Nrubloc

Doubtful... as I think they are two different species.

This info may be a bit dated in relation to the ones mentioned that would still provide such lens servicing, but the thread below can at least maybe get you started if you haven't already stumbled upon it. The Anamorphic lens REPAIR thread: http://www.eoshd.com/comments/topic/926-the-anamorphic-lens-repair-thread/?tab=comments#comment-15560

Thanks for the test footage share. Looks nice. I would assume you have the slog2 sharpness dialed down by a large amount as I was thinking it would be clinically sharp with modern Sony glass. I usually use older glass, but I felt the sharpness was not overdone in this case. Was this shot in 4K (full frame or apsc) and just down sampled or just shot in 1080p. Curious if you used a custom setting for slog2 or the default. The mixed fluorescent light with patches of what appear to maybe be daylight at times from the side or background windows came out as good rendition of color as well. Not sure how much of that was corrected in post grading verses the taking of different white balances or color temp settings during shooting to test what would be best for that particular location, but it seemed to work.

Are you considering the A7SII/A7RII as well or only the first versions A7S/A7R? I think the color science and options were improved on the second versions plus they do have sensor stabilization that one could use in a pinch.

Not a great response by him, but do not take it too personal as missteps occur. Some older people can get grumpy or impatient at times with youngsters who they feel should do a little research on their own first (google, youtube, vimeo and this forum's search engine). Sometimes younger people are also impatient with older people who maybe don't frequently use or understand new ideas, technologies and trend directions as well. Maybe and hopefully, a different approach in response can be considered in the future instead. On can never stop learning and this forum as a whole has more people willing to offer advice than not.

I was able to visit the Nashville TN area and took a few images. There was on and off light pockets of cloud veiling, but I took these as it was getting dark, then darker and when it was emerging.

@Ed_David “And where are we?” I get it, but placing various labels or using anecdotal phrases is just too easy, especially if one has the means to approach things differently. They (labels) can also be misinterpreted or misrepresented by those who have different life experiences or just ignorant for whatever the reason, willfully or not. In such cases it may be best to try to educate or raise awareness in some way. If you feel the need to help, share, enlighten or educate others in this regard, I would recommend that approach. Less talk more doing, not only sounds better, but it also comes across as a more genuine when a real effort with actions are made rather than assuming with labels. If you honestly feel you have so much “privilege” then maybe use it in a more effective and positive way. I see people quite often with much less “privilege” still doing great things to bring awareness and positive changes to long standing issues found in their own communities around the world. If they can actually do something, you and your “privilege” surely can. Sometimes you just have to get out of a comfortable narrative zone, and to hell with the consequences really. Often one has to be at least a little bit crazy. So slightly crazy can equal crazy good. Use your well established professional “chops” that have developed, along with your immediate network/connection resources when needed to create things (documentaries, films, etc.) that you find interesting, meaningful or worthy to further promote and bring awareness to such issues. I’m sure you are surrounded by like minded individuals that believe in doing such non-commercial side projects already… get new friends if not. It can be difficult day-in and day-out and somewhat unsatisfying at times by being involved in the creation of maybe less meaningful content that is sometimes generated when working in the commercial production space. Use any longer downtime between intense gigs to work on your own project ideas covering privilege, discriminatory practices, workplace conditions or any other issues that you have raised in the past. When you’re busy focusing on some side passion projects or just out to create something more positive through awareness instead, that passion project itself also helps to prevent your mind from wandering a bit towards any negativity floating around. Positive thoughts help lead to positive things. One cannot effectively communicate or create such a genuine message to possibly share if negativity clouds the airways. Create something positive to educate using your obvious passion and strong convictions, but just don't tell them (viewers) what to think during the process. Maybe show a different perspective and some viewers would arrive at similar conclusions, have on their own realizations, or just maybe agree to disagree. Regardless, such an approach could start a real dialog and something interesting to share. One also doesn’t have to be a philanthropic billionaire to contribute to society by helping their communities or focus on the different issues that they are passionate about. Use whatever you personally have access to. So use whatever “privilege”, knowledge, opportunity, or ability you feel you may have to bring awareness by actions and create things that maybe you could make a difference or positive contribution towards. Let the negative actions of some condemn themselves, while focusing on any “positive actions” that could ultimately bring a positive influence or encourage others. Whatever project ultimately created in that spirit would be taken seriously and you could then bring your ideas to a wide/broader audience. Most rational people, whether or not they agree with each and every stance you may have on various topics would respect the efforts. At the least you would be putting thoughts into action while others would maybe still be offering nothing, just the same labels or unfortunately perhaps further negativity. Look Mr. Charlie Chicken deep into the eyes and ask him… he seems like an honest bloke. If you ask him nicely maybe he would even help you work it out, if he is not to busy with his Art Retrospective. Good luck

No indication of what he ultimately paid, but he did mention previously the initial offer was for 2600 UK Pounds.

I guess to make it even less “offensive” instead of using the ‘developing world’ nomenclature, they moved on from that last year. It was then decided that it would be more appropriate to now use the phrase ‘emerging (market) economies’ instead for such locations, so there is less confusion about what is being described or discussed going forward. I know it’s a lot to keep up with all these changes, along with all the other things going on in the world at this time, but it is what it is.

Or I could just use a Blackmagic camera with ProRes and forego the external recorder. Of course there are other camera options such as the C100 as well..... but I was speaking of the Sony a7sii/a7rii specifically in this case. So does anyone have experience in using the Ninja Star with the a7sii/a7rii series even though it's only 1080p recording capable?

I have been looking for options lately and anything above a 5in screen for my setup is too cumbersome. A smallish and light setup using the Sony “alpha” series, would benefit a lot when not wanting or needing to lug around the extra kit. A small Ninja Star 4K type of recorder without a monitor would be great. Maybe there is just not really a price point “spot” currently for Atomos to include a 4K recorder without a monitor between the current Ninja Star and their Ninja Blade recorder with its 5” monitor. Even though they have a monitor, I initially looked at Blackmagic’s Video Assist (both HD 5” and 4K 7”) recorder versions. It’s not a total deal-breaker, but since they do not do 3:2 pulldown removal in recorder and they record as interlaced with the Sony a7sii/a7rii series, it has to be done later in post. If I was interested in a 4K recorder with 7” screen size now for a different setup, I would probably just get one from Atomos as they have so many options in that range. I even thought of getting a Ninja Star until other smaller options are available for 4K, but wasn’t sure if it is even capable of down sampling the 4K signal from the Sony a7sii/a7rii series, then recording it to 1080p or not. It was my understanding for example that the GH4/GH5 can do that down sampling in camera before recording externally but the Sony does not. So, I would just think the Ninja Star would recognize the a7sii/a7rii 1080p signal only. If anyone uses the Ninja Star specifically with the a7sii/a7rii series please comment on your experiences.

Something a bit boring is still so, in 8K. I'm more interested in viewing engaging or well developed content even if it is in "gasp" 1080p, but on the technical side I would appreciate more focus on DR and things leading towards more robust image attributes. I'm sure this 8K thing will also be a big development for some vloggers though....

Nice... Thanks for the LUT free image example. Looks definitely manageable, especially in controlled lighting conditions. Look forward to seeing any video you put together using this color profile.

Is this frame also with a LUT at 20% to make it slightly warmer as you had mentioned doing so with another screen grab earlier? Even if fairly slight, it would still be interesting to see the same frame, but exported without any LUT or other possible corrections as well.

I'm inclined to think "crazy good" rather than just plain crazy.

Agascope Lenses: AGA's optics Lidingö developed by engineer Evert Aulin as an anamorphic lens system for both cameras and projectors around 1955. The first film shot with the Agascope lens was a short film from SF (Svensk Filmindustri) Studios, “City on Water”. (A terrible quality vhs/video copy below, but it’s there for posterity and those interested in the history of such things at least.) Staden vid vattnen (1955) Directed by Lars Erik Stewart and with Albert Rudling as a photographer. https://www.youtube.com/watch?v=LDTSC3mwJv4 The first feature film was Gorilla (1956) http://www.imdb.com/title/tt0049272/?ref_=nm_flmg_cin_101 http://www.videosondag.se/2016/02/18/gorilla-1956/ A film documentary/drama content recorded in the Belgian Congo, directed by Lars Henric Ottosson and Lorens Malmstedt. The latter was also the film's producer. Sven Nykvist was a photographer and has also credited as technical director. AGA had been the only camera lenses the entire film is shot with. Premiere was August 28, 1956. “The Song of the Blood-Red Flower” was the first feature film in Agascope and in color. Director was Gustaf Molander and Åke Dahlqvist and Lasse Björne as photographers. Premiere December 26, 1956. Sången om den eldröda blomman (1956) http://www.imdb.com/title/tt0049819/combined Arne Sucksdorff saw working copies of any of the above films before he started filming the “Flute and the Arrow” and was so impressed that he decided to record his upcoming film in Agascope and Eastman Color / Technicolor. "The Flute and the Arrow" got rave reviews at its premiere in December 1957. "Masterpieces" wrote a few critics and Staffan Tjerneld Expressen praised Arne Sucksdorff the exquisite photo in color. Arne Sucksdorff had access to three Agascope lenses with focal lengths of 46, 75 and 105 mm. From 1959 made AGA also a 210 mm focal length. In the period 1956-1965 was 19 Swedish films in Aga-scope. The Flute and the Arrow (1957) http://www.imdb.com/title/tt0050321/?ref_=fn_al_tt_1 There is a lot of info online, but the link below is where most of above info was found or collected from: http://www.filmsoundsweden.se/backspegel/cinemascope.html

Maybe you could post this to the "Shooting" section to get a response. http://www.eoshd.com/comments/forum/21-shooting/

a7sII

The FHD versions screen gamut color space coverage percentages is pretty poor it seems. The Adobe1998 coverage was tested to be 55% while the sRGB was 83% of those standard color spaces. Most professional monitors offer color display coverage near or at 100% for both of those color spaces these days. Of course in relation to color profiles, most monitors can be improved further with calibration, but when a monitor’s hardware is already starting with such low base results, even a calibrated representation would probably be limited. Surprised a laptop with other positive specs would even have such a screen. I have used mainly Mac’s for many years, but do not feel like they are currently offering the innovation or even just the jump in specs and performance they had been focused on in the past. They seem more interested in software and other app developments only. So like many others, I have been exploring some portable laptop options as well. Would like for it to be an Apple product, but things move on and people should just purchase products they feel they need for their type of work or task, not just what a company generically decides they want to sell. This is a link to a good spec overview of the Razer Blade 2016 FHD: English: http://www.notebookcheck.net/Razer-Blade-2016-FHD-Notebook-Review.189344.0.html German: http://www.notebookcheck.com/Test-Razer-Blade-2016-FHD-Laptop.187880.0.html

Yeah... just relax and drink up. You'll be fine soon, have a little more Kool-Aid.

The place you can share your work, is in the Subforums > "Shooting" section. A forum moderator may end up moving this post there, just to let you know.

Regardless of any cost differences mentioned. There are various approaches to the Sony color or shift fixes and possible correction methods floating around. Some are specific in camera profiles, correction via “pre-luts”, or others through video editor adjustments as this one seems to be, when used in conjunction with certain camera settings. All of these approaches probably have some merit based on different workflow preferences and such, yet many people are just probably looking to achieve similar results in camera whenever possible while shooting. Having not seen a comparison of all the various methods or approaches together, I would gravitate towards an in camera option that maybe needed only very minor to no initial adjustments as a base, before any more possible aesthetic adjustments were to be made, unless proven otherwise. Of course even if all these different approaches where compared in a single video, they are still subjective as to what some would prefer over others. In my own past testing I have used the editor adjustment layer methods effectively as well for what I was working on at the time, but if an in camera profile helps a little bit to mitigate some of the extra adjustments, I would explore that as well and then probably compare. Maybe we should all just wait for a “Sony” Magic Lantern… Canon sure has gotten a lot of extra mileage out of that. It’s what a lot of people wanted Canon to be offering by now, but they didn’t have to in their own new offerings directly.

I'm really just here awaiting a year end "wrap up" appearance from Mr. Werner Herzog.

True... Keep it "relatively" simple if or when possible. Expectations and the focus of things and perspectives change along with the technology and accessibility provided. It's something that has to be accepted or adapted to, but hopefully whatever the content one creates, it can still maintain its intended purpose. I'm always looking for ways of working smarter, not always just harder or longer hours. It is always an evolving process. This short interview is very applicable to the conversation... https://vimeo.com/171153045

Some days your the windscreen/windshield and some days the bug. Either way, things can get a bit messy.