Zak Forsman

i don't know that this warrants a reply but I read that as "human feces" the first time.

looks like i have a new project!

the other assertion that's been made is the improved design, of the camera body will help cut down on heat, which should have a positive impact on noise. fingers crossed on that one.

No the Rangefinder will not unscrew. however, the torque could loosen any step-up rings in your lens chain if they aren't secure. and as a matter of fact, after i reported back on some issues I had using it with their 2x anamorphic, SLR Magic is redesigning how it attaches to a taking lens because using it with the Rangefinder occasionally caused it to twist out of alignment.

just bought the 82mm version.

I used to stick oval apertures on the back of old nikons. drew them up in adobe illustrator and had them made here... https://www.ponoko.com I'm sure there are others. they charge too much for brass so i've only gotten them made in black acrylic or delrin. I have six Helios 44-2 lenses arriving tuesday. looking forward to cracking them open and making a general mess of things.

very nice work. beautiful compositions, nice brisk pacing. well done.

Haven't tried it myself but always imagined a taking lens with a 1.5x oval aperture + a 1.33x anamorphic might be a good combo for simulating 2x bokeh and flaring without losing too much sensor real estate in achieving a 2.39:1 frame. For example a DSO FF58 with 1.5x oval aperture and an SLR Magic 1.33x Anamorphot might be an interesting set. Pretty sure my math checks out: 100% image width / 1.5 = 67% 67% / 1.33 = 50% 50% = 2x horizontal squeeze

I'm looking closely at the Blackmagic Micro Cinema Camera now because of this. Looks like I already have all the support gear I'd need for it minus a cage and rod riser of some sort. Wish it was 4K of course, but color and DR are more important to me. And I think I'll be more satisfied with the results. optional global shutter and i'm expecting better noise performance given the better cooling inherent in the BMMCC's design (compared to the Pocket). ...sorry for going off topic.

just to add, keep up contact with your second choice. in case the first one falls through. having a backup for each location has saved our butts quite a few times. most memorably, we were supposed to shoot on coastal bluffs in Malibu. the day before our shoot, they caught on fire. my producer was able to shift everything to the back up location in long beach and we didn't miss a beat.

True Detective Season 2 did a 16x9 extraction. They shot with Panavision lenses. And a show called Miracles starring Skeet Ulrich shot anamorphic and extracted a 4x3 frame from it.

...says the guy who goes by "user".

I didn't here but typically I add a little sharpening. just enough that I can see a difference and then i back it off a touch. i've used neat video in the past for NR but lately i've been enjoying the finer, more grainlike noise you get when capturing in 10 bit. so yes and no. depends on my mood.

Natural Profile Contrast 0 Sharpness -5 NR - 5 Saturation -3 or -2 Tint 0 H/S default, no change

Odyssey 7Q+. Some of the best money I've ever spent.

Rented a Dog Schidt Optiks FF58 this weekend, and I wanted to see how shooting with its oval aperture (f/3.5) would go on a GH4. With V-Log L in the mix I'm happy to say I'm sold. Depending on lighting conditions I had ISO anywhere from 400 to 1600. Also rolled on ISO 3200 for one shot to see who it would look -- it's the XCU of a parking meter with prominent oval bokeh at 1:47. In my opinion, shooting at (-2, -5) external 10 bit is essential for keeping the noise tight and fine and as grain-like as possible. I might drop to -3 Sharpness from now on but the difference would be subtle. And pushing NR above -5 would start turning it into mush. No grading here. Just V709 + an Impulz Kodak Generic Rec709 LUT.

...I'll show myself out.

rich, I know you have many, many irons in many, many fires but do you think an FF25 attachment is still likely? **apologies for hijacking this thread.

In the Down and Dangerous trailer? That's "Think of Tomorrow" by Leitbur. I licensed it from them. They've got some great songs. I hope to do a music video for them if I ever find the time. http://leitbur.bandcamp.com

It's a friend of mine. He composes the music in all my movies. http://deklun.bandcamp.com

I saw your posts over on PV. I tried my hand at it with the demo but couldn't figure out the best way to identify and adjust things. so I went out instead and shot some more V-Log with a Dog Schidt Optiks FF58 lens I rented this morning.

Rented a DSO FF58 today because I'm thinking of buying at least one. More if i can afford it. This one is pretty close to the specs I'd choose. 2x oval aperture, ultra-low contrast. It really makes shooting fun. Shot this off the roof at the office today. Don't have a step up ring so I handheld a Hoya ProND 200 in front of it. This is also shot in V-Log, captured externally in 10 bit. But I still see the magenta/cyan macro blocking issue. I think I'm done with V-Log. Probably going back to the Natural profile. ISO 400, v709 LUT + Impulz Kodak 50 (FPE) + some curve adjustments + Grain from FilmConvert

no, i mean the restrictions, like having to shoot at a high shutter rate for it to be effective. and I can fix rolling shutter in after effects when i need too.

yeah, I pledged early at the most discounted level for DLSRs but cancelled it the next day after researching things a bit deeper. This isn't for me.

there are over 200 in the GH4 V-Log pack. They're hard to remember but I know i used AA20 on ISO 1600 clips and was impressed. There are others but the naming convention makes them hard to remember. He also has a reverse Cinelike to V-Log LUT so you can use the set with stuff you might already have shot.