Zak Forsman

my pleasure. this was also posted today. ExtraShot had to cover up their EVA1 footage when they originally released this review, but today got a green light to release it properly. this is not final firmware however.

4.6K. is this the same sensor in the Ursa Mini Pro then?

I think that's a great target. the lower the barrier to watching, the better. when it comes to advice like this, I almost always say the same thing: look at your own viewing habits. and i know zak forsman, when he hits 'play' on youtube, and sees the run time is over 10 minutes, he's likely to stop, thinking he'll watch later, but of course never does.

haha! yeah. i'd say you can drop the "web". the internet as a platform for content is so ubiquitous now that it doesn't need its own category. if it were me, i'd get in the mindset of referring to it as "an original series" or something like that.

Here is Radio 88 in 4k on vimeo.

don't have a GH5 but my guess would be that in order to transcode them, you need an app that can open them in the first place. and thus, the fuss.

no this was with a Leica Summicron-R 35mm.

brought my 5D3 with me to South Carolina for the eclipse. A few days later, we got some rain and I snagged a few shots.

I think it's because of all the other shit it will do.

Yeah, no problem! This is a 30 second teaser. We're saving the actual trailer for much closer to the release date. This film was shot on a GH4, by the way.

yep

believe me i know. I've been doing exactly that for years. i understand the advantages and disadvantages. full frame is fun and I enjoy shooting in it, but in this case, I *want* a super35 (1.5x) sensor digital cinema camera to shoot films with. I want that because that's the standard I'm used to for motion pictures. besides, I don't like using a focal reducer with my vintage lenses because they exacerbate blooming, CA, and soft corners for apertures wider than f/2.8, which negates the advantage of the metabones' extra stop, or more. fortunately, I won't need that extra stop with a native 2500 ISO (providing it's just as clean as 800 which we have yet to see from the EVA1). and last, I have the 5D3/MLRAW option for when I want the full frame look (which I'm also a fan of for the right project). side note: I used to own a good bit of MFT lenses when I was an AF100 and then GH4 owner. always found them a little too small to operate with my big bear paws. the contax zeiss I'm using now look f***ing amazing and suit me better. I appreciate what your saying. just offering a different pov. yes, two actually. and the latest is finally getting a release date for late this year or early next. in talks now with the distributor.

I'm heavily invested in EF mount lenses. Beyond a small collection of Sigma Art and Tokina lenses, I've got a set of Leica Summicron-R lenses adapted to EF mount, and a set of Contax-Zeiss lenses adapted to EF mount. And I like the idea that I can use these on my EVA1 (pre-ordered) and if I wish, can use a GH5 with a .71x Speed Booster as a b-cam to get the exact same Super35 1.5x field of view.

well, I pre-ordered one to get in early. and as long as the upcoming sample footage makes good on the promise of Varicam color science, I'll keep it.

The 1.33x SLR Magic Anamorphots don't look great under an f/4. the 50 performs slightly better than the 40. and their 2x is no good under a f/5.6. I've owned them all, briefly. If you want to shoot at f/2.8 or better, you need to go the route of a Kowa or Cinelux ES. I have shot as low as an f/1.4 with each of those and they still look great, meaning, no loss in sharpness due to the anamorphic. the only deficiencies would be attributed to having the taking lens wide open.

you'll need to get it down to 1.4mbps to get a 3 hour file under 2gb.

full time freelance editor here. I bounce around at a couple different companies whose clients are the major studios. for example, I cut this piece for the mummy. the pay is great, frankly. i have been doing this sort of work for about ten years. I have also directed two features. the most recent was distributed internationally by paramount three years ago and we're still seeing good money from it. I don't spend more than I can afford on cameras and lenses, but am fortunate to be in a pretty good financial situation. No debt at all. My wife and I do not have kids. She also happens to be a film editor so she has an appreciation for my gear lust. But yeah, short version is that I work professionally editing and directing, and some of that income supports my personal collection of camera bodies, lenses, and support gear that i use more for fun, personal side projects that keep me sane.

Can the IBIS be turned off?

Sure. For me, it's not just the wider field of view -- it's the compressed spatial and defocus qualities of relatively longer focal lengths married to a wider field of view that really revs my engine.

Haha! Well, I am a bit of a gambler when it comes to things like this. If I had one, I'd definitely give it a shot. The BMPCC speedbooster worked fine with my GH4. Also happens to work very well on my BMCC giving it 1.33x crop.

Well, I just used it inside a cheap junker lens. We'll see what happens,

Anyone know if a product like this is safe to use inside a lens to make a repair? Want to avoid a potential issue of off-gassing clouding the glass. It's called "Bondic" and is a liquid plastic that you use a UV light to harden and set the bond. Thanks! https://smile.amazon.com/gp/product/B00QU5M4MG/

They drove right by my neighborhood along Beverly Blvd (keep an eye out for El Coyote on the left). Also their new campaign slogan, "$8K for 8-bit" is not very compelling.

hey, me too. 24 hour sale at B&H?