Bioskop.Inc

So is this the reason that people think that the 54 is less sharp than the 36, especially when shooting with a lens wide open, because in fact you won't be shooting at the aperture that you think you're shooting at? So in fact, when shooting with a 54 you really are shooting at the right aperture & so it will reveal the taking lens to either be sharp wide open or soft - nothing to do with the attachement, but more to do with the taking lens?

I've got a 54 & it's all about the taking lens, nothing to do with the Iscorama. The 54 is less forgiving than the 36 or 42 (the sharpest Iscorama) & you really have to choose your taking lens carefully, if you want a sharp image. Not sure why anyone is stating that you can't shoot lower than f2.8 with an Iscorama because you can, but also not sure why anyone would want to shoot at f1.2. The Core-DNA is really for dual focus Anamorphic attachments. If you've got a single focus Anamorphic, you'll be better off spending the money on some good Diopters - achromatic doublets, not the singlets.

The only thing you can do is ask what is acceptable to use (they'll normally have a list of cameras) & rent for this one job, if it pays or gets you more work then consider buying something to keep getting broadcast work. Also, ask if what you're using will be good enough. Having worked for the BBC, I know that broadcast standards are pretty high & it is more to do with how they have to deliver the footage. Therefore DSLR footage just isn't going to cut it in most instances, because they have to compress the footage into a deliverable format & in most cases it will fall apart - hence the 100Mbit/s min requirement. The special permission aspect is almost certainly to do with the fact that they'll have to spend extra time/money getting your DSLR footage up to scratch & they really don't like doing this - they'll see it as a waste of time & money, unless your piece is something that is going to get a lot of interest/viewers (ratings, it's all about ratings). Don't let something like renting out a camera for a job put you off - this is your break & treat it as such.

Contrary to common belief, film isn't dead & probably will never die. The stupid ones are those that believe the marketing tools of modern digital camera makers - lots of Films/TV are still shot on celluloid & I'm not just talking about the big Hollywood blockbusters. There was an article a while back, where someone demonstrated that it isn't actually that expensive to shoot on 16mm film, if you have a budget & do your sums right. The real problem that exists is that most people here do not have a realistic budget from which to produce a film with & of course, this is coupled with the proliferation/over saturation of CGI & the fix it in post brigade. Digital has made people a little ignorant/unappreciative of many things that are taken for granted when using film - the fact that you can blow highlights is probably the most common misunderstanding (not saying that you should do it all the time, but it has its place & you don't have worry about this so much). And finally, the irony of this whole debate is those digital evangelists that are forever trying to replicate.....do I dare say it....."The Film Look"! Whose stupid now?

Got it in one - horrible blue things & rotating front. Complete non-starter..

I'm with you on this 100%. I've shot film in the past & digital has become such a lazy way to do things. At the moment, when I shoot digital photos I want them to be perfect JPEGs. I'm fed up of spending time editing RAW files, when all you need to do is get it right the first time in-camera. I'm on an anti-CGI, PS or whatever people use in post run atm. I'm fed up of looking at these perfect fake looking pictures/films. Nothing in life is perfect and that is how I would like the things I produce to be. Imperfections are beautiful and you can produce some great things by accident. I've got a great picture of an IKEA oven glove that's completely out of focus & it looks like a car - a complete accident, whilst testing out the bokeh potential of a new lens. The irony is, no matter how much I try to re-grade/alter it in a program, the original JPEG looks way better each time. So now I've stopped the RAW nonsense & I'm over the DR thing, it's just such a waste of time to worry about these things - more importantly, it stops you going out there & doing. Seriously thinking of going back to shooting on film, for pictures or movies/docs - will make life much easier.

Whatever you do, DO NOT shoot in 8-bit H264 or 8-bit whatever. In fact don't shoot digital! Personally, if you really want to future proof anything you shoot for up to 15yrs (or longer), then use film & not digital. The one thing that no one has mentioned is storage & it'll be more economical/reliable to store film than digital & the scanning techniques will just get better throughout the years. Spend a little more now & then you'll have a reliable archive, for yourself or others, to delve into for years to come. Digital will change/morph quickly & in 15yrs time you might not even be able to play the digital footage you film today. Why do you think some of the top film directors still use film to shoot their films on? I'll lay money on one major reason being that the majority of films, up until this day, have been shot on film & that future generations will want to preserve these archives, no matter what. I'll also lay money on the fact that more digital films will get lost/destroyed for future generations than those shot on celluloid - and you'll end up reading about people remembering seeing this or that film/tv series, which no longer exists. It's something to seriously think about & that goes for the project that you are thinking of embarking on - how valuable is it going to be for future generations? And do you really need to worry about how long it will last?

Hmmm! Thanks, thought it would be pricey & it's more than I paid for the 3 anamorphics I would need it for. It's a real shame that this didn't exist before i bought an Iscorama, which I wouldn't sell for love nor money. Oh well, will have to save up I suppose.

Wow! That looks like a really nice compact set up. So how much is the Core DNA (if you don't mind me asking), as I've got some small anamorphics which really need its focusing capabilities?

A Pocket/BMCC hybrid with Global Shutter (or just improved RS like the Micro), would be the way to go. It'll be bigger than the Pocket, but smaller than the BMCC & have better battery life, screen & a cooling system to get 60p - it won't be 4k, but 2.5k in RAW & 1080p ProRes. This would be perfect.....

We'll they're not as easy to get as the S8 (well mine flares like a Kowa for B&H), but with bright/strong lights they can come on quite nicely (kinda got over the flare fun anyways). I know what you mean about x1.5, but me thinks i'll have to get one of Rich's fixed oval apertures for that - it really is all about the out of focus rendering of a x2 & also avoids the need for using a stupidly wide lens, which I don't really like. This is a great anamorphic for a small run'n'gun set up. Again, not really hunting for flares, but.....

Me too So get yourself a WS 2000, really really good lens. I'm thinking of re-buying the proper single focus Iscomorphot again, don't know why I ever sold it!!!

There is, it's called the Iscomorphot s8/x2 or Animex s8/x2 - a little bit longer than the Widescreen 2000 & not so good as a focus through, but an amazing little lens.

Anything by AKG - lots of different price ranges, so you can go for the cheap £50 ones or up the price. Quality is outstanding, far better than anything mentioned here, even the cheap ones. Found them due to an end of year round up from a magazine called What Hi-Fi a few years ago & haven't looked back since. Would also suggest you test your sound with something really bad (speakers, TV, Phone/Pad or whatever), just so you know how your sound holds up with the worst option available - not everyone watching your stuff will have a top of the range ....... (fill in the blank) & sound can change dramatically depending on what device you/your audience is using. Good sound should transfer to whatever is available & not just good stuff.....

Personally, I've stopped using Film Grain & especially if i'm uploading to Vimeo or YouTube - you've got to layer it so heavy, for those platforms, that in the end it kinda looks worse than if you left it alone. But, there is a time and a place to use it, and it can look really nice, but not really on V or YT. It's an interesting topic because recently there's a guy over at BMCuser that is designing his own film grain. My only problem with this guy's efforts is that he's using the BM Pocket & to my eye, when you lift under exposed footage from it, the pocket produces very nice organic grain type noise. So i've been experimenting with doing exactly that, but the only problem comes when shooting in daylight/brightly lit scenarios - it's hard to get a consistant noise that will match dark scenarios. And so the experiment continues..... To use or not use, it's totally your choice in the end. BUT if you're using an 8-bit codec, you really need to stop using c-log or whatever & try to get as much right in-camera as possible - then you'll only need to do minor CC & your image won't fall apart like a soppy burger on a friday night..... One last thing: Film Convert is amazing for everything else, especially how it renders highlight/shadow roll off

You're a real prick aren't you! A few means a few, go to that thread & count - it isn't hundreds. Yes, some cameras have a problem & others don't, but don't go saying every camera has it. Every camera has its quirks & yes BM normally release things that aren't 100% perfect - BUT THEY DO END UP FIXING THEM! Who are you working for to be such an arsehole?

Please don't start this over here, go to BMCuser & deliver your verdicts there - it isn't a widespread issue & there are very few people that have it (if you consider how many units are out there vs. the complaints). Where's @John Brawley when you need him!?

Yes absolutely, I think they are listening. However, I like the all-in-one option and don't want to buy loads of other add ons just to make something work. Give me everything in one box & I'm as happy as Larry. This is precisely why I'm not moving away from the Pocket anytime soon, that and i'm not fussed about having even more DR & slow-mo has been so over used it's now become a joke and a real sign of a lack of imagination. I've always found that if you have limitations, then you strive forwards into directions that you'd never have even imagined were there. I don't want the simple life, simply because you never get to test yourself. I want that rush of blood to my head everytime I pick up a camera - the adrenaline fuelled nervous sickness that takes over your whole body & demands that you can no longer make excuses, but just be & do... Really want to see what BM come up with next & just hope it is as awesome as the Pocket............................

If you'd read my other posts, then you'd have seen that I too have had no issues with BM products either - I have the pocket, it's rock solid & an amazing camera. People who complain about silly things, like battery life or perfectly acceptable screens, just aren't serious enough for my tastes. Finding excuses seems to be rife at the moment, but price vs. image quality and you just can't overlook BM cameras - if you do, you're just missing out on some of the best cameras out there. Talk about shooting yourself in the foot! People have got to stop listening to those with other agendas & actually try using one of these cameras. The Pocket's 45mins battery life is not a problem, simply because if you've ever done any filming, 45mins is a long time & you're never going to be filming continuously (you will stop, move etc.), so how hard is it to change a battery - takes a few seconds & few more if you need to change the SD card too. The more you film with something, the more you're aware of what you need to do - if you've never used a camera, your opinion is irrelevant, pointless & just plain stupid. That comment, about the C300, was just for the people who have been bashing BM cams (& DSLRs, especially Canon) & the next step up for them would be something like the C series - they'd complain about that too, "It's too expensive...blah, blah, blah....."

Exactly, if you're shooting something high profile you need to stick with something reliable & that's where the C series really shines - it's all there in one box & does the job. Wasn't "Blue is the Warmest Colour" shot on the C300 & that looked fine - it also won the Palm D'Or, so you can't really knock it? But having said that i've never read anything about the Pocket failing & it has served me very well - no problems whatsoever. And those that need stabilisation, just haven't learnt how to hold a camera steady yet - first time I used it I did a lot of handheld stuff (no speedbooster or wide lens), just had some heavy lenses on it & no jitters or unusable footage. It's a craft & as such needs a lot of practice/understanding. Never heard of or seen someone dropping a camera either - that's just the first rule of filmmaking, take care of the camera, even if it means you damage yourself. Yeah accidents happen, but dropping the tool of your trade, unthinkable!

Over at BMCuser, someone posted that they dropped their Mini 4.6k, it landed on the handle & cracked the casing, causing damage to the mother board inside - BM wouldn't repair it! However, it does produce lovely images, if used by someone who knows what they're doing... I personally think that they'll keep going, but will revert to smaller packages (box like cams) - if they can figure out how to heat sink in a smaller package (the same user took his Mini apart & the majority of the camera is dedicated to the heat sink module). You've got to remember that BM cameras are budget cameras & they will have to cut corners in quality/build to keep the prices competative & low. You've got to admit that the images coming from these cameras can be awesome & I hope that they struggle through, just like RED did at the beginning. I believe that in another 10yrs time, we'll be talking about BM cameras in the same breath as RED & maybe ARRI. The biggest problem that they have at the moment is lack of user knowledge & this is due to the low price of some of their cameras - for every great user, there are at least 10 numpties whose lack of filming knowledge gets exposed as soon as they pick one up. They are not DSLRs & shouldn't be mentioned in the same sentence, let alone compared to them. If you don't get this, then DO NOT buy one, because you're probably the type of person that hasn't the time or patience to learn how to use them. Just look at all the [stupid BS] hate aimed at the Pocket camera: poor battery life, bad screen etc... 45mins time limit for battery & SD card whilst filming PR. The screen is by a country mile not the worst i've ever used & I seem to manage very well nailing focus - I wear glasses, which adds an extra dimension of difficulty to the whole thing. And these same people talk about wanting to replicate a filmic image, just imagine them using a film camera that has a max filming time of 12mins - people with no skill or patience to learn will complain about anything if you let them, it's how they cover up for their short comings. It's a crying shame, but it's their loss........

The latest stats for world wide sales figures recently put the French coming second to the USA - apparently they do massive business in Asia. It kiinda made me feel like the world hadn't gone completely made. Unfortuneately, the UK still laps up the American Bullshit films like there is no tomorrow & there isn't a great amount of diversity. I rarely go to the cinema anymore, as most of the films that I want to watch either just don't come to my city or are gone in a flash. I'm left watching most things on Blu-Ray, which isn't all that bad - can drink, go to the toilet, just do what I want really... When I lived in France, there were local council funded cinemas that would show films no one else would - got to see all of Wong Kar-Wei's films in a lovely refurbished old fashioned cinema that projected prestine prints (yep, no digital nonsense all celluloid). The problem with the 70s was that they were given too much freedom, made great films, but spent a load of cash in the process for very little [immediate] return - they are the ones that fucked American cinema in the ass.....! Now we're left with this pile of horse shit industry that couldn't give a rat's ass about making good films, just ones that they can rip off the idiots with - shame, a real shame.

Well, I'm hoping that the Mark3 drops dramatically in price, so I can pick one up for cheap & shoot nice pictures, whilst taking advantage of ML RAW in Full Frame. 4K in 8-bit is a joke, but not as big a joke as using Log with an 8-bit codec.

I don't bother with big Hollywood blockbusters anymore, they just don't hold my attention - weak plots, bad acting etc. I caved in for Star Wars & felt like asking for my money back, it was sooooooo bad it was laughable. The last film I went to see was Victoria - I had to convince my mate not to go to watch Captain America: Civil War. What really surprised me was that he came out raving about it - best movie he'd seen in a long time & neither of us realised that it was over 2hrs long. The problem is that most people don't want to take a chance on something other than the big bullshit films coming out of America. Now don't get me wrong, I'm not just having a go at American crap, as I feel the same way about the absolute nonsense that is shat out by Britain too! What has satisfied me recently is that the only American films that I really want to watch are all made by women - two I already knew about, but the third I had no idea existed: American Honey - Andrea Arnold Certain Women - Kelly Reichardt (by far the best American Director working today) White Girl - Elizabeth Wood I want to see a film where I'm not forced to hang my brains up in the closet before watching & which stays with me for more than a milisecond after I leave my seat. I couldn't give a shit which fuckwit earns the most money, as I won't be throwing my money away on them anytime soon. I like Woody Allen's approach - pay them minimum wage & let these overpaid click bait twats prove themselves with their apparent skill at their craft, not their ability to whine about how many millions of dollars they get paid.

I use this, a lot more expensive than what I paid for it! (buying used Zacuto stuff, still means it has a lifetime guarantee): http://store.zacuto.com/lightweight-locking-lens-support/ I place it just after the 54's button that you use to align the lens, as there is space. The elastic on the Lanporte doesn't inspire too much confidence, but a quick google search found this - it looks like it is more secure & should fit the 54: https://cvp.com/index.php?t=product/vocas_0360-0500-01