dahlfors

+1 on Rcorrell's reply.   I only use a few stacked 49mm uv filters with glass removed + a step-up ring to 52mm filter thread. Then I just screw the stacked filter rings + step-up ring onto the iscorama and then screw it onto the taking lens. Very handy solution, and I wouldn't go for any other setup with clamps or such on an original Iscorama or Iscorama 36.   Dog Schidt Optiks will also modify Helios lenses (also known as FF58 / Flare Factory 58 when modded by them) with adapter rings preinstalled so you can directly attach the Helios lenses to your Iscorama. I use two of those and a set of Nikon lenses with 52mm front thread.

Just watched your video and I agree. Looks like the taking lens you used was a tiny bit off focus. The Iscoramas produce far sharper images.

  I've had my eyes on those for a while as well. Would be great if you could comment on it a bit after using it!

  Don't know if I'd call Drobo foolproof... http://scottkelby.com/2012/im-done-with-drobo/   Personally I'd rather go with Synology, QNap or Netgear, they seem far more reliable.

  The older a hard disk is, the more likely it is to fail, whether it is in use or not.   The zeroes and ones are stored on magnetic platters, and on a hard disk that isn't in use, the directions of the magnetization will weaken over time, eventually so much that your data can't be read properly.   And then there's the mechanical issues with a hard disk. The question is not IF a hard disk will fail, but rather WHEN. During my span of computing I've probably had around 40 hard disks. At least around 25-35% are dead by now. Some have had dead controllers, some have had the read/write heads hit the spinning platters, some of them stop spinning.   If you got important data, don't keep it in one place. And if you got important data, keep on moving it to new physical storage media every 2-3 years or so, depending on redundancy. The old storage media won't last.

Yes. The Backblaze storage pods run Linux.   Basically, this is what I first suggested for you: running disks in raid-mode in a normal computer case. Linux and FreeBSD works great for software raid setups in raid 0, 1, 5 and 6 modes. They are also among the cheapest solutions, since you don't need the newest hardware and it might work with old hardware that you already have.   However, it takes more knowledge to run a setup like this though. Buying an off-the-shelf NAS is for most people the more convenient option, mainly because it doesn't require as much technical knowledge to setup the NAS, and because it is easy to replace a failed disk - it's usually indicated with a light or in some simple way in the maintenance interface.   Personally I've used FreeBSD file servers for over a decade now. My current setup is an array with seven 2TB disks, which give me 10 TB effective space and I can lose two physical hard disks in the disk array before I lose data. Read and write speeds over the network usually range in the speeds of 75-120 MB/s, so it's quite close to a normal local disk in the machine. For smaller files it isn't as fast though.

Hmm. Could perhaps get some good deals on 5R soon then, I've been thinking about getting some affordable and more portable camera.   What lens would be a quite affordable, around 20-35mm focal length, as small as possible but still with good optical quality for stills and video? I haven't been too impressed by the reviews and sample images I've seen of the Sony 20mm pancake.

The colors and the grading possibilities of 10-bit... So lovely!   In the right scenes this camera will surely produce lovely footage and be worth its money. In wrong scenes outdoors in setups where you can't control the light enough, the sensor blooming can be an issue.   Check how the highlight eats up the silhouette of the woman at around 00:43 to 00:45 in Bloom's video. Not a pleasant artifact at all.   The worst case I've seen so far in a pocket camera video is the blinking car lights at around 02:53 in this video:   https://vimeo.com/72972391   Here it's quite visible how much the overexposed light leaks into the rest of the image.

You won't find any cheaper solution than storing it on 3 or 4 TB hard disks, those are the cheapest per GB of data. Use those for backup / storage for different projects, connect and disconnect whenever you need to. If you got a tower computer, you might already have empty slots for disks, if not you will need to connect disks through usb/firewire/esata etc.   If you want more storage and more convenience in using it, use an old machine and add disks to that one and build a raid array - or do it the simpler way and get a NAS device, like a QNAP / Netgear NAS.   There aren't really any other options on a budget.

I had a Lightcraft Fader ND Mark II before it got smashed into pieces while saving one of my lenses from the fall...   I noticed that it seemed to soften my shots by a slight amount, but not disturbingly much. Some of the more expensive variable ND:s are supposed to be sharper than the fader nd according to reviews. I think Dave Dugdale of learningdslrvideo has made a video comparison of a few different variable ND:s.   Since my Fader ND is just broken pieces of glass now, I've gone back to my Cokin P filter system. It can take up to two ND filters, so I can mix any combination with ND2/ND4/ND8 that I want. No resolution loss like that, and the Cokin P filter system fits easily to all my lenses with the adapter rings, so the same square ND filters can be used on any lens of mine (works on lenses with up to 77mm front diameter if I remember correctly). The Cokin ND filters are alright quality, and you can get cheap chinese knockoffs from Ebay as well. The cheaper ND's won't be as neutral in color though.   The Cokin P filter system is basically similar system with sliding filters as you would have in a mattebox, it's just smaller and more portable and attached directly to your lens instead of into a mattebox. Here's what it looks like: http://i00.i.aliimg.com/wsphoto/v0/392872134/67mm-Ring-Adapter-Filter-Holder-for-Cokin-P-Series-PCFA3-67.jpg

http://www.engadget.com/2013/08/22/canon-powershot-g16-s120-sx170-sx510/   Powershot G16 and Powershot S120 both feature 1080p60 modes now. Perhaps the next generation of DSLR's from Canon will feature 1080p60 as well.

I'm thinking two things:   1) Either he tells the truth, is a control freak and probably can't cope with the new social media world and feedback from people online   or   2) He has understood that if he is dramatic, people will write about it and it will gain more attention to RED, as in the old phrase "all publicity is good publicity".     Either way, I really wondered what was going to become out of RED when they had announced the RED One. Back then I thought "OK, this will be successful for a while. After that, they won't be able to compete at all when the other manufacturers strike back". I was wrong, and it's amazing to see what RED has been able to achieve.   What I hope for the future of RED, is that they will find an interest in producing some more affordable cameras that compete in BMCC / BMPC segments, otherwise I'll probably never own one of their cameras. One can wish at least... :)

Actually, all the AF-D lenses I know of have hard stops, and I don't know of any lens being an exception to that. The AF-S G lenses lack a hard stop.   I agree on the build quality, I really love the solid feel of the AI/AI-S lenses. The AF-D and G lenses are very plastic, but at least they tend to be light-weight.   Color-wise, I would say that there is only one Nikkor lens that sticks out from the Nikkors I use - and that's my only AI lens, 200mm f/4. I haven't looked into what the difference is, but I have a feeling that the colors are a bit cooler, and that the lens is less saturated than other Nikkors that I use.   In the others, there might be subtle differences, but I haven't noticed any big difference in color between these that I use: 16-35 f/4 G   50mm f/1.4 AF-D  50mm f/1.8 AF-D  85mm f/2 AI-S 105mm f/2.5 AI-S  Same goes for the DX lenses: 18-55 VR I f/3.5-5.6 G and 35mm f/1.8 G Neither can I remember noticing anything specific with the color on the 35mm f/1.8 E-series lens.   Nikon introduced multicoating on their lenses in 1970, http://www.kenrockwell.com/nikon/nikortek.htm#nic, and the majority of the multicoated lenses should render colors similarily. The AI-S lenses are from 1981 or newer and are all multicoated.   That said - I haven't shot these lenses on anything else than on my Nikon D200 & D800. At least D800 can perform certain lens corrections when shooting JPEGs, I'm not sure if there is any processing done depending on lenses when shooting raw.   And... Some AI-S lenses perform better than newer AF-S lenses regarding sharpness/distortion etc. Some AF-S lenses are better than the AI-S variants, it quite depends from lens to lens.   The G lenses in general are very sharp, the ones with nano-coating almost never give any ghosting or flares. The major plus with the G lenses are usually nano-coating (found on the better G lenses), the resolution & sharpness, sometimes but not always less distortion, and a few of them feature VR (image stabilisation/vibration reduction).

It says: € 3.806,81 tax incl. and € 3.199,00 tax excl.   Source: http://www.hdvideoshop.com/en/search?orderby=position&orderway=desc&search_query=kineraw&submit_search=Search   So, a BMC or pocket camera is a lot cheaper. However, if the Kineraw can do 100 fps at 720p, it probably can do 1080/2k at 48/50/60p? That can be quite a useful feature that you don't get with a BMC...

  Hmmm. That does not look like normal rolling shutter jello. It more looks like misbehaviour when image stabilisation is on in video mode. I think the other test is better, where it looks like image stabilisation is off in video mode.

@araucaria How do you mean the codec in D800 sucks?   In tests I've seen people seem to rave about it being good - even the people who shot the tv series Dexter on D800 used the internal codec since they didn't find the clean HDMI much better.    And from my own shooting, my opinion is that it's great for an 8-bit codec.   @black About the D800: I considered getting a VAF, but I find that the moire isn't too bad. I've seen moire or aliasing occuring on certain brick walls and such, but it's not enough to get me to buy a VAF. Unfortunately I haven't used the D600, so I can't compare to that.   In the D800 720p60 / 720p50 modes there's loads of moire unless you try to keep everything nasty out of focus. Works quite ok if you do slow motion with a person in focus and let everything else be out of focus.   I guess Nikon will improve video in the next generation of full frames, since they improved so much in D5200 & D7100 now. However, I don't think you'll see such an update in less than 2-3 years. So, if full frame video is your #1 reason for getting a full frame now, I'd save up for the 5dmk3 and use the Nikkor lenses with a converter.

+1 for Nikon D5200/D7100 instead of Canon's lower end cameras.   Apart from Panasonic GH3/G6 I'd check out the new GX7 as well.   If I were you, I'd bring an SD card and try shooting stills and video with the cameras - and check which ones I like the handling of, and try to decide whether APS-C or smaller m4/3 sensor better suited my need, and if I find the camera handling good (the cameras you feel most comfortable about handling tend to be the ones you shoot the most with :)).   Personally I'm fond of small & light camera bodies for video, as well as smaller sensors which can give me more depth of field in lowlight. On the other hand I prefer full frame cameras for stills - partly due to large viewfinders, partly due to being used to shooting 35mm in the analog days. Hence I ended up with Nikon D800, since I do stills more. ...and yet I'd love to have a small sensor camera where I more easily could get deeper depth of field in low-light. Might be something to consider.   There are quite a few threads about D5200/D7100 here on EOSHD, as well as a review article for D5200. There's also threads with GH3/G6 as well as review for GH3 - and I bet more info on GX7 will be here soon enough. I'd read through those if I were you, lots of helpful knowledge to help you decide.

  Ahh. Finland... I lived there my first 25 years of my life. Lovely to see shots from there :)   Seems to be a great anamorphic for 33 euro only!

Since I've seen there's a few people in here still looking for Iscoramas - I spotted an Iscorama 54 for sale at a price around 20.000 swedish crowns (SEK), which is roughly 2300 euro, in southern Sweden.   It is an ad on Sweden's largest photo forum, fotosidan.se: http://www.fotosidan.se/classifieds/view.htm?ID=202418   Basically he says that he is selling Iscorama 54 in mint condition with redstan lens clamp, and that it was bought from redstan. Maybe our guy Tony Wilson knows more about this?   He also lists a website on his fotosidan profile, which looks like his portfolio: http://www.frankvfx.com/   Unfortunately it's not in my part of Sweden. But if you live in Europe and are really interested in getting an Iscorama, I'd suggest that you get in contact with this person and travel to Sweden to see the lens in person (to avoid scams). Trip included to Sweden - it's probably far better price than these insane prices people demand on ebay these days!   (I've myself bought quite a lot of second hand photo gear through this fotosidan.se forum, and I've been happy with that site. My scam radar doesn't give me any warnings on this ad or person, but I'd still suggest that you go to meet up if you want to buy something this expensive...)   (...and just to make it clear: I have no connections to this ad/person whatsoever. I just check the used lenses and items people sell on the fotosidan.se site, and I stumbled upon the Iscorama)

Yep, that caught my eyes too - looks like too fast shutter speed. Think a slower shutter speed would have made the footage look much better.   @Axel ...and the colors: it seems to be common shots in snowboard promotion to have all weird kinds of colors instead of aiming for a natural look. I think they're aiming for a surreal look.

I found this video from Burton snowboards shot on the Movi Freefly interesting, and thought I'd share it with you guys:   http://www.youtube.com/watch?v=AlUfT2ZWSUY

  Great information, I'll have to try this sometimes. Thanks John :)

  In APS-C crop on Nikons I've used it with a 50mm. You get slight vignetting then, but not too bad. That's the widest I've used mine. So, on FX the widest possible should be around 75mm, with slight vignetting. Personally I don't have any lens between 50mm and 85mm, so for full frame sensor I haven't used it with a wider lens than 85mm.   As OzNimbus says - they don't squeeze the image evenly. The squeeze at the edges is a bit more than the squeeze in the center. I am guessing that this is the reason some people say they have around 1.7x squeeze, and others say they have around 2x.    QuickHitRecord: Yep, I think they are overlooked too. Sharp, lovely image.   jhero: Very beautiful footage!

Hehe. I've dragged cameras up and down mountains too - which is when I learnt that I want to get something really small and pocketable for those times :)   Nice to hear about your experience with that one, will have to look into it more!

Nice footage. How easy do you find it to get stable footage out of the Edelkrone pocket rig?   I'd love to have some affordable and more portable rig to get stable handheld footage with the D800, without carrying too much stuff with me... Been trying to just use the Velbon Ultra Maxi Mini tripod that I have for some shots, and it it's a cheap solution that works so-so, but I bet getting one point attached to shoulder should be far better.