TrueIndigo

I bought the Panasonic GH1 when it first came out to resurrect some C-mount lenses I had. Having got the X-T2 in mind for a possible future purchase, I was wondering if the 4K crop would make it practical for C-mount lenses? I'm thinking, if I cropped the 16:9 frame yet again (top and bottom) for 2.39:1, maybe you could get away with just slight vignetting? Anyone tried C-mount lenses on it? Would be great to bring those old lenses back into use again (I have a Schnieder 10mm and Angenieux 15mm).

For folks who just can't bring themselves to delete the RAW files, this will save some storage space. And if it also helps the actual recording datarate, the older DIGIC 4 cameras will get a performance boost: keeps the 50D and 5DII relevant for people who already own those cameras.

"link doesn't work" -- you are right, sir! New link:

Here's a short home movie I shot last year of my dad making a black berry pie! All straight out of the camera with no colour correction showing what the Nikon D5200 looks like in these conditions: interior near a window, and one LED light for fill. Modified Standard picture profile and lens used was the Tamron 17-50mm 2.8 constant. https://www.youtube.com/watch?v=R_au...ature=youtu.be

There is no live histogram with the D5500. What I do is shoot a few seconds of a representative view of my shot, and then quickly review it -- no need to play it, just see the (default) first frame. By enabling histograms (in the menus) you can have three colour or a single luminosity histogram display of that first frame to check your current exposure is not clipping. Use the up/down joystick buttons to toggle through display of histograms or no histograms. This is obviously less elegant than having a live histogram active all the time, but after a while it only takes a short delay to make the check. Of course, there will be a further delay if you actually need to adjust your aperture with an auto lens in response to what you learned from the histogram! You have to go out of live view to make the aperture change and then perhaps shoot another short video clip to again preview with the histogram in order to confirm that your new exposure is going where you want it. With a manual aperture lens you do not need to leave live view to see an aperture change, and I've got the FN button assigned to ISO changes to help speed that up, but you still have the delay of shooting another clip to check the new histogram. I put up with all this because it's important enough to me to want to know where my exposure is technically. And I've come to prefer the Nikon video image over my previous experience with Canon DSLR video: I've been using a D5200 since 2013 and got a D5500 early this year.

The trailer really gets over the fun, energy and attention to detail put into that movie - please keep us posted about how/when it can eventually be seen.

I have a similar thing with writing text on the screen - it looks fine, but the moment it's printed on paper, I see problems straight away.

I've just added my Magic Lantern RAW video camera test for the 50D in the "Shooting" section if anyone wants to check it out: http://www.eoshd.com/comments/topic/20129-ml-raw-video-50d-camera-test/

I finally edited some shots I made during summertime in the harbour at Weymouth (Dorset, UK) in 2013, using my Canon 50D and an old version of ML -- better late than never, I suppose! Shot with just the standard Canon kit zoom, it was my first serious test shooting with ML RAW and I recorded wild audio for some atmosphere sound. Post production workflow was: import DNG sequences into After Effects to export small proxy files (H.264 MOVs) for the off-line edit in Premiere. Then reproduce the edit in After Effects for the on-line, which includes final colour work (invoking ACR) and enlargement to 1080p25 for the export. Almost any camera can pull off a decent close-up of something, so although it's a bit boring, I shot mostly wide views on a tripod featuring lots of detail to see how well it was resolved. It was a warm day and as expected the 50D got very hot. On a few occasions when I wasn't noticing the temperature warning turning orange, some takes were automatically terminated because the camera was forced to shut down -- sometimes the top of the pentaprism was actually too hot to touch. But turning the camera off frequently after a few takes was a reasonable working method for heat management and using a battery grip probably helped too. It's not a short film but a camera test - the leisurely editing style is purely to give a bit of time to see the RAW image character, though it's a shame something of the sheer luxury of the RAW look does not fully survive my H.264 export followed by youtube's own secondary encoding. But I do like the character of these older Canon cameras with RAW shooting: almost incandescent colours are available in the files yet skin tones remain very natural. And the fact that the 50D can't normally shoot video at all makes it strangely rewarding. Some technical info Date of shoot: 26th August, 2013. Camera: Canon 50D (no Mosaic Engineering VAF filter fitted). Lens: Canon kit zoom 18-55mm. ML build: 2013jul27.50D.109.go.unified.728e571a1276. RAW frame: 1584 x 662 x 25 fps. Camera frame AR: 2.39:1 (final export within a 16:9 frame). Sound recorder: Zoom H2 (wild sound). Export: 1920 x 1080 x 25 fps H.264 MOV (12,000 kbps). Here's the youtube link: https://youtu.be/BemZ_oXCMII

In case of interest, here's a short film I shot last month on the Nikon D5200 with footage straight from the camera (no colour correction or exposure fixes), covering the memorial of a local personality who used to run a record shop. I quickly edited it to put something up for the people who couldn't make it on the day. Details: Lens: Tamron 17-50mm zoom (f2.8 constant). Mostly shot at f5.6 for this shooting. All handheld (pushing against the camera strap for extra stability). Picture profile: Standard, Modified: Sharpening (4), Contrast (-3), Brightness (0), Saturation (-1), Hue (0). White balance: Cloudy preset (closest match for the conditions). ISO: Most of this shooting was shot at 200-250 ISO. Here's the YouTube link: https://www.youtube.com/watch?v=xC4Ol8e7hsU

"Consistent apertures" -- I imagine using old manual prime lenses for time lapse would help solve that compared to auto lenses, though some may question their ability to do justice to ultra high res modern sensors. The image quality of course depends on what old lenses you use.

The X-Pro2 review is up on DPreview: http://***URL removed***/reviews/fujifilm-x-pro2

In this DPreview interview with two Fujifilm executives, they say in the new line-up of their mirrorless cameras the video quality has been improved (their unique X-Trans filter was harder to read out than the usual Bayer pattern, and this problem has been helped by a faster sensor/processor). Would be interesting to see just how good (and characterful) this 36 Mbps H.264 1080p video quality now is. The earlier cameras allowed you to use the attractive film emulation picture styles for video shooting, though it was a bit academic because of the moire. Maybe the new cameras are credible now? http://***URL removed***/interviews/6258617860/fujifilm-interview-jan-2016

They have recently started a new section called "Adapted lens talk" on the DPreview forum which might prove helpful for old lens info: http://***URL removed***/forums/1065?utm_campaign=internal-link&utm_source=mainmenu&utm_medium=text&ref=mainmenu

Be interested to hear how you find the colour character of the image compared to Nikon, Michael.

Thanks, mate. It was Standard profile, modified with: Sharpening = 4, Contrast = 0, Brightness = 0, Saturation = -1, Hue = 0. It was shot at 25 fps.

Did a quick test yesterday, just an exercise in shooting something and uploading it the same day since I haven't done anything for a while, but I thought you guys might like to see it because there's no colour correction - you can see what the Nikon D5200 looks like in these conditions: interior near a window, and one LED light for fill.

Short comedy I shot over the weekend (19-4-15) to experiment with ML RAW video. Me, my dad and an old computer (just a prop I made). Camera: Canon 5DII. Lenses: vintage Nikon AIS 24mm and 50mm primes. Aspect ratio: 2.39:1. Post: After Effects/ACR, exported to DNxHD ("85" 8-bit, 4:2:2). Edit: Premiere Pro.

Very interesting idea, Matt, about a creative site rather than a gear-centric site - there are quite a few of the latter but I haven't found one of the former that I've ever bookmarked. A possible idea I have concerns two distinct areas of creative origination: That which inspires Such as suggested films that have appeared on this thread. Perhaps a list of films could be created with various peoples explanations added about why (from the point of view of story construction, cinematography, characterisation, dramatic situations, etc) people find them inspiring. Could also include painting, music, TV, still photography (other media that inspires), though that might be straying too far. Initial exploitation of ideas There are quite a few "how to write screenplays" sites, with advice about 3 or 9 Act structure, plot points, how many pages a treatment should be, etc, but I think one of the under-reported issues are how you handle the initial ideas before writing really starts. For example, formulating a powerful "what if statement" (to help you focus the key concept which will hook interest). What makes a story alluring; what sort of themes or subjects appeal to you? Discussions about style, ways of seeing and personal ways of showing.

I've been greatly inspired by some of the fine recent films mentioned here, such as The Matrix (1999), Apocalypse Now (1979), Fight Club (1999), Bladerunner (1982), Pulp Fiction (1992), etc. So, to avoid duplication here are a few older ones: The Grapes of Wrath (1940) Land of the Pharaohs (1955) The Searchers (1956) To Have and Have Not (1944) The Fugitive Kind (1959) Cathy Come Home (1966) The Wages of Fear (1952) I Married a Witch (1942) The World According to Garp (1982) They Shoot Horses Don't They? (1969) Just in case it's of interest, here's my non-mainstream list: Seconds (1966) Zardoz (1973) The Devil Commands (1941) Fellini Satyricon (1969) The Singing Ringing Tree (1958) Orphee (1950) One Way Pendulum (1964) The Saddest Music in the World (2004) Fitzcarraldo (1982) The Exterminating Angel (1962)