Nikkor

Nah, it's not only the common noise, you can see there are a lot of debayer errors also the sky has a continuous pattern, it's noise plus combining pixels in a fast way. Actually when you make a camera that downsamples you should use that to reduce noise, not to get more.

Yeah sure Andrew, bla bla bla   No adjustment, maybe midtowns are shadows for you... the shadows btw are horrible...

It certainly looks worse than ML raw from the 50D.

There are like 3.2 stops in the highlights you can recover, but the midtones are very noisy. I guess they somehow moved everything to the right (does that make any sense to the sage around here?)   It's curious that the previews on the download page look like they had the actual exposure, but then in photoshop it displays 3 stops higher.   Here two examples:   the first one appears totally exposed to the right when you open it in Photoshop, there are two blown spots, one on the spherical street light and one on the left side under the wild life sign.     second: appears like a normal metered photo in PS but in fact has noise like a recovered underexposed one  

Oh that's the cheap one, bad version. I would say 25€, I will buy it if you want.   Oh wait, you are not selling it :p

Let's hope the 7D mkii sensor comes close to the d800 sensor in terms of DR and then they also use double pixel like 70D, it features noncompressed 10bit codec, and then comes ML and makes dual iso so you can record every pixel (the sub pixels at different isos) that would be total DR overkill and surpass any camera out there. Haha...

Cameras with sony sensor won't get raw oficially and video will always be bad codec, sony is evil.   http://www.pentaxforums.com/news/pentax-k-3-flagship-announced.html?src=notice   most likely to have the same toshiba sensor as the d5200 and it will have focus peaking.

I wish it were any good so I could get a good price on an iscorama (keeps dreaming...)

That's what happens when you enter the "for all the family" territory, a lot of characters with retarded plots.

I guess most of you actually know about this, I didn't hear of this until I noticed while taking some stills.   Usually you read about some adapters not being sharp until a certain aperture value, but I've always forgotten about something very basic. You know that you can actually make your own iris on any lens if you wish to, you just have to put a paper with a hole in front of your lens. To calculate the f number you will just divide the focal length between the diameter, it's not perfectly accurate because some lenses have more distance to the front, but it accurate enough.   So, when you put an anamorphic adapter in front of a lens you are actually making another aperture, so when you dial through the lenses apertures these will only count if they are below the one you have in front of the lens.   Lets take an anamorphic with a backthread of 49mm. If you want to use a 135mm lens you will be limited to f≈ 1:2.8 (135/49)   This seems perfectly fine as 135mm is already at the maximum longer end and 2.8 is enough, but with smaller adapters like the Bolex Möller 8/19/1.5x the backthread is 20mm so the limitations will be bigger.   @50mm -> f =1:2.5 max @85mm ->f =1:4.25 max @135mm -> f =1:6.75 max   Nothing dramatic, specially as this mostly limits the longer lenses but hey...  

So you don't have any comparsion. I'd like to know because the banding ocurrs in the shadows, shadows which de g6 probably doesn't show anyway.

Do you have any d5200 samples of your tests¿? Andy Lee

Does the front lens move when you turn the focus ring on the sankor? If it does, you should try to align both lenses.

I wish they would make it 6x7. I guess it's time to buy medium format lenses for cheap until the hord comes ^^   Bah, two different cameras:    

I like your clamps a lot, I have one for my sankor but I want to do try a different aproach with this lens.

Most of the golden ones are just normal projection lenses with incorporated anamorphic the small ones(these don't work the way you want), and some are anamorphic with removable taking lens, but these are pain to focus, they don't have rings. You shouldn't pay more than 70€ for any projection lens, otherwise it's a ripoff.

You can use them with adapters but no autofocus and manual aperture control only on most models, since that 18-55 has no manual aperture you will need to find an adapter with some kind of a switch, otherwise you will be stuck at f22 with that particular DX lens. but why would you use a 600D if you have a d5200?¿?¿...

I got one like these http://transferconvert.co.uk/cinemania/iscon4.jpg for a normal price a few weeks ago, but mine is a 75mm version. It's actually shorter than a sankor but heavier. It lacks the charisma of the sankor but it is sharp.   Anyway, I've been using this with a diy clamp but I think its not that great, I want to rotate the thing as I've been using it for stills to get "medium format feeling" (it looks vintage because of the warping and CA) and I want to change between widescreen and portrait fast.   Since I want to dump the clamp and since vignetting is not a problem at 85mm even having the thing rather far away from lens, I was thiking of just screwing it to the filter thread (it's not so havy) I measured the rear filter thread and it seems like 49mm, but the screw is inside, so I will need a male to male adapter. There are a lot 49mm to whatever size, so thats not a problem, but I need something to rotate the lens in order to adjust the orientation. I could remove the glass from a cheap pol filter, but a cheap filter has cheap materials so I wanted to know if someone knows a better way, some sort of rotating filter without glass whatever.

And you need 2 threads for this?

This looks a lot better now.

I'm comparing the footage we are talking about, that's all. Let's see what andrew has to say. Maybe he even does a real test, who knows.

To me all the footage he took is soft, I haven't tried the la7200 or the expensive iscos, I'm comparing to a small isco projection lens, which is super sharp but double focus.

you can always replicate it and upload dngs.

Do you have the original raw DNG's? You should ask on the black magic camera forums.

You should really read through the thread at magic lantern to get the idea. In non crop mode, the aliasing and moire are as bad as in h264 or even worse because raw is a lot sharper, therfore more noticable. But you can fix it in many ways. You can avoid it by filming with lot of blurred backgrounds, buy an VAF filter for the 7D, or just deal with it in post (it works to some degree).   In crop mode there is no moire, but keep in mind crop mode has a 4x crop factor when compared to a full frame camera. (2.5x compared to aps-c canon)   Anyway, if it's your only camera I'd rather go and buy a gh2 which is cheap and works nicely, so you don't have to rely on magic lantern fixing issues. The moiré is never going away on the 7D, its a phisical limitation on the camera.