dahlfors

  Rolling shutter can't be reduced by hacking. It's dependent on how the sensor is read (line by line). The only way to avoid it is to read out the whole sensor at once, like on the black magic production cinema camera or sony f55 cameras with global shutter CMOS sensors - or to use a CCD sensor-based camera.   The amount of rolling shutter is different on different DSLR's though, some have more, some have less, depending on how fast the sensor is read.   You can minimize rolling shutter in a lot of the footage by stabilising your camera and avoid really fast pans with camera, but a car passing by at high speed will still get skewed, even if camera is on a tripod. To some amount, you can also decrease it in post. I believe there are tools to do this for After Effects and similar softwares - but I haven't tried those.   Quite a lot of people who test cameras for video test how much rolling shutter they have, like Andrew on EOSHD. Check his tests of 5dmk3, GH3 etc to see how much rolling shutter there is when panning the cameras. If a bit of rolling shutter is too much for you - then a CCD camcorder is the only choice for your budget. If you find other advantages that suits you better with DSLR's or mirrorless cameras and can live with a bit of rolling shutter - then you should certainly consider GH3, 5dmk3 and other dslr/mirrorless alternatives.

"If I were Nikon I’d be hammering down Vitaliy’s door to give him assistance in creating firmware patches for raw video." - I sure hope Nikon will realize what they could gain on that strategy :)

Great news! :)   Although I have a line-skipping D800, raw / prores would certainly come in handy. And getting a D5200/D7100/D3200 wouldn't be out of the question since I already have a nice lens setup.   How can I/we support Vitaliy with this project?   Edit: I just found out that he takes donation on the site, http://www.personal-view.com/ - will for sure donate so he can work on this project :)

As far as I know, there are no DSLR / mirrorless cameras without rolling shutter. If you need that in your budget, a 3ccd camcorder will be your best option. CCD sensors don't have rolling shutter. CMOS sensors can be made without rolling shutter, but the only cameras that have those sensors cost a lot more.

  I agree. One of my favourite films ever, Terrence Malicks "Badlands", recently came out on blu-ray. Even the remastered blu-ray version didn't have lots of resolution, and it's still a goddamn great film. When I watched it again, it made me consider what an amazing tool I have in my hands - if the story & work behind it is just good enough :)

  Yes, I think you are spot on with "being a new entrant to any market, there's no guarantee of success". I don't think Nikon will add a video-only product very soon. I think it is far more likely that we see improved video functionality in DSLR's and mirrorless cameras from Nikon. Previously, Nikon's & Canon's camera offerings have been competing in the same segments, having models that roughly compete against each other. I hope Nikon will notice how much hype the 5dmk3 magic lantern raw mod has gotten around the net and take note of that for their upcoming cameras...   I also hope that Nikon has started looking at Panasonic GH2/GH3 series of cameras as well as Blackmagic offerings. Considering the current speeds on SD and CF cards, it shouldn't be all too difficult adding Prores.   What's interesting is that: 1) Nikon is now on the third gen of the 1-series mirrorless cameras, 2) the D800, which was their first serious video camera has been out for over a year, and 3) they recently released the Coolpix A - which is their first mirrorless camera with APS-C sensor.   If they'd be glancing on Panasonic GH3, BMCC & BMC pocket camera, I think they would have done a lot of the R&D needed already to add a new product somewhere near those.   Until that, I'll be happy with my D800 (and perhaps a BM pocket camera).     (And oh yeah - SERIOUS WTF about JVC)

I've been really happy about the results with my two Nikkor AI-S lenses: 85mm f/2 & 105mm f/2.5.

Here's a whole thread about Isco projection lenses: http://www.eoshd.com/comments/topic/972-isco-anamorphic-projection-lenses/   Here's a post with some really nice stills taken with Isco ultra star projection lens: http://www.eoshd.com/comments/topic/1808-bolex-anamorphot-1632-15x-my-little-gem/?p=24417   One of my own posts where I added some stills I've shot with my Isco ultra star: http://www.eoshd.com/comments/topic/2543-vid-atlantic-lens-sales/?p=32162   Also, my Ultra star works with 50mm lenses on APS-C sized sensors without much vignetting. Something around 75mm would be alright for fullframe, but I only have a 85mm f/2 - no vignetting with that one on full frame sensor.

Just want to piece in my five cents about buying/selling anamorphics on EOSHD:   I'm a happy owner of an Iscorama thanks to the anamorphic forum. I've always loved the wide aspect ratios and anamorphics look, but didn't know much about anamorphic until I ended up buying the anamorphic guide and started lurking around here.   When I had the budget for an Iscorama I started bidding on a few lenses on ebay and I also added a buying post here. Fortunately enough, one guy in Europe on EOSHD had an Iscorama that he could sell. Knowing how much money was involved, I thought I might as well take a Ryanair flight and stay in a hotel for a few days to see the lens and exchange money in person. Worst thing that could happened would probably have been that I'd get a weekend vacation trip to a city I hadn't visited.    The seller turned out to be a really nice & honest person and he of course had a great interest in anamorphics and film making as well - it felt like meeting up with a friend.   So, buying from longer time members in the forum - and making a low budget trip to exchange the goods might be a good advice to not get scammed.   If I'd buy/sell some anamorphic equipment in the future, this forum would be my first choice due to the helpful community. Cheers!

The pocket camera would be interesting to me. Especially if tested with some of the small m4/3 pancake lenses - the tiny size & portability is very interesting with that combo. With major struggle, I once hiked 8 hours up a mountain with a DSLR. I got great shots, but never again I'll be stupid enough to bring a camera that big & heavy :)

I've myself used the Ultra Star on Nikon AI-S 85mm f/2 and 105mm f/2.5. No vignetting on either of them, both have a small front diameter for the lenses (filter size is 52mm as a measure).

I have no experience with möller lenses myself. However, I have a red Ultra Star and I really like that lens. You can find more info on the ultra star in a few older threads if you search the forum. Very sharp lenses.

I've done timelapse videos with my Nikon cameras, in movie format as well as with RAW and jpeg sequences - this is not a "regular camera issue".   If all settings are locked to manual, it looks more like a firmware bug or sensor readout issue when seeing those histograms - or some issue in certain production batches. Contact Panasonic to see what they think.     Oh btw, I see one of your notes that I missed the last time: "2) Make a timelapse in a room with a few light in order to obtain underexposed images with shutter speed 1/40 or higher."   Do you mean faster shutter speeds than 1/40 by "higher"? - In general when people make time lapses they smooth out the motion by using long shutter speeds with ND filters. Except making the motion feel smoother, this also even out any kind of light flickering indoors, as well as averages out the light outdoors, which can be useful during cloudy days when light changes. Try using an ND filter and keep the shutter speed around half of the length of the delay between shots (this rule doesn't work out for really long delays between frames). 

Hmmm. Check the raw files and see if all of them reports the same info for white balance. I'd report this to Panasonic as well, since it might be an issue that Panasonic could fix by updating firmware.

  http://en.wikipedia.org/wiki/Iscorama#Iscorama_54   Basically, the 54 is larger in all aspects and you can use wider taking lenses than with the 36.

I'm surprised noone has mentioned https://soundcloud.com/ - everything from larger artists releasing music to one person making music at home, in a lot of different genres. There is a lot of music with Creative Commons licenses there that you can search for - and you can easily get in direct touch with the people who made the music if you want to get your hands on something which has a different license.

Nice write-up! I guess you'll promote your film more when you reach final cut - will be interesting to see more :)

The footage looks awesome! I'm happy with my D800, but I really wish there'd be some hardcore developers hacking on the Nikon's like Magic Lantern :) The Nikon hacker forum seems quite idle... Great news for 5dmk3 owners now. And it will likely be good news to all others as well. The existence of 5dmk3 with RAW and (soon) the Black Magic Pocket Camera with RAW/Prores will probably push Nikon, Panasonic & others to up the resolution & bitrates in their cameras, and perhaps even add RAW options as well. And perhaps Canon themselves might improve the video features in their new DSLRs to make them closer to 5dmk3 RAW level?

  I have the first non-MC Iscorama M42 mount with 30mm rear diameter, http://en.wikipedia.org/wiki/Iscorama#Specifications

According to nofilmschool's latest article they can do 1920x1080 @ 24 fps on 1000x cards, as well as 1440x1080 for the 2x anamorphic shooters. Good times for 5dmk3 owners. Magic Lantern surely deserve the "magic" in their name :)

  Try shooting with a sensor with better DR or some of the analog films with higher DR and you'll notice the difference in highlights and shadows. Then you'll understand that it isn't paper stats...   userage: Yep, Pentax uses the Sony sensors as well.

No need for introducing the Iscorama here...   I thought that perhaps some of you might want to pixel peep and see exactly how sharp an Iscorama will be for future use at 4k, 8k etc.   So, I am sharing some of the Nikon D800 36 megapixel (7.3K) stills I shot with the Iscorama attached to the Nikon 50mm AF-D f/1.4 and Nikon 85mm AI-S f/2, stopped down to around f/5 to f/8:   http://we.tl/9dsQGS1GN7   These are the full .NEF raw files, works in newer versions of Lightroom & Photoshop. Keep in mind that wetransfer keeps the files available for 2 weeks only!   Since they get shared on the web now, I guess you can do anything you want with these files / re-post etc, as long as noone else steals the credit for them :)   Might be a nice thing to view for you who consider getting an Iscorama or wonder how well the sharpness holds on an Iscorama. It's not as supersharp as just the 50mm or 85mm lenses by themselves only - but in my opinion Iscorama would look lovely in 4k.

  There's quite some difference between 14/14.5 stops of DR and 11.7 stops:   http://tinyurl.com/cg7utan (dxomark comparison, the link wouldn't work when pasted, so I tinyurl:ed it)   Black magic sensors capture more DR as well. So, in certain aspects the Canon sensors are lacking. This is not just theory either, start shooting and comparing and you'll see it on the material as well. Before getting my D800 I've shot with older cameras with lower DR, and the difference is clearly visible.   Even if you compare the lowend D5200 to the Canon 1DX, the sensor in the D5200 has better DR at lower ISOs, which is quite astonishing.   Photography and filming is about capturing light, and I think it would be the time for Canon to improve the DR on their sensors. Granted, Canon sensors perform very well for lowlight video, but unless you only shoot at dusk/night improved DR would be a much more useful sensor characteristic to improve.

  Nice teaser shots Adam!   I hope you'll be sharing more info about your project & process! :)

Considering that D7100 is an APS-C crop camera, only the 20mm and 24mm would be considered wide angle.   The Tokina 11-16 mm is a superb wide lens. The Tokina 12-24 f/4 is another good lens that doesn't get mentioned as much. Only f/4, but I personally love the 12-24mm range, quite similar to the 17-35mm / 16-35mm lenses on fullframe.   Out of the wide ones, I'd recommend the 24mm, sharp and affordable.   The 35mm f/2 would be a really good normal lens in APS-C crop.    I own both the 50mm f/1.4 AF-D and the 50mm f/1.8 AF-D. I really have a hard time justifying the f/1.4 over the f/1.8 lens. The price difference between those lenses are better spent on other photo/video equipment really.   Had it been me:  - 24 + 35mm + 50mm f/1.8 had been my set of primes. - If I needed to go very wide and needed the best performance, the Tokina 11-16 had been my choice. Had I found it more versatile to have the range of 12-24mm for what I'm doing, I would have gone for that one. Not as good as the Nikons that cover that range, but not as pricy and yet not a bad lens.     Before my upgrade to full frame, my most used APS-C lenses were: - 35mm f/1.8G, - 50mm f/1.8 AF-D - Tokina 12-24 f/4.   I barely used my 17-50 f/2.8 Tamron for stills: I preferred the Tokina for the wide end, and the 35mm & 50mm performed better at the focal lengths where I would have used the Tamron. For video I found the Tamron nice.