Justin Bacle

You can adapt various Canon EF, FD, Nikons, Olympus OM, Minolta MD, pentax K mounts which all have 50 or 58 mm f1.2 (or even f1.0) to a mirorless mount (M4/3, Fuji X, Sony E) with a speedbooster

Actually, you are downscaling vertical resolution but still upscaling in horizontal resolution as captured vRes is 1920 upscaled to 2048 (the more you crop, the more you loose hResolution).

I shoot 3:2 Full Sensor Raw on the 50D (because I can :D) without vignetting with a 50/1.8 Fujinon with the Ulstrastar. I'll check with other lenses, too see if the fujinon is a special case

On Canon APS-C I can do w/o vignetting full sensor at 50 @ f/1.8 and close focus-> Which makes 80mm on fullframe If I'm not missing something. Am I ? :s Which Ultrastar are you talking about, the small one or the big one ? (I have the small one) But of course, the 16H is a great option if you can find one

Can you send a single frame for me to see if I have the same problem ? I loaded some sample BMCC footage but it doesn't show what I was looking for :s

The Isco Ultrastar can do 85mm on FF free from vignetting too (but you won't get flares)

Same as 4K, 3D or HFR distribution... don't really care. But when I'll see it in theaters I'll be able to say something interesting about it.

ACR and Realtime ? Man it's not chrismas yet ! But I'd love that too !

Form the test I managed to do (the 50D and 5d mk2 are not yet fully supported as one every two frames is garbage), I don't see a noticable difference between 12 & 14 bits with a standard grading and a properly exposed shot. 10 bit is too noisy though.

When importing dng files into premiere, you can change the exposure settings with "interpret footage" (Have to verify, i always process my raw dngs in Ae (for ACR). Nothing wrong with your files I guess. Just that the default setting has changed ?

The 11 & 13 bit settings are not selectable. I'm not sure it is really necessary though

isn't DV limited to 480p resolution ? :D

I am currently looking for a similar solution. The only solution I got is transcoding to Cineform but I do it in Ae for use with ACR.

Well, you just made my day :D

The OIS looks like it is in a "photo mode" when it try to keeps stable, and then suddenly changes to another point. Not very impressed ...

Exactly, i read that the last bits are just truncated, which is okay as they contain mostly noise. And the CPU is not powerfull enough to do anything else BTW

From the topic I understand that cameras with digic 4 or 5 should be Okay. (/!\ of the dual digic architectures liike w/ the 7D) I don't know yet if it will be merged in the next nightlies but I do hope so as results look good. They will have to update processing software though in order to be able to use those files.

They were good cameras when they were new, I still use one as a B or a C camera with great results Even with 10b raw, I don't think the bandwith is high enough though :s

Very unscientific test (as I don't have step-up and step-down rings nor do I have a Tripod as I am in a Hotel for work right now) Used a flashlight to create side lighting. But here it is. I think I proved your point No Ultra contrast filter : Filter In Front of the anamorphic : Filter between the adapter and lens (sorry for being a different shot, as I did have to put everything on a table) :

Sure, but hey, you can't get everything right ? :D I would be insanely happy with 2000x1080 12bit Raw continuous recording on the mighty 250€ Canon 50D !

Not true for the 3x crop as the data available is larger than 1080p in most cases

I think number 2 in your first post was a better option. I had both and never liked the "cowboy" style

What you get with anamorphic is : - FLARES, Oval Bokeh, and all the things that are specific to anamorphic adapters - Increased seen vertical resolution (compared to just cropping) Some anamorphic lenses are damn sharp and not prone to flare if you're not into that. (Look at the Ultrastars, Cinelux and other coated modern adaptors)

Flaring is different : - There is less flaring when a bright source is outside the frame -> less contrast loss and bloom - You get internal reflections -> More optic flares It really depends on the look you want. I can shoot tests this evening if you want with both configurations

AWESOME