Joseph Moore

What a self-defeating reaction to a perceived slight, or at worst, the insensitive words of one man. "Because my feelings are hurt, I'm not going to choose a certain tool that would benefit me." Why should you (Andrew) or I or anyone give a rat's ass what someone else thinks? You're simply cutting off your nose to spite your face.

Hope some people find this helpful. http://blog.josephmoore.name/2014/11/01/comparing-focal-adapters-the-metabones-speed-booster-vs-the-rj-photo-lens-turbo/

Very interesting. The announcement was so photos oriented that I missed the anamorphic implications. Almost enough to make me want to deal with the hassle...almost. ;-) I really, really, (really) hope that Panasonic listens in regards to higher quality color output. Be that RAW, or even uncompressed 4:2:2 in a true log format. It's wonderful how the GH4 can record light weight 4K images in camera to SD, but it would be equally wonderful to have the option to record higher quality to an external recorder when warranted.

http://josephmoore.name/2014/09/21/gear-review-fotga-dp500iis-quick-release-follow-focus/

Testing the sharpness of the Rokinon Cine 85mm with Lens Turbo on the Pansonic GH4

Comparing the complete set of Rokinon cine-style lenses at 4K

I don't think anyone claimed that this was a new process. What is new is a very low priced tool for acquiring an image sufficiently high resolution to use this technique to generate a 2k image. Supersampling a 4k image and interpolating to 2k yields true 4:4:4 RGB with more real color information (and a lot more luma information) than if shot at output resolution at 4:2:0. That math is pretty easy to understand. All the nitpicking aside, the simple take away is that there are compelling reasons to acquire in 4k even if your delivery medium is 2k/1080p.

M43 is bigger than super16, but yields a similar feel, to me. With the use of a focal reducer, you can get a FOV more similar to Super35

This! It seems like many people are getting hung-up on 8-bit vs. 10-bit, but to me the real plus of utilizing this method is that the oversampled 4k 4:2:0 data yields a 2k image that is 4:4:4. The bonus is that one of that the luminance channel happens to additionally increase to 10-bits of resolution.

Thought I'd chime in with my settings. To each his own, but I did a ton of testing in a lot of different conditions (outdoors, tungsten and LED) and I've found that -5,0,0,-5 consistently yields the best results that I could come up with. (Sounds like what MaxAperture is doing as well.)   I started with everything at -5 to give the flattest image with the least chance of artificial signal enhancement, but in my tests -5 sharpness and -5 saturation actually harmed the image by throwing out actual picture information.   I then have a recipe of filters than I run on all footage (Neat Denoiser, SC Sharpen and finally FilmConvert) that I feel gives everything a very nice, natural look before I grade for style.

Once I got a diopter for closer focusing, I haven't noticed an edge sharpness issue. The old FD lenses wide open aren't particularly sharp, though.

https://vimeo.com/67529528   Little weekend project. Mainly an excuse to have fun with the kids, and to start re-familiarizing myself with shooting and FX after a long hiatus.   Taking lenses were old Canon FD 28mm and 50mm.

Selling a Century Optics anamorphic adapter. Focus through taking lens, no need to double focus. Perfect compression to turn 16:9 into 2.35:1. (Not overly stretched like 2x adapters.) Includes 37mm > 52mm step ring.   http://www.ebay.com/...984.m1555.l2649

Selling a Century Optics anamorphic adapter. Focus through taking lens, no need to double focus. Includes 52mm adapter ring.   http://www.ebay.com/itm/161031494756?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649

PS. Make sure you set your shutter speed at twice what you do for normal footage so that the motion blur ends-up looking the same.