elgabogomez

Technical proficiency has never been an enemy of creativity. There is an expo in LACMA that pairs Picasso and Rivera's work from students to world renound paintors and the experimentation with all sorts of techniques only made them better focused on their message and masters of their style. What makes you creative is not log or raw or 16bit, is the combination of your knowledge and life experiences with the moment you are capturing and your raw gut feeling.

The widest I've managed in apsc is 28mm (in video mode and cropped to 2.4:1). There is a guy on the anamorphic shooters group on Facebook that uses a 40mm on fullframe.

Horizontal oval bokeh instead of vertical oval bokeh happens when the taking lens is on close focus and the anamorphic lens is on far focus, or in another words, when both lenses are not focused precisely at the same spot. Maybe the focus marks in your ana lens are off?

It looks amazing! Most of the time, you are right to say the stabilization is a little too much, maybe manually 35 \ 1.75 = 20mm would be better and avoid the little jumps and the vignette creeping in at random, I actually like a little vignetting in a shot but not being constant makes it distracting. How far away from the person in the shot do you have to be to a medium shot (waist to head) with your set up? 5 feet, 1.5m or so? Your work is as hypnotic and engaging as always, keep it coming and thanks for it.

Honestly, if the next Sony does external 10bit it would be enough for me. If not I can wait.

I really want the GH5, but only if two things are an improvement or at least a match with what I already have: the 10 bit so that vlog can be played around in post and not create banding using all the dynamic range the camera can offer... And second, the anamorphic mode is the full sensor readout and not a crop. I have an a6300 and 10 bit is what i don't have and several times can hit a wall (or a sky ). If the full sensor can be read in ana mode, then the same field of view I already do with my lenses on apsc can be on the gh5 sensor (when composing 2.66:1 or 2.40:1). Rolling shutter is certainly a bonus... if auto focus and ibis where important for me I would be an a6500 owner.

Maybe saying something obvious, known for a century now... But what makes an image cinematic is the image before it and the image after it. It's the arrangement of those moving parts that works in our brains and eyes... and souls.

I don't think the problem is close focus alone, almost no anamorphic adapter lets you use wide angle lenses. If you are used to apsc 24mm and wider and that's how you work due to space constraints then the only adapter that can give you that is the Panasonic LA7200 and then close focus IS an issue cause then diopters are big and tricky to adapt. The widest you can go with apsc and slr magic is 28mm and then there is a chance of vignette depending on your lens. The slr magic 1.33 40 is single focus and will work with 28-30mm lenses.

Remember the last zacuto camera test? When was it? 2012? And we are still saying "absurd" to a comparison of cameras? Whatever the price or manufacturing date, they are useful and by now expected. C5D gave their opinion, Andrew replied with his, both useful and for us to mull and ponder. When not long ago canon didn't offered a 10 bit option until the c500 and it didn't record 4K internally, it's part of the "narrative " to use a c700 in the test. Why not a price/feature comparable canon camera tested? Because it doesn't exist.

Yeah, the 2.4:1 crop is not a sensor crop in relation to full frame field of view, is the ratio the composed frame is, you know 16:9 is 1.78:1, cinema is 1.85:1 and wide aspect ratios go from 2.2:1 to "standard" 2.35:1, 2.4:1 and beyond to old CinemaScope 2.66:1 and cinerama 70 2.76:1.

Yeah, it's not really "seeing in the shadows " but allowing your subject to have enough light to be recognizable and separated enough from background. I also have the 1.4 but didn't take it cause the big front element would get scratched with the back element of the kowa that close to it, it vignettes notably in the corners even sitting in the canon front ring that has the lens info. Yes to the kowa 16s, if you don't shoot directly to a big light it can be sharp enough at F1.8, better at 2.8. It goes cheaper than the 16h type and is lighter in weight but can't be used with wider lenses. It's going to be a suspense/terror short so it's fine to feel uncomfortable

Maybe on a 4:3 crop you feel less guilty of the crop, when reviewing your footage the 3.56:1 composition sometimes looks so great that you don't want to adhere to the cinema "standard", if the camera is doing it for you is as we say in México "eyes that don't see, heart that doesn't feel " (ojos que no ven, corazón que no siente) :D

It's not a "big" problem you are right, and the reframing across the 16:9 to 3.56:1 is helpful indeed. But take my personal camera the a6300 as an example for clear benefits of a 4:3 read: it's the worst rolling shutter of any camera out there, if sony made a paid app to do 4:3 video and still keep everything else the same (codec, bitrate, picture profiles, log, zebras, etc,.) I would be the first to buy it, if you have ever played with the clear zoom of a recent sony and compare it with the regular recording, the most obvious change is less rolling shutter, a bit more noise and an almost invisible less resolution, so imagine the 4:3 crop again, being a crop of the 16:9 frame but with faster readout in the same 100mbps and you have the advantages of the clear image zoom without the disadvantages. Even possibly less chance of banding if the bitrate is properly used. Now take the ursa minis or the kinefinity terras as examples, it is a lot less data (either raw or prores) in the anamorphic mode. Enough to impact your workflow because you can have 10 minutes more recording on the same 128gb card and trust me, 10 minutes per card is a big deal in a shooting day for a short or long fiction film.

it is a low light scouting with the a6300. I believe 1600 was the max iso. Lens turbo + 50mm 1.8 canon fd + kowa 16s

If you're going for 2.40:1 you are going to discard a lot of the recorded image in a 16:9 sensor read, if you are doing raw it is a smaller file size if the camera has a 4:3 crop, it's also a potentially minimized rolling shutter. If you're going as wide as your ana adapter allows, the sides of the image are dark anyhow. And finally, yes, it takes away a lot of the guessing in post de-squeeze cause there are presets for anamorphic in adobe ae and pp as well as in resolve. In resolve i do a new project and set the resolution to say 1920 by 800 and the method to see images to fill or stretch (I don't recall which) and I still have to select the files and horizontally stretch them manually a bit more till it looks normal as I'm dealing with 3.56:1 footage. In the Alexa cameras that do anamorphic mode there is actually more resolution and wider field of view (18mm vertically). That's why I am closely waiting for the gh5 to come out and see the 4:3 Ana crop factor, not really for the resolution but for the chance to see the 13mm vertical size of the sensor (if true there is no crop).

I could be wrong but there appears to be 3 types of kowa 16, the 16h/8z/Elmoscope II/kowa for B&H that has the widest lens elements, then there is the 16s/16d that have de 43mm back (with a smaller back element) and front element is also smaller than 16h type, and finally the 16a/vidoscope that have the smallest back element and the front element is same size as the 16s type. It can get confusing as there are kowa 16 lenses that don't have h or s or a distinction but can be same size as any of them. I only have personal experience with the s and h type and have an h type that only says kowa 16.

The 16h and the 16s have virtually the same look, the difference is as Ken said the chance for wider taking lens on the h/z/elmo II/b&h, but if you where using a 50mm on an H and an 85mm on an S in the same scene, there is more likely to be a different look from the 50 and 85 variance in coatings, type of aspherical correction, t/s stop, etc. Than from the kowas in front of them.

Single focus AND useable on 40mm full frame?? How is this not being talked more? As usual Tito Ferradans, superb review.

So, the gh5 anamorphic mode! Is it true that the full sensor is used? Or how much crop is it doing? There are many instances when composing a frame (in anamorphic) that apsc/super35 vertical field of view can be limiting, 4perf/Alexa open frame is ~18mm tall after all... Therefore the option to use the full height of the m43 sensor would encourage Indy DOPs to rent pl glass and still have wide angle hfov.

For me it was close encounters of the third kind, after that... Believe it or not, it was the original ghostbusters.

Yeah, the cinemartin appears to be the same as the fw760 but with hdmi pass trough, with a sony battery plate and a few extras, it really costs $150.00

It really depends on your project and the things you already have, do you have m43 lenses? Canon, Nikon? Sony? A monitor is helpful avoiding overheating on a6300. What are you lighting with or is it available light. With lights both cameras will shine, with available light the 6300 is useable up to 6400 iso and more dynamic range. Wide angle is also a thing to consider, are you going to be in narrow places where you need a 24mm super35 angle of view or wider? Then adapted lenses with a speedbooster type adapter is the most economical route and the sony gives you wider easily. Also gets you easier shallow depth of field. Handheld is better on the Panasonic with less rolling shutter. Both can be small enough to "steal" shots you don't have permission to do. I haven't used the g7 but the gh4 can burn highlights faster. I might be "old school" but for narrative feature you shouldn't even consider autofocus unless maybe on gimbal or steadycam type shots, what looks good on the web looks really "robotic" on the big screen and is a distracting issue when you want people to follow a story. Good luck and plan ahead a lot, that is more important than the camera you use.

I have the 760 without the update so all it can ingest is 1080, and even in hd there is a latency issue where the image lags and you could see a kind of divided image where it resolves the top third of the frame then the middle then the bottom, sometimes it´s just half the frame... I´ve learned to live with it since is the cheapest monitor with an anamorphic desqueeze mode. Do you know where can we get the firmware update? It would be helpful for focus.

Sony's own catalyst browse software has the fastest "official " way to deal with slog footage. It's a free download.

One way to check if hfps looks good to you converted to 24 is watching one of the hobbit movies on bluray... If they look natural to you then you might feel ok with what you can get in post.