Nikkor

Nope, right now I have stopped filming (although I'm downloading the vision luts to give them a try just for fun), I'm just taking photos. I will give it a try when some good cameras are around because I mainly look for stills quality, I don't tell stories, I just want to do moving stills.

I made a picture style to use with the Luts (fuji,kodak) a guy called Juan Melara posted on his blog. The Luts used in Resolve are the basically the same (Rec to ***). I made it so that it protect sthe highlights, this means you will get plenty of noise in the shadows, the live view also might show you a well exposed image but it's heavily underexposed to protect the highlights. Give it a try if you want. I just spend a few hours with it as I don't like compressed video files anymore D: It's for the d800 but I think it will work with your d5300. PICCON01.zip

How do you like the nikkor 1.2 compared to the leica or slr magic hyperprime?

Any news on the gh4? I'm saving some cash for this one.

Maybe it's the same thing like with the early bmpcc raw samples, but that noise on daylight looks pretty bad to me. Who needs 4K if you get all that noise. Some people might say "film noise" but hey, I prefer to choose when I get noise. Anyway, I don't have one so I'm not gonna talk more :p

Modern Tv's don't care, maybe for broadcasting which relies on 25p. Anyway, import taxes are going to be high, at least here in Spain it's that way.

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I might have to encounter Tony Wilson talking me to death ^^,

And you wouldn't show up with a 5d mkiii with ML RAW, but rent an Alexa. Lucky bastard, one day I'm gonna assault you on Prenzlauer Berg or wherever you stay :p

Not trying to make a big point. Just to point out that you can do it for a reasonable price, if you want to shoot a movie you could always sell the thing afterwards, also 5000$ is pretty cheap when compared to everything else you need to shoot one.

I might be mistaken but I think andrew has a 2x iscorama single focus lens.

Recording 3:2 with 2x anamorphic is also a nice aspect ratio for web sites which are going fullscreen size lately with extreme wide sliders which don't fill the complete height.

Gonzalo ,a ver si te acuerdas de responderme por facebook a la pregunta acerca de usar objetivos de formato medio en una reflex con un reductor focal :p Has intentado ponerle el Magic Lantern y grabar en Raw con la 5d Mkii? Creo que se vería bastante mejor tu invento.

If you read sonyalpharumors from time to time you probably know about this, but given recent topics about the future of canon,etc... I think they are relevant. Yesterday I read the news about an 1" 1080p global shutter CMOS. http://www.sonyalpharumors.com/new-sony-one-inch-sony-global-shutter-sensor-in-use-in-grasshoppers-cameras-new-hxr-nx3vg1-announced/ The video shows off an USB3 version, intended for industry work. Then there is this rumor about a collaboration between hasselblad and sony to produce a double exposure sensor. This would be something similar to Magic Lantern's double iso, but instead of whole lines it would be able to control single pixels. This approach is similar also the one Arri uses on their cameras. http://www.sonyalpharumors.com/sr4-hasselblad-and-sony-to-make-a-joint-sensor-announcement/ There is also a rumour about nonbayer sensors by Sony which will be introduced in 2016 with 54MP. http://www.sonyalpharumors.com/sr5-sony-sensor-revolution-first-non-bayer-sensors-coming-in-2015/ Sony obviously is going to be the big player. Nikon "surrendered" years ago to sony sensors, although they have incorporated toshiba sensors in their entry level DSRL and a proprietary sensor on D4/Df. Also Panasonic had a short sony adventure with the gh3. But the most important collaboration is the agreement between Sony and Olympus, where Sony agreed to exchange their sensor knowledge with Olympuses 5 way image stabilization. ​All combined together, global shutter, image stabilisation, selective exposure, nex mount, the 5k downsampled stream of the RX10 could make a great combination, but we all know that we won't get that combination, at least for the entry level. My guess is that Panasonic will remain the first choice for video, specially if more camera manufactures surrender to Sony sensors. The stills world will see the incorporation of new, more affordable Medium Format systems which will step into the foot steps of the past expensive Full Frame cameras. This would mean, fast highres m43 cameras for video (panasonic and 1" solutions), and slow big-sensor cameras for still photography (54MP FF, and hypothetical new high DR MF cameras)

As long as there is no cheaper alternative to the iscoramas they will be woth every penny. If I would do money on the crap I shoot I'd go for an isco without any doubt, and I would use it primary for stills. It is an gorgeous lens.

Pressing button + rotate wheel?, it's like that on all cameras that don't have a classic stlye iso wheel (you know, like the speed wheels), at least on the canons and nikons I have tried or own. The d5300 just has the cheapo body.

Great shots! How long is the adapter, and the diameter of the bigger lens? I wonder if you could use this inside an mamiya-nex adapter.

I dont know about the fig rig but the glidecam can get pretty heavy.Also the gimbal might be badly calibrated which you probably won't notice if you never had a a steadycam, this will make you think balancing the steadycam is a very hard task and a frustrating one. Another thing is that it's not possible to use with wind. The most important thing (beside the heavyness on wrists when you don't have a vest) is that you have to learn how to use it, some people get it very fast, other don't have the fine-motorics and will always be limited to very simple movements. I can't wait to dump my steadycam for some sort of electronic stabilization.

The 5DmkIII without RAW has better video than any sony with interchangable lenses, throw in RAW and you have a camera that is better than anything in the affordable range. The g6 is also better than any sony, maybe the rx10 changes that a bit but you want to use glass on it. Btw, acting as a pro but wanting to use shitty codec on a nex, klugscheisser.

Shoot in cropmode and in raw, you can get continuous at 1080p (or about 4000frames), quality will be like stills.

Look at the guys face, he looks like he is ill, I know the problem, it was even worse on older nikons (D3 is terrible at JPGs) I have a d800 and you can't fix the yellow error with HUE control, in ACR you can load camera profiles which correct this very easily, if nikon nx picture style creator would let you fix the debayer color matrix it would be great but it doesn't. I also tried to replicate a nice Log curve I created with the Adobe tool but there is no way to do so, whites still get crushed without nice rolloff and underexposing just gets you a terrible amount of noise in the shadows. If there were a way to import a good camera profile into the nikons it would bring them a lot closer to BMCC/BMPCC prores. You could even surpass the final quality because if you have a very rigid style you can just record with a few preset styles very close to the final result and the nikon sensors are way better than anything else we have around (not taking pro-grade film cameras into account).

Horrible nikon yellow on the skins, it's no problem with raw but on JPG and h264 it's a pain in the ass. I've tried to fix this making my own picture style but nikon doesn't give you the options.

These shots look a lot better in my opinion than the ones from the beginning. If you want 1.33x stretch this is perfect.

You could shoot with raw and expose to the right, this will get rid of noise in everything but nightscenes. I have some great shots with the 50D in 2.6x crop mode and they have no noise because I took exposure to the limit.