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Hi everybody, i'm a newbie here and almost newbie in video, despite i'm reading A LOT about "how to's". As you may understand english is not my main language so, sorry if i write something wrong. As per title of this post, this is my first attempt in shooting video not in a studio but in a controlled environment . I'd like to have your opinion about it, also what i could have done better. I have a photography background ,so can't really going in technicalities nor codecs and whatsoever. Thank you anyway for watching and hope commenting. Here's the video

https://vimeo.com/73514319   I've just had for few days the prototype of the upcoming SLR Magic 17mm T1.6 lens in micro 4/3 mount. This lens reminds me the one from Voigtlander the 17mm f0.95 I test once (vimeo.com/43570385). Despite it's a T1.6, the SLR is a very fast lens, and I had to use strong ND filter on it to be able to use it at it's fastest speed at 1/50 shutter speed. This lens is a prototype so I can't show it, but this model looks quite like the 25mm T0.95 from SLR. It has also a no click aperture ring. Most of the shot of the movie are taken at T1.6, and you can see the very good sharpness of the lens, even at its fastest aperture.   SLR Magic told me that : "this is a SLR Magic CINE designation lens and not a HyperPrime lens so it is made for the budget indie filmmaker. It is in the same series as our 35mm T1.4 CINE II lens. Price of the production 17mm T1.6 lens is TBA (to be announced). The SLR Magic CINE 17mm T1.6 will have the same mechanical build as our 35mm T1.4 CINE II lens that repeatable focus. The 35mm T1.4 CINE II lens will be compatible with our upcoming 1.33x Anamorphic adapter but the 17mm T1.6 will not be on the compatible list. Field curvature effects causing softness at extreme when focusing at close focus distance were put into consideration during lens design and edge sharpness should be quite sharp even when wide open. Light falloff during wide open aperture is well controlled."   I have use the OMD E-M5 from Olympus. I've bought recently this camera because I was really impressed by the movie of Andrew Reid, where we can see the proficient internal 5 axis stabilization system.  It was quite hard for me to use this new camera. Two main problems have appeared : 1- I found that the contrast in classic image mode are very strong, the black are too black to my opinion (I've used the Natural mode). Then I decided to change the mode and I've used the Art filter 3 (ton neutre et lumineux, I suppose in english it's "neutral and bright tone") to have less strong blacks. But this mode gives green rendering (and the ND add it too), so I try to color corrected it. That's why you have two mode in this movie, the Art filter 3 is in the countryside and seaside shots. I did light color correction in quite all the clips. 2- The second problem is the using of ND filter on OMD with the stabilization. At the begining of my shooting I was using a variable ND filter from Cokin. The problem is that there is slight vigneting when you are closing it. And this vigneting is moving because of the stabilization. You can see this issue in some of the shot, the traveling with the girl with the yellow bag, for example.Then I decided to use another ND filter, not a variable, the Hoya NDX400. With a constant ND filter, the problem of the "moving vigneting" disappear. But it's less easy to use. Especially with the OMD that has less efficient dynamic range than the GH3. Anyway despite this problems I have discover with my first use of the OMD camera, I'm really impressed by its internal stabilization sytem, for example it allowed me to do these shot from the car in the small roads of north Ireland, with a third part lens such as this SLR Magic 17mm T1.6.  I'm really happy using this lens, it is a good experience and it's useful to have a fast 17mm, especially when you think that 25mm is not enough wide, and 12mm too wide.   Olympus OMD E-M5 SLR Magic 17mm T1.6 (prototype) 1080P 30 "Natural" and "Art 3 bright and neutral" modes Variable Cokin ND filter NDX400 ND filter from Hoya edited on Adobe Premiere CS6 CC on Premiere   Music (mash up) : Midlake "The Courage Of The Other" King Crimson "In The Court Of The Crimson King"

Hi everybody and anamorphic lovers ! Here is my 1st movie with the upcoming SLR Magic anamorphot 1.33X - 50 anamorphic lens on OM-D & Sony A7 !!! :) It's now since one week that I own the upcoming new anamorphic lens from SLR Magic, the anamorphot 1.33X - 50. It's a compact and light 1.33X anamorphic lens, working from 40mm on full frame and 20mm on M43 systems. It has the particularity of having a focus ring for close focus, it's very convenient because you can use it without diopters. Another difference seems to be the usuability of shooting at fast apertures. I even did a fast test at T0.95 on the SLR Magic 25mm and the image was still usable ! More tests to come. I've used two cameras with two different lenses on this movie. First the OM-D OM-5 from Olympus. Despite it's not so good video codec, this camera has what the other cameras don't have (yet) : an incredible 5 axis stabilization system. The addition of the Lumix 20mm with the SLR Magic anamorphot on the OM-D make quite the perfect combo. The problem that I still have with the love-able OM-D is finding the best image mode. I'm usually using the "Art3" mode Pale&Light Color (like in this movie), or sometimes "Art4" mode Light tone mode. Second the new Sony A7, the first full frame hybrid camera. For me this camera is very lovable too. For the first time it's offering the same flexibility than M43 systems : putting thousand third part lenses (such as Nikon, Canon, Pentax, Contax, Leica, M39, M42, Cine lenses, and so on....). And enjoy those lenses in full frame. The 50$ Nikon 50mm f1.8 is a cheap and very good pancake lens. I've put on the Sony A7 with a Novoflex E to Nikon mount adapter. The result with the SLR Anamorphot is very good too, and there is less distortion on the edges than the Lumix 20mm on the OM-D. It's real obvious when you watch the difference on the flares from the two lenses. Using the diopters on the SLR Magic anamorphot improve the sharpness of the image. The 0.33X achromatic diopter from SLR Magic seems good and offer more sharpness, but it is not indispensable for close focus, because of the close up focus ring of the lens. The 1.3X gives the possibility to film closer to the subject, and the 3X I'm using too... The three diopters of the movie are reavealing tremendous flares, as you can see at the end of the "Crêpes scene". Thank you for watching ! Any comment are welcome ! :) SLR Magic anamorphot 1.33X - 50 anamorphic lens SLR Magic 0.33X and 1.3X achromatics diopters Marumi 3X achromatic diopter on Sony A7 with Nikon 50mm f1.8 E Serie and Olympus OM-D O-M5 with Lumix 20mm f1.7 pancake lens 1080 24P on the Sony 1080 30P on the Olympus from 200 ISO (most of the time), 800 ISO (kitchen scene) to 2000 ISO (couch scene) Apertures from f1.7 to f5.6, most of the shot taken at f2.8 Light Craft mark II variable ND filter Music : Trentemøller "Candy Tongue (Feat. Marie Fisker)" from Lost

Hello everybody, here is my new anamorphic set ! :) baby Berthiot Hypergonar anamorphic 1.75X lens Qioptiq Linos MeVis-C 35mm f1.6 C-mount lens I've order a special machined step up flat ring, then unscrew from the C-mount lens the ring that maintains the glass, then replace by the flat ring. I've screwed the original Berthiot small clamp, then screw and aligned the anamorphic. This combination of these two lenses seem to be very promising. Sharpness and no vignetting :) Here is the set and two pictures taken with it on my OMD (video is coming soon). Thanks for your attention. http://www.flickr.com/photos/43243778@N04/sets/72157636631334626/

Hi my anamorphic friends ! Here are some new stuff taken with my favorite light and sharp anamorphic combo. Tell me what you think ! Thanks for watching !   https://vimeo.com/78594325     This movie has been shoot a week-end mid october in Bordeaux, and first week-end of november in the countryside.  I'm glad to have now I think the perfect anamorphic set combination for my baby Hypergonar anamorphic lens. I bought few weeks ago a used Qioptiq C-mount lens, usually used in industry. This lens is very sharp, even at it's fastest aperture (f1.6) and this wide aperture is still usable with the anamorphic on it ! Some of the shot of the movie had been taken at f1.6.   The Filick'r album : flickr.com/photos/43243778@N04/sets/72157636631334626/   It was not possible to screw directly the anamorphic lens on the Qioptiq prime lens because the front barrel is turning when you focusing. So I ordered a special machined flat step up ring to attach the two lens. I've unscrewed the ring on the Qioptiq that is maintening the glass, and replace with the special machined flat ring. Then I screwed on it the original small Berthiot clamp that can align the anamorphic lens. Then I put the baby Berthiot hypergonar in it. The combination suits perfectly ! The weight of this anamorphic combo is quite light. The Hypergonar weight is 57 grams, the clamp maybe 20 grams, the Qioptiq is 210 gram, then the two filters (diopter + variable ND) and step up rings maybe 150 grams. So the total is around only 400 grams ! And finally using the OM-D with it's 5 axis stabilization system with an anamorphic combo is very useful ! Olympus om-d e-m5 / 1080p 30 Art4 "light tone" mode no color correction qioptiq linosMevis-C c-mount 35mm f1.6 baby hypergonar 1.75x anamorphic lens tokina close-up 0.5 variable ND filter Cokin Pure Harmony Xume magnetic filter attachments music / soundtrack vangelis / blade runner   Here is the first part of this pocket anamorphic set : vimeo.com/77265744 And here is a movie taken with this lens alone : vimeo.com/75065010    

  https://vimeo.com/75065010 I've found this incredible C-mount lens on Ebay for 150€. It's a LINOS MeVis-C 35mm 1.6 C-mount lens made by Qioptiq. It's an industrial lens, usualy sold for 1090$ (pstechnik.de/en/optics-c-mount.php). The 35mm is designed for 1'' sensor. It has been used in some of the shots of Slumdog Millionaire.  I'm looking for a solution to use it with my anamorphic lens my baby Hypergonar. I did some fast test and it's very promising !!!!! (flickr.com/photos/43243778@N04/9845131316/) Olympus OM-D E-M5 LINOS MeVis-C C-mount 35mm 1.6 lens made by Qioptiq (rear limed to fit in the C-mount adapter) always oppened @ 1.6 Hoya ND Filter ND400 1080P30, 1/50 Art4 "tonalitée lumineuse" art filter No CC

https://vimeo.com/77265744     This movie has been shoot during thursday 18th of october 2013, from the morning to the end of the afternoon, bringing my daughter at school, then filming with my students at university, then taking my daughter from her school.  I'm glad to have now I think the perfect anamorphic set combination for my baby Hypergonar anamorphic lens. I bought few weeks ago a used Qioptiq C-mount lens, usually used in industry. This lens is very sharp, even at it's fastest aperture (f1.6) and this wide aperture is still usable with the anamorphic on it ! Some of the shot of the movie had been taken at f1.6. Here is a movie taken with this lens alone : vimeo.com/75065010 It is not possible to screw directly the anamorphic lens on the Qioptiq prime lens because the front barrel is turning when you focusing. So I ordered a special machined flat step up ring to attach the two lens. I've unscrewed the ring on the Qioptiq that is maintening the glass, and replace with the special machined flat ring. Then I screwed on it the original small Berthiot clamp that can align the anamorphic lens. Then I put the baby Berthiot hypergonar in it. The combination suit perfectly ! The weight of this anamorphic combo is quite light. The Hypergonar weight is 57 grams, the clamp maybe 20 grams, the Qioptiq is 210 gram, then the two filters (diopter + variable ND) and step up rings maybe 150 grams. So the total is around only 400 grams ! And finally using the OM-D with it's 5 axis stabilization system with an anamorphic combo is very useful ! Olympus OM-D E-M5 5 1080P 30 Art 3 filter no color correction 1/50 shutter speed 200 asa Qioptiq MeVis C C-mount 35mm f1.6 lens (in this movie the lens was set between f1.6 to f5.6) baby Berthiot Hypergonar 1.75X anamorphic lens  Tokina diopter O.5 variable ND filter Cokin Pure Harmony Xume magnetic filter attachments Music : Siouxie and the Banshees "Night shift" Flickr's album of the set : http://www.flickr.com/photos/43243778@N04/sets/72157636631334626/

https://vimeo.com/73514319   I've just had for few days the prototype of the upcoming SLR Magic 17mm T1.6 lens in micro 4/3 mount. This lens reminds me the one from Voigtlander the 17mm f0.95 I test once (vimeo.com/43570385)   Despite it's a T1.6, the SLR is a very fast lens, and I had to use strong ND filter on it to be able to use it at it's fastest speed at 1/50 shutter speed. This lens is a prototype so I can't show it, but this model looks quite like the 25mm T0.95 from SLR. It has also a no click aperture ring. Most of the shot of the movie are taken at T1.6, and you can see the very good sharpness of the lens, even at its fastest aperture.   SLR Magic told me that : "this is a SLR Magic CINE designation lens and not a HyperPrime lens so it is made for the budget indie filmmaker. It is in the same series as our 35mm T1.4 CINE II lens. Price of the production 17mm T1.6 lens is TBA (to be announced). The SLR Magic CINE 17mm T1.6 will have the same mechanical build as our 35mm T1.4 CINE II lens that repeatable focus. The 35mm T1.4 CINE II lens will be compatible with our upcoming 1.33x Anamorphic adapter but the 17mm T1.6 will not be on the compatible list. Field curvature effects causing softness at extreme when focusing at close focus distance were put into consideration during lens design and edge sharpness should be quite sharp even when wide open. Light falloff during wide open aperture is well controlled."   I have use the OMD E-M5 from Olympus. I've bought recently this camera because I was really impressed by the movie of Andrew Reid, where we can see the proficient internal 5 axis stabilization system.  It was quite hard for me to use this new camera. Two main problems have appeared : 1- I found that the contrast in classic image mode are very strong, the black are too black to my opinion (I've used the Natural mode). Then I decided to change the mode and I've used the Art filter 3 (ton neutre et lumineux, I suppose in english it's "neutral and bright tone") to have less strong blacks. But this mode gives green rendering (and the ND add it too), so I try to color corrected it. That's why you have two mode in this movie, the Art filter 3 is in the countryside and seaside shots. I did light color correction in quite all the clips. 2- The second problem is the using of ND filter on OMD with the stabilization. At the begining of my shooting I was using a variable ND filter from Cokin. The problem is that there is slight vigneting when you are closing it. And this vigneting is moving because of the stabilization. You can see this issue in some of the shot, the traveling with the girl with the yellow bag, for example.Then I decided to use another ND filter, not a variable, the Hoya NDX400. With a constant ND filter, the problem of the "moving vigneting" disappear. But it's less easy to use. Especially with the OMD that has less efficient dynamic range than the GH3. Anyway despite this problems I have discover with my first use of the OMD camera, I'm really impressed by its internal stabilization sytem, for example it allowed me to do these shot from the car in the small roads of north Ireland, with a third part lens such as this SLR Magic 17mm T1.6.  I'm really happy using this lens, it is a good experience and it's useful to have a fast 17mm, especially when you think that 25mm is not enough wide, and 12mm too wide.   Olympus OMD E-M5 SLR Magic 17mm T1.6 (prototype) 1080P 30 "Natural" and "Art 3 bright and neutral" modes Variable Cokin ND filter NDX400 ND filter from Hoya edited on Adobe Premiere CS6 CC on Premiere   Music (mash up) : Midlake "The Courage Of The Other" King Crimson "In The Court Of The Crimson King"