mercer

I will say the Chinon Bellami is a nice looking camera, but not good enough for 1000 bucks. If it was selling for 250, then I would probably have one. Thanks for the link, it cleared up the audio question. Of course, I'm not sure why they are using crystal synch... I get retro, but do I really want to have a nagra to get some audio? I really think it would have been a better idea to develop a hybrid digital/analog camera. Throw in an SD card and a Super 8 cassette and give me the best of both worlds... Or one or the other. Whatever, it's still a cool novelty and if they get the price down in their second run... As they are claiming they will... I might grab one.

I don't think it will have the extensive features the Logmar has. According to one of the above linked articles, the rollout price will be between 450 and 750 and Kodak was never known for having a rich in features Super 8 camera. But who knows, it could be a good niche market for them. The question will really be audio and how/if they incorporate it. They are advertising that they will process the film and deliver a projectable and digital copy for 50 to 60 bucks, unless they are going to reintroduce super 8 sound film, or provide an SD slot and offer an audio synch during the conversion, I assume it will be silent. I would be more interested in a Kodak digital super 8 camera that shoots proper HD Raw, something similar in style to the Chinon Bellami, but better designed with semi-pro use in mind. I know little about sensor technology, but I assume one of their existing sensors could handle it. But either way it is a niche camera, so keeping cost down would be paramount. It would be cool to have a built in LUT/preset called Kodachrome 40.

Yeah the Veydras look great. I read the write up on Noam Kroll's site and they seemed proper. The Contax Zeiss look great, obviously the planar is a beautiful lens. I saw a near mint 50mm 1.8 going for $175 on eBay, but I guess the 1.4 is the one to get. I read that a few of the Yashical ML lenses were made in the same plant using Zeiss glass, so that could be a good, inexpensive alternative. Also Rollei has a Planar, which I assume is a Zeiss lens? And that can be found fairly inexpensive. I actually just bought the Nikkor 28mm f2 and it is absolutely stunning wide open. I paired it with a Fotodiox ND Throttle adapter and the images I have been getting with my G7 are amazing.

Yeah the Xeen, the Tokinas and the Veydras all look great. Still a little out of my price range, but reasonable nonetheless.

Especially since you can get a small fortune for them. I wonder how the Rokinon lenses would do with the Samsung. Or even the Xeen or Tokina Cine lenses.

So the FHD crop is 1.3x the aps-c crop? What? That sounds oddball?

Then how is the HD crop 1.3x?

Your FDs and your Nikkors should be plenty sharp enough. I just sold off my set of FD lenses because I didn't love them, but I didn't have the L glass you have. I found they favored green and I don't like the way my Samsung handles green.

What's the crop of DX? Because HD seems to be 1.3x and the UHD isn't that much smaller.

The cosmicar 25mm shouldn't vignette. Am not sure about the kern. The good thing about c-mounts is that there is a lot of info about them online if you don't mind searching dozens of pages of Google search.

With the holidays over, I have had a little time to run some tests. Am still using cinelikeD. This shot was done wide open with a Tokina lens and a fotodiox vizelex adapter. With Color Finale I applied a light s-curve to the master and then tweaked the blue and red curves a touch. And then finished it with an Impulz Tetrachrome LUT.

Yeah, that 5D video is stunning. I have messed around with raw on my eos-m (obviously not in the same league) and have learned that there are a lot more programs now than there were back when the II was in it's heyday, is the workflow less tedious now for 1080p raw?

What lens is this?

C-Mount lenses can be a great solution for lowlight video. I personally love them. But, there is a lot of funkiness involved with adapting them. For instance, the Cosmicar should cover the sensor perfectly, but I do not think it will fit in a c-mount adapter without modifying the back of the lens. Another potential issue is infinity focus, on some lenses adjustments need to be made to insure infinity focus. If you like to tinker with things and don't mind trial and error, you can get some amazing images with c-mount lenses that, IMO, offer an in camera film look.

Idk, I'm a newbie to all this, but if you ask me... it seems like a classic case of demonic possession. But seriously that is strange. I think I may have noticed it in your video with the glass jars or vases. It almost looked like an extreme case of rolling shutter?

If I had to guess, I'd say the top one is the 1DC? Very close though.

I think the image looks great. You don't buy a Red One because you want to shoot in lowlight, above 800 ISO. And at that price, Mattias could shoot one side job with it and it would pay for the camera. But I assume he has other plans.

I still really like your Vivid settings. I have been mostly using the G7 lately but I had the NX500 out the other day and that Vivid with contrast at 0 looks sweet.

That middle shot, between the sky, the water, and the sand, must have been a zebra nightmare.

Was that shot with the D750? Looks good.

What's that saying... If you want the film look... Shoot film? But with that being said, the d16 comes the closest, followed by the bmpcc with the Sony coming in last but still looked pretty damn good, depending on the grade.

Nice work. The first few shots are gorgeous. That light, misty fog really set up an atmosphere. I also loved your jump cut rack focus. Jarringly effective. I'm gonna steal that.

Good to know about Visioncolor. You have a wealth of info, you should write a guide when you work through all of it.

Well, I should've said that the colors weren't right until I left contrast at default. I chose to desaturate in camera. Here's the NX500 review from cinema5d https://***URL not allowed***/exclusive-samsung-nx500-footage/

Good points, but I was referring to the cinema5d video test of the NX500. My bad, confusing on my part. Not enough people have the NX500, so I usually end up chiming in on the NX1 posts. In the cinema5d test of the NX500, the guy used either standard or custom profile with -4 saturation, 0 contrast, and -10 sharpness. My point was that when you leave contrast at default, you have a little more latitude with your saturation so you can bring it to a uniform standard. Unsure how it works with the NX1, but with the NX500, the colors are not right until you dial down the saturation at least 2 or 3 clicks.