assemble a similar rail setup for quite a low price. If I'd still be shooting with my Ultra Star, I would certainly replace the clamp solution for such, since you don't need to hassle with aligning the anamorphic for every taking lens you use. Align the anamorphic once, keep it in the mount and just set different distance depending on taking lens.

When I read up on the Ultra Star HD plus lenses for projection - they had better resolution than the earlier models (probably that is why they are named Ultra Star HD Plus instead of just Ultra Star HD) - they resolve minor details better when projecting test patterns than Schneiders. This should be very useful when using them as anamorphics in front of taking lenses too, not just when projecting. In my own stills and footage they resolve lots of detail, usually more dependent on taking lens. The good light transmission was a generic character for the Isco projection lenses as well. Not sure if/how that varies among the different models. Not sure what you're referring to with "has the least reflection, should be the best", are you referring to the flaring properties? Those will vary depending on the coating, yes. Besides coating, I don't think there's much difference in these lenses apart from the "HD Plus" version having better resolution. The red Ultra HD Plus far surpasses 1080p resolution, maybe even 4k. So, I guess you wouldn't have any issues with the other lenses either if you are filming in 1080p.

Red ones are Isco Ultra Star HD Plus lenses, with the best light transmission (all glass in front of camera makes for a little bit of light loss, this one has least light loss) and they are very sharp and high resolving. Colors are neutral. Multicoated, so doesn't flare like single-coated anamorphics, but you can get them to flare with stronger light shining right into lens. The negatives would be that you need dual focus and there is no filter thread in front. When I bought mine used, the previous seller had already attached a UV filter up front with some sticky black glue/tar-like material (don't know what such is called in English). That one is sturdy enough to hold my ND filter holder and ND filters. Good optics, were great for projection. Cumbersome to use like most projection lenses when shooting video. If you find one and a clamp for cheap (80-180 USD or so), they are probably alright as a first start into anamorphics.

Hehe. Those Golan-Globus / Cannon films have a special place in my memories. I too loved the various Ninja films they output. I've actually rewatched a few of them in later years. And while the martial arts scenes aren't always that good (American Ninja / American Warrior comes to mind), the films still have that 80s charm that makes me smile. And when talking about 80's films... I'm personally not a big fan of most action films. But, there's something about Predator that just makes me love that film. I like how they are building up that fear of the unknown out there in a big part of the film. And I'll never stop smiling to the classical quote "If it bleeds, we can kill it".

Also a good point by araucaria. Granted, I haven't shot with D3 or D4, but I've been shooting with D200 and D300 before the D800. There's a major difference in the sensors of current generation cameras (D4, D800, D600 etc) compared to D3 generation or older. Knowing what the sensor in a camera like D800 can do - I'd never go back to the older sensors myself.

Unless you're shooting a lot of sports - where you might need the really fast burst rate of the D4/D3 series - sell the D4 and get yourself a D800 (or D800E) instead. For photography you'll then have roughly the same buttons and interface on the D800 that you're used to on the D4. For the remaining money you can get yourself a Panasonic GH4, a m4/3 to Nikon G Speed Booster that will take all of your current lenses. Yet, you'll probably have some money over for additional gear as well. Besides, the D800 could be a B-camera when you don't need it for stills. Also as pointed out... I don't see why you'd have any use for D90/D7000. I'd rather sell those and put the money into other use.

Reminds me of the old "The grass is always greener on the other side of the lens". ...And yeah, considering what has been announced around the last few NAB's, I'd say wait until that if possible.

Indeed. Any manufacturer can tell a number. How it measures in a testbed among other cameras is more important than what numbers they market it with. Only if DXOmark measures the cameras against each other in their tests there's a platform to compare from.

Man... I hope 1080p60 is possible on the D800 too! :)

I think you meant D3S, which has a 720p mode. D3 doesn't even shoot video. I agree when it comes to D4S range of cameras - most photographers wouldn't use beyond what the D4S or D4 offers today, if they would at all. So no point in adding more advanced video features in the D4S. However, I think it'd make sense for Nikon to at least attempt make a video-focused camera, be it based on APS-C, full frame or Nikon 1 sensors.

Thanks for the advice guys! My Manfrotto 503HDV is alright as a fluid video head, it just weighs 2 kg alone and isn't portable enough. MVM500A seems like it could be portable enough, I'll check it out.

What kind of monopod would you recommend? I'm considering getting some affordable and fairly lightweight solution to keep with me when traveling.

These films have been most influential for me for how they have surprised/enlightened me, shown me new ways of storytelling: The Holy Mountain Badlands Gouttes d'eau sur pierres brûlantes / Water Drops on Burning Rocks Paris, Texas True Romance Lost Highway Blade Runner Brazil Koyaanisqatsi Persona

Indeed, here's info about the patch, very interesting comment section: https://nikonhacker.com/viewtopic.php?f=2&t=1798 Apparently one person (araucaria?) on page #2 of the comments has tested the patch on D800 with success. @araucaria - time for you to update the topic for this thread with models it works on? :P

Oh, very very interesting. Thanks for this info :)

Yep. All the Nikon AF-D lenses have aperture ring. They have electronic contacts providing info and autofocus support on newer Nikon camera bodies with AF motors - but they retain their manual operation and backwards compatibility with old manual film cameras like Nikon FM2 / F2 etc. Which means they'll work nicely with adapters on any other system. The manual focusing feel is not fully as good on AF-D lenses as on the all manual AI/AI-S lenses, but it's alright. @Bioskop: Wow. Never used that 35mm f/1.4, all I know is that it has its issues (coma, soft corners).. But seems like it really can shine if used properly on a smaller crop camera!

Read up on it a bit. D5200 and D800 should both be on the Expeed 3 generation of processors, which are newer than the processors in D5100 & D7000. So, the D800 won't likely follow in the near future.

Depends on what you're looking for. The AF-D Nikkor 35mm f/2 is faster than f/2.8 and will perform better than the f/1.4. AF-D lenses have support for autofocus - but can be operated fully manually. The downside is that they don't have the nice fully metal construction like AI-S lenses. Then, for Nikon mount at 40mm, also with 52mm filter thread, there's also the Voigtländer 40mm f/2. A very sharp, fully manual all metal lens. The color rendition of the Voigtländer should match the Nikkors. Either of above mentioned, in addition to the excellent AI-S 28mm f/2.8, are my recommendations for wider than 50mm.

50mm is the widest I've gone, since I use a fullframe Nikon D800. I'd recommend one of the 50mm f/1.8 AI-S or 50mm f/1.8 E-series. I've tried it on the AF-D 50mm f/1.4, but that lens isn't all that sharp wide open and it tends to vignette on a full frame camera. Not bad, but I tend to like the f/1.8's better. I also use AI-S 85mm f/2, AI-S 105mm f/2.5 and AI 200mm f/4. All of these mentioned lenses have 52mm filter thread which makes it easy to mount with filter rings.

Which camera for the masses? 43rumors has new rumors on pricing: http://www.43rumors.com/panasonic-gh4-can-it-do-444-at-1080p/ There's a link to a camera shop in Finland which is taking preorders for GH4 body only for 1499 euro (which should be including 24% VAT since prices are almost without exception listed including VAT in Finland). I'd say that's a nice price for 4k for the masses :)