docmoore

Shooting 23.98 in a country with 50hz power supply will not work as you have discovered if there is any light powered by the 50hz mains .... just the small shift to 25 eliminates the flickering. Conforming after the fact will not eliminate the flicker as it has been captured and I assume will still show up ... Should you shoot outside with daylight any standard will work. I assume that shutter angle C-scan or any other approach will leave you with a residual flicker .... now shooting at 25 and conforming to 23.98 would allow you to capture non-flickering video and render it cleanly. The standards were set through the discovery of the problem and the solution is fairly set ... as neither the EU nor the American system will conform to the other system's standard. Bob

I have not looked for that function ... I just drop both on the timeline in Premiere and it is seamless... It does error correction sampling and has the ability to offload to more than one drive as a backup ... very fast. If I get a chance I will dig into it a bit more to look at whether I can discern a way to enable it. Bob

Shootout Pro 5 ... Works with any file ... Nothing come close. Bob

Stills oriented review by a friend and a great reviewer ... http://www.l-camera-forum.com/leica-news/2015/10/leica-sl-test-jono/?utm_source=luf151020&utm_medium=E-Mail Slightly overpriced but maybe a contender ... not for video but as an option for all those great Leica lenses languishing in closets. The SL may deal with Leica M wide lenses better than Sony sensors .... But at this price the M 246 mono is my choice ... now if they can just deliver it ... Bob

Yes C - Log raises the blacks ... and if you have underexposed the noise will be more prominent. However when you grade with a decent S curve a lot of that should disappear ... unless you are using the forever prominent milk filter..... C100 and Mk II have a fabulous low noise high iso sensor ... if you underexpose and have to raise the exposure in post you get noise ... but it is not objectionable and most describe it as film like ... since I always shot ISO 25 emulsions I am not sure that I get it.... This camera is great in low light ... and better in good light or lit environs. Everyone has issues with cameras these days ... a bit more technique and the majority of them would be non-issues. Bob

35 is only available at 60p .... Bob

The FSB 6 and 8 are close ... better to err on the heavy side for the mount ... a bit more resistance may yield a bit less shaky vid ... at least at my age that seems to work.... Yes panning I tend to rush things ... or so my Cello instructor contends.... Bob

Notice the hole in the handle ... allows a 15mm rod to add any thing you want off the side ... I recently added the Zacuto mount and a Pro EVF at a discount ... but your rig should mount easily. Canon's top plate is OK ...the WC adds all sorts of mounting options and it is rigid rigid rigid... did I say rigid. I had a FSB 6 ... worked well but this is a different level ... so the FSB 8 should be perfect for this light of a camera and rig. I went from a FSB 6 to a Sachtler Ace M to this ... and am still learning how to pan without distortion. Bob

Here ... CD Odyssey 7Q+ on Noga arm ... tripod mounted ... WC top plate arm and Quick release ... Bob

Sound either makes video or kills it . $128 add to a $6K cam seems like a bargain ... I have a Rode NTG 3 and an AKG 414XLS both driven well with the Device. 414 XL has 5 patterns easily selected. Bob

No but I use this with a xlr to 3.5 mini jack cable ... dead quiet but runs through 9 volt batteries if you do not have an external power supply. http://www.bhphotovideo.com/c/product/403002-REG/Denecke_PS_1A_PS_1A_Portable_Single.html They also make a dual version. http://www.bhphotovideo.com/c/product/406897-REG/Denecke_PS_2_PS_2_Portable_Dual.html/prm/alsVwDtl Bob

And this Bob And for color this... https://***URL not allowed***/canon-c100-mark-ii-review-exclusive-footage/ Bob

Ibrahim and User I had the 1Dx and loved it .... Now the C100 Mk II ... I use it without the handle with ... mainly manual focus Nikon mount lenses ... with a Wooden Camera quick release for video tripod use ... it is smaller and much more ergonomically friendly than any DSLR. I passed on the Leica S007 with 4K gave up my Sony A7s ... color issues and love the files from the C100 Mk II. Truth be told ... the day the Canon 1Dc II arrives your investment is toast. No one will give you what you paid for it ... 1000 exposures is nothing but ask yourself why are they selling it. Biggest problem with the C100 is the ability to capture amazing amount of file with minimal effort ... so you need a big computer to deal with 4K files but with the C100 you will have 10 times the video in focus and correct exposure to deal with ... without thinking about it. Those NDs are to die for ISO starting at 850 ... unlimited higher range. My sense is that glass is golden and sensors will improve... buy what will work camera wise and invest in the best lenses you can find. They rarely depreciate like the cameras. Makes more sense to me to buy a C100 and a discounted BMPC 4k for when you just have to say I got more real estate than I know what to do with.... This video convinced me that the original C100 and the Mk II were sufficient ... Bob

You are right ... now if you really want smooth ... Cooke but not FF And the difference is just 10K per lens for the Ulta Primes: https://www.abelcine.com/store/Arri-Zeiss-Ultra-Primes-c-926/ Bob

Hopefully not ... any highly corrected aspheric lens will disappoint you if this is your focus. And tree fractals are hopelessly complex nothing short of a holga does them justice .... Aspherics add a major detriment to certain objects ... which is why the Zeiss Milvus 85 has no aspheric components ... but it is not a FF lens. And if boheh is the end all for your rendering ... go with a DSO FF 85 .... Bob

So Otus line, according to Ming Thein who just spent time at Zeiss for the Milvus unveiling, is designed by the group responsible for the Master Prime lenses..... $4K looks a bargain compared to $14 or $28K for the cine lenses ... and you don't need a sherpa or four assistants to carry your gear. As he points out these lenses should be viewed as lifelong acquisitions ... amortize them over 20 years ... drop a Starbuck's latte a day and they are paid for in three years each ... at the end of 20 years they will still have a value ... I have lost a lot of value over the recent years in depreciation of digital camera bodies ... almost none in decent lenses. Bob

It exists ... look at the glass globe on the table as I focus ... the bottom left of the screen is the edge of the round table and you can see a bit of the breathing ... exaggerated a bit at this close range. Not as good as the Otus or I assume Master Primes but manageable. Bob

I have the ZF.2 version of the Zeiss 135 F2 Apo and the 55 and 85 Otus lenses also ZF.2. Previously owned just about every ZF.2 lens 21mm and above. The 135 is so good that I cannot imagine it being redone as an Otus lens. It has a superbly balanced manual focus rack and while not at the level of the Otus lenses it is very easy to manually focus with the lens. It balances well on medium sized cameras ... not so well on the A7s size camera without a cage. Fairly heavy but not frontwardly balanced. Bokeh is wonderful ... great Zeiss 3D rendering ... wonderful micro contrast. It is a fairly contrasty lens with Zeiss colors and very white whites buy not overly cool in color. Here is a bit outside on the C100 Mk II : https://vimeo.com/135901284 Password is daysend. All of these lenses are expensive but you only need to buy them once ... not every two years like most cameras seem to be turning over. ZF.2 is almost the ideal mount as it can mate to most cameras.....Nikon, Sony, Canon, any M43 mount. Bob

Ed I believe that you would like Jim and that your sense of his transgression would be lessened if you were around him ... The shame of the written word and the internet is that it casts those one off statements into stone ... forever etched in the memory of someone. And they more than likely will take offense ... now a word spoken in a moment of weakness can be easily forgiven if we know the person and the circumstance ... those are wholly outside the perimeter of the internet forum. My concern about the Reduser Forum is that everyone there engages in a shy form of Orwellian double speak ... as they know that being BANNED is a real possibility. Everyone exists as the classic battered spouse ... waiting for the next crisis and shoe to drop. My Red One had major mojo ... color and grading very organic ... the Epic replacement was too sterile and clinical for me. But no one ... with a couple of exceptions either saw it or were willing to call out the Emperor's new clothes. Self destruction can seem rewarding ... but ultimately how we remember ourselves may not be how history depicts our actions. It is a tightrope act to pull off without a safety net ... I recommend you find one ... safe place with individuals of substance and integrity to stand in the gap when needed. We should all save our pennies ... perhaps a F35 replacement is just around the decade. Bob

Uh no.... Wooden Camera takes all the stuff others make and adds the things you need to make it work for you... The whole thing here is about power ... what cables do you need to make your rig work. Really need to read a little deeper ... Bob

Loved it! Bob

Hope it helps! Bob

That is a fairly good lens from a correction standpoint .... what ISO and in C-Log or wide ? You are fairly sure to see no major difference with and external recorder because the output is 8bit irregardless of the recorders ability to record in 10 bit ... I think that the Sony F3 has a bit of an advantage here with 10 bit 4:4:4 output .... And forgive the impertinence but how close are you to correct exposure? How long since you did a black balance? Bob

All lenses or not? Original Leica M8 showed this behavior not so much banding as a column of light from the source ... Assume that this will not be a software fix ... flags on a matte box may be your solution. Bob

Rod is on the left from the back ... all of your controls should be on the right of the body but the lens is far enough ahead of the rod that I have not noted difficulty with lens movements. Handheld I use my left palm to support from underneath allowing fingers to control the lens from the bottom. On tripod I am usually on the left side of the camera so no issue there. Bob