dahlfors

You might want to have a look at a Nikkor AI-S 28mm f/2.8 or Nikkor AI 28mm f/2. There's also an older pre-AI/non-AI Nikkor 28mm f/2. I believe all of these are multicoated though.

  That's some really nice handheld footage with very little gear!   I've myself had major issues getting stable handheld footage and I've just ordered myself an edelkrone pocket rig, since it seemed to be one of the more portable solutions for bigger dslrs. But that little chestpod of yours looks extremely portable and yet you got nice handheld footage with it!

http://www.eoshd.com/content/9653/nikon-d5200-review   ^ Look at the pros & cons in Andrew's review for D5200.   - Basically, you don't want to shoot with flat profiles with D5200, but rather use standard profile or a profile close to standard and get it as close to what you want already in camera with D5200.   http://www.eoshd.com/content/10824/panasonic-g6-review-the-gh2-redux   - what my own eyes tell me in the test footage is that G6 will have a little less chance of moire occuring than on a D5200 (or a GH3 for that matter, like Andrew's tests show).   Short summary:   G6:  - if you want more possibilities for videos in post - get G6. - sensor very good for stills - 1080p at 50/60 fps can be used for full hd slow motion. Only G6 and NEX cameras have that feature around the same price level.   D5200: - if you don't want to push shadows and do as much in post, D5200 will be great - one of the absolutely best sensors for stills found in entry-level cameras. - in stills mode, you'll need to shoot around ISO100 to ISO400 to get an advantage with dynamic range. The higher up the iso goes, the more similar the dynamic range will be to that of other cameras. This is true for stills at least, and I'd assume it goes for video mode as well, since it's how the sensor behaves. - as long as you keep to standard profile, it won't have as much noise and will be quite comparable to a GH3 according to Andrew's comparison.   For stills: I've shot with DSLRs for a while, and you can get good results with less Dynamic Range and less good color reproduction. Higher DR and better color reproduction just makes it easier to get a great shot or rescue one where you missed a bit with the exposure. In other words - you'll get great results from stills with either camera if you learn how to handle them.   My recommendation is to get a feel of the cameras in a shop, usually helps a lot to try to get a bit comfortable with a camera before buying. Also ponder about their weaknesses and strengths and figure out what's most useful for your way of using it. If you want to grade and tweak your video footage more in post, G6 will be the better alternative.

I was out testing my two Dog Schidt Optiks lenses in Stockholm, and found two guys playing on a street and decided to shoot them:   https://vimeo.com/75661923   I have two FF58's: one low contrast +  more flares and amber tone, and one with a bit more contrast but with less flaring and neutral tone. This is shot with the one that flares less.   Footage is a bit shaky, all I had for stabilizing the camera was a minitripod, Velbon Ultra Maxi Mini: http://t2.gstatic.com/images?q=tbn:ANd9GcQ4mZLVSi-Cl4d8xdloHiWpLyIjGvb5EBnbDU5Eg0LuG1WLfmX-JA   Having the weight of the tripod and a bit more to hold on to helps a bit, but not much.

For video: both use 8-bit color just like most affordable cameras. The exceptions to 8-bit color are the Black Magic or Canon cameras when you use magic lantern RAW.   For stills, nothing in that price level will beat the sensor of the D5200 in terms of color and dynamic range: http://tinyurl.com/p4gmwlw   I believe the banding in video mode on the D5200 is visible if you lift shadow areas too much. I think you'll find more threads about that and how to avoid it if you search the forum here on EOSHD.   I haven't heard about any sensor issues on G6. The user Andy Lee here on EOSHD seems to love his G6 cameras, guess you could ask him in his thread where he showcases a music video he shot on G6: http://www.eoshd.com/comments/topic/3471-new-pop-video-for-mtv-shot-on-panasonic-g6/   My own view on such: you'll find some kind of issue or problem that you'll need to be aware of with just about every camera/tool out there. The important part is to be aware of it and learn how to work around it. For myself, it's moiré and aliasing sometimes, and the fact that my camera only has 8-bit color in video mode that I have to be aware of and work around. In a few years we'll have 10-bit color on most cameras I assume. Until then, we'll have to keep on doing the best effort we can with today's tools :)

Note that the Nikon G-lenses lack aperture rings, and any adapter you use with such a lens needs to include support for changing aperture.    These Fotodiox adapters support Nikon G-lenses for m4/3: http://www.amazon.com/Fotodiox-Adapter-Olympus-Panasonic-Cameras/dp/B003Y2XN9G   Also note that the 35mm f/1.8 will become more towards a tele / portrait lens field of view on m4/3, while it is a normal lens on D5200 with APS-C-size sensor. It will equal a 65mm lens (compared to field of view on a full frame) on GH6, while on D5200 it will equal a 52.5mm.   One heads-up about D5200 - it seems like the successor D5300, probably using the same sensor, but with a faster image processor is coming either in late October or in early next year: http://nikonrumors.com/2013/09/24/nikon-d5300-specifications-wi-fi-gps-expeed-4.aspx/   With a faster processor, they might be able to crank out 1080p at 60fps or faster shooting of stills. If it will arrive in October, nikonrumors will surely have more info about the successor soon. G6 already has 1080p at 50/60 fps, while D5200 only has it for 720p - so you'll have to decrease resolution on D5200 if you want to shoot slow motion.   Since your choice is between two good cameras, I'd make my choice by bringing a memory card and trying both cameras out in a shop and see which one I prefer to handle.

No, those kind of trekking bags have a strap around the hips, so almost all of the weight is distributed on the hips - the shoulder straps are mainly for keeping the bag in place. It's actually very comfortable, even when trekking longer distances. It's a bit less comfortable on a mountain bike, but not too bad.    I've used this backpack when hiking in the mountains here in Sweden. I've had about 15-20 kg in it (15 kg = 33 pounds) with food, camping gear & camera equpiment. When you only use the shoulder straps you really feel the weight, but as soon as you tighten the hip strap and get all the weight distributed to the hips, it feels like 70-80% of the weight suddenly disappears!   Here you can see it in use (I'm the guy to the left)  :) https://fbcdn-sphotos-b-a.akamaihd.net/hphotos-ak-ash4/333337_10150931147802263_378857687_o.jpg   I usually attach tripod, tent & sleeping bag with straps, so there's lots of more room for other stuff inside.

  Real-time in this case means that the CG isn't pre-rendered, but the rendering happens in real-time, just like the 3D graphics are rendered in real-time in most computer games. Not real-time would be like special effects in movies, where the rendering of the CG for just one frame can take from minutes to days to render for one processor core.

The Nikkor 85mm f/2 AI-S that I mentioned earlier could provide a good match for your rehoused Iscorama. I usually have that one quite far away from the Iscorama, since removing one filter ring would make the rear of the Iscorama touch the glass of the taking lens. Here's more info + picture of the 85mm: - MIR: http://www.mir.com.my/rb/photography/companies/nikon/nikkoresources/85mmnikkor/85mm2.htm - Ken Rockwell: http://www.kenrockwell.com/nikon/85f2ais.htm   Other than that I like it paired with the Iscorama, it is one of the sharpest lenses I have for my D800, an excellent portrait lens.     And Rob: The earlier suggested Nikon 50mm E Series f/1.8 can be fitted nicely on an Iscorama with normal housing, since it has its optics very close to the filter thread: http://www.kenrockwell.com/nikon/images1/50mm-series-e/KEN_5168-1200.jpg   They can be found very cheaply as well. Note that there exists a few different versions of them, and the one I linked above is the one with the optics closest to the filter thread. The E Series version with a silver colored aperture ring has its optical elements further away from the front of the lens, and I assume you'll be getting vignetting with that version due to optic to optic distance.

You don't say if you need it for local transport / outdoors / air travel or so.   What I've done is to use a small camera bag for lenses + camera, and put that bag inside my Haglöfs trekking bag: http://www.haglofs.com/productimages/master/241060/2410602EN/main.png?width=473&height=591   That's my one-bag solution for when I want to have my big video tripod with me. Works nicely for hiking and is ok for mountain biking on trails, at least for the shorter 10-20 km distances.   If it is for outdoors, packing smaller bags in a large backpack is a good solution. If this is for travel, there's probably better options.

  Agree on that, brain can easily trick you!   And my point was - you keep on using the word shitty, and I don't think you know what shitty means when it comes to monitors... :) I've been doing design for web & print for the last fifteen years, and I've come across some truly crappy monitors out there. On some monitors it is just not possible to see color differences. Usually IPS or PVA-based panels are alright, but some of the 6-bit TN panels are outright horrible. In addition to not being able to see differences between nearby colors on them, some can't even be calibrated to show neutral grays, whatever you do (...and don't mention the black and white levels nor viewing angles).

I don't think you guys know what a bad / shitty monitor is... :)   Do this test on a bad monitor and there will be no way of telling the differences among many of those subtle nuances, not mattering how good your colour vision is.   So yes - it's a test that requires both a proper display and an eye for colour.

Are you talking about hard vignetting (full black in corners) or soft vignetting (faded out)?   I use a full frame Nikon D800. I get a tiny bit of hard vignetting with my Nikkor AF-D 50mm f/1.4 with the pre-36 Iscorama. If you crop away the sides to achieve 2.35:1/2.40:1 instead of 2.66:1 the hard vignetting doesn't matter. There's quite a bit of soft vignetting as well at apertures around f/1.4-f/2.    I got two Dog Schidt Optiks FF58 (modded Helios 44 lenses) which does not have any hard vignette at all on my full frame Nikon D800. 58mm seems to be the perfect focal length for wider shots whilst avoiding vignette.   Same goes for 85mm f/2 Nikkor AI-S, no vignette. I also have a Nikkor 105mm AI-S and a Nikkor AI 200mm.     The taking lenses I find the best for the Iscorama are the DSO FF58's and the 85mm AI-S Nikkor. I very rarely use any other taking lens.   All of the Nikkors have 52mm filter thread, and I haven't found any issues with any of these lenses at any apertures besides the vignetting on the 50mm Nikkor.   I've also tried the dirt cheap 50mm f/1.8 E-Series Nikon lens. That one didn't seem to hard vignette with the Iscorama, and there is not as much soft vignette as on the 50mm f/1.4. There's some issue with my sample of that one though, it doesn't focus properly on infinity so I haven't really used it with the Iscorama except for checking vignetting. I'm happy with the FF58's, so I don't think I'll waste any time on getting another E-Series.

One of the regulars at the forum shot a nice comparison a while ago:   http://www.eoshd.com/comments/topic/2170-iscorama-vs-iscomorphot-8-2x-vs-iscomorphot-8-15x/

This is actually the reason why Andrew put together his 50D guide:   http://www.eoshd.com/the-eoshd-50d-raw-shooters-guide   Most of what you need to learn about 50D & raw is covered there. I'd start there, and get back to the forum whenever there's something you don't understand.

Looks a lot better! Nice if it was possible to fix with firmware only.

    If that is your main use, I suggest GH3, G6 or even a used GH2 if you can find one. They're just allround great workhorses when it comes to video. And with stills they aren't far behind a bigger sensor Nikon/Canon. An experienced photographer will take good shots with any of these cameras!   My recommendation is to not overspend on the camera body. The video technology in cameras will become a lot better in the coming years and you might want to upgrade in 3 years or so. Regarding still photography, it's becoming increasingly more difficult to improve on the current quality.   Good lenses can be used for a really long time if you take good care of them. Same thing goes for audio recording equipment. I don't think we'll see any major breakthroughs in either of those areas in a long time. So, money put on audio gear/optics is well invested money.   Regarding lenses: - Zooms for m4/3 often have image stabilisation, and that can be really great when shooting video. - You can find a lot of cheap used prime lenses that are still great. I'd suggest to find some cheaper prime that you can try out and see if you like or not. Trying & experimenting is in my opinion the best way to learn when it comes to photo/video, and I think it is important to get to know both zooms and primes - right tool for the right job.   If I look at the current tech on cameras today, my future predictions of camera tech in 5 years time: - There will be better compressed formats like H.265 in cameras - The better compression will make it possible to use 4:4:4, 4:2:2 and 4:2:0 10-bit encoding, which gives a lot more possibilities for working with colors and adjustments in post production than today's 8-bit formats. - Lower end cameras will have better dynamic range and better performance in low light. - Probably some better prores / raw solutions in addition to h.265.   What I lack mostly with today's cameras and the one I'm using now, Nikon D800, is higher color bit depth. A move from 8-bit color to 10-bit color would make for bigger file sizes, but it would also give 1024 values per color instead of only 256 values per color. Personally I don't mind a little bit of lossy compression when it comes to video - I rather have smaller file sizes than the current requirements for raw or higher quality prores.     ...And remember - there will almost always be a better lens, a better camera, a better something. Best thing is to learn what the limitations of the tools you have are, and learn how to produce the best possible result with those limitations. That has always been the case with the cameras I've been through, from the old analog Pentax MX still camera that I started out with, to the Nikon D800 camera I have today.

I tend to find 2x too wide on 16:9 sensors. 1.5x could have been interesting on an adapter like this, but 1.3x is good enough.   Like a few others here, I think it'd be interesting to see what a lens like this could do with a lens like the trump with oval aperture. Then you could shoot 2.35:1 out of the camera and yet have something close to a 2x bokeh.   For the flares, blue or orange flares is the ones I find the most beautiful. As it is now with no coating it of course flares too much. I'd like this lens to flare quite subtly. Max two stripes, and quite blurred ones, not as sharp as now. A multicoated version with almost no flares wouldn't be totally uninteresting either as an option to me.   As long as the flaring isn't more than an Iscorama I think the lens is very nice. Seems sharp enough. Just like Andrew says, the key point with this lens is that it is actually a lens that is easy and quick to handle (since the sharpness and optics seem to be just fine!), not too much time wasted on double focusing, diopters etc.   Those are my 10 cents.

LOL Rudolf. I love that vintage Iscorama advertisement you attached with your post! Very cheesy :) Never seen that one before.

  Compare the SLR Magic video (most is shot at f/2.8): https://vimeo.com/73139124   to the Letus Anamorphic: http://www.clintonharn.com/wp-content/uploads/2013/09/Scene1-unsqeezed.jpg - Those are some soft corners for a $1700 adapter!   Also check out footage from LA7200 around the net, in corners they get very soft.   Then you can start to reflect on the fact that this $1500 SLR Magic anamorphic at f/2.8 - which hasn't gotten its coating yet - is already sharper (by a lot) than those two.   I don't like the current crazy flaring of the SLR Magic at all, but that will change for the better with coating.   I have a good sample of an Isco projection lens as well, and yes - it is very sharp, somewhat sharper than my real pre-36 Iscorama. I love the Isco projection lens for its qualities, although I dislike the unproportional squeeze it has. But when you consider the handling of it, it just can't be compared to a lens that you can just screw into the filter thread of the taking lens, that you don't need any special rig for, and that you can easily & quickly do single focusing with. All the hassle of the workflow disappears and you can focus on the shooting instead.   I'm thrilled to see the test footage of this lens by Andrew. Although what he has in his hands is a pre-production lens, I have a feeling you won't think it's soft after you see his shots with it :)

As far as I understand, it should work the way you do it. BM recommends eSATA/Thunderbolt docks for speedier transfers, but USB docks should work as well.   My list of suspects would be:   1) The Dock. Is it reliable hardware? Proper driver? 2) Hardware issue with the ssd.   Is the copy always stopping at the same 5GB size when you use Finder - or does it vary how much it copies?   My first attempt would be to ditch Finder and other silly gui tools and open up a Terminal window, which tends to be foolproof:   cp -r /Volumes/SSDVolumeName/ ~/Desktop/FolderOnDesktop/.   cp is the command for copy, -r is a flag for recursively copying files. (Also note: if there are any file names that start with a "." that you need in that folder, those are considered hidden and will not be copied with that command.)   Just replace SSDVolumeName with the exact (case sensitive) spelling of your SSD Volume name. Same goes for the folder name on the desktop.   I have seen Finder fuck things up too many times to trust that software. The unix-based command line tools in the terminal never fail.     So - if you can get it all copied through that command, you know the hardware is alright. If the terminal command doesn't work the most likely culprit is the dock (or its driver) or the ssd.

Very interesting! Great to hear that you are one of the early testers of the lens and have the possibility to feedback to them :)   It surely sounds like they have done their homework and produced a lens that addresses shortcomings with many of the old anamorphics.   Also, can't wait to see your footage with this lens!

  Yes. I was also surprised to see Apple put out videos with such color, since color and design has been such a major thing for them. In the past, they have taken great care about the looks of their marketing material. Also note all shots that show lips and tongue, how little red there are in those. I really wonder how this slipped through.

I wonder who did the coloring of Apple's new ads. All the segments with the Apple representants (Jonathan Ive, Dan Riccio etc.) has horrible skin color:   http://www.youtube.com/watch?v=utUPth77L_o   http://www.youtube.com/watch?v=TJkmc8-eyvE   http://www.youtube.com/watch?v=kK0_OVn_uxA   Also, their eyeballs don't look white, but rather yellow/brown.

It's great to see new anamorphic adapters in a more affordable range! Interesting setup for focusing on this adapter. Will be interesting to learn more about that.   This adapter as well as the SLR Magic are both great news :)