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ANAMORPHIC

The original forum devoted to anamorphic filmmaking. Talk lenses, adapters, workflows and sell your anamorphic lenses here.

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    • No, I'm going to give you an excuse to buy THREE more of them.... If you get the Atomos Shogun 7 you can plug them all into it and use its new switcher functionality. This functionality allows you to live switch the four cameras off the touchscreen to its program out and then out to the internet via your chosen route (the Teradek Vidiu Pro for example is ideal for a computer free route) but in addition it simultaneously records all four cameras individually and the switched version that you've output. The icing on the cake is that it also produces a multi cam xml file of the switching that you did so that you can pull the whole project into your NLE and re-cut it.  That means that say you were doing a live stream of a gig, you could be switching from the Atomos but then afterwards make another saleable product for the band with different cuts, colour correction, better sound etc from the same cameras. This demo is primarily on the Sumo but it has the same functionality on the Shogun. And this one is more focused on a real use using the Shogun.   If they launch a four channel switcher thats cheaper than the ATEM Mini then I'll buy you it myself   I'm curious whether they have maybe done a quick turnaround cheap single channel or dual channel product (ATEM Micro?) to address the current needs of journalists in lockdown, which would be great as the vast majority of them seem to be using the in built camera on their laptops even if they are working for national broadcasters. And a sub section of those also appear to have smeared those cameras in vaseline.
    • If you want "all the colour" with no transform, then with DNG's you can select "Blackmagic Design Film" for gamut/colour space (Colour Science Version/Gen 1) and as mentioned that is sensor space with no transform, only what you select for gamma. So it's the colour as the camera has captured it (I say camera rather than sensor since there are no doubt corrections applied before encoding the raw data). As I also mentioned though, this is not suitable for display and the expectation is you will transform it/grade it for monitoring purposes. I believe Digital Bolex recommended this workflow and then provided a LUT to transform from sensor to 709 for their camera back when they were still around. You will still be able to "view" the colour unmodified from the camera though. I'm just stressing (for the benefit of others) that the colour from a digital camera in it's native sensor space is not intended to be displayed this way, so you can't (shouldn't) really judge "hues, saturation", etc. Some manufacturers like us (and many others) design a "working space" that is generally larger than 709/P3 and ideally a better starting place to manually grade from than sensor space but also not intended for final display. AFAIK Sigma has not done that so your options are either native sensor space or another documented colour space. I probably wouldn't say "scaling" myself, but yes Resolve will do a standard transform from (sensor to) XYZ to Rec.709 or P3. It's not clipped on the output of this step though so you can still recover data. This is what you would expect to happen if selecting 709 or P3 in the RAW tab. I'm assuming you are compensating for the change in 709/P3 on the display side here, but whether or not you'll see the differences you're expecting will be influenced all the way from the sensor response and what they do in camera, to right at the end on the display side and how well you can display P3 versus 709. I work in the camera team (different country to where the Resolve team are based) so my knowledge of the inner workings have come via discussions with them so I don't know 100% either as the code isn't visible to me, but we do develop Blackmagic RAW and the SDK in the camera team (Resolve uses the SDK almost the same as any 3rd party app does) and we share with them the camera colour science information we develop so that they can implement it into their pipelines (DNG and CST/RCM/etc). They don't need to do as much of that now though for our cameras since it's handled in the Blackmagic RAW SDK which we handle from the camera team side. As for DNG processing, they for the most part follow the Adobe DNG spec when it comes to processing AFAIK https://www.adobe.com/content/dam/acom/en/products/photoshop/pdfs/dng_spec_1.4.0.0.pdf You may also be interested in looking at the DNG SDK if you can understand code as that will give you an even more clearer idea of how DNG's are/should be interpreted. https://www.adobe.com/support/downloads/dng/dng_sdk.html
    • Selling ready-made kit for shooting!   KOWA 8z: excellent condition! No haze, fungus, scratches/chips in glass, focus is smooth.  Rapido FVD 16A: exellent condition too! Clean glass absolutely! +2 clamps: rafcamera 49mm to 52mm and rafcamera 72 to 75 (for joining Rapido) SALE IN FULL ONLY! Price: 2000$ Payment method: PayPal, Visa. Buyer assumes PayPal fees. - Shipping worldwide, buyer assumes shipping and insurance costs.    
    • 10 YEARS OF ANAMORPHIC (2010/2020) by Seb Farges Here is an editing of ten years of using anamorphic lens on my work. In this movie, the anamorphic lenses are : Baby Hypergonar 1.75x, SLR Magic focus module, Iscorama 36 non mc, Baby Isco Gottingen Anamorphot 1.5x, Bolex Moler Anamorphot 16/32 1.5x, SLR Magic Anamorphot 2x and 1.5x and Aivascope Pro 1.5x featuring Panasonic Lumix GH2,GH3,GH4, GH5, S1 and S1H Olympus OM-D EM5 Sony A7, A7S II and A7R II Primes lenses : Nikon E Serie 50mm f1.8 LINOS Me-Vis C-mount 35mm f1.6 Konica Hexanon 40mm f1.8 voigtlander nokton 40mm 1.4  SLR Magic 25mm f0.95 SLR Magic 50mm f0.95 Pentax-m 40mm f2.8 Hartblei Super Rotator T&S 80mm f2.8 Volna-3 80mm f2.8 medium lens Shift version Holga plastic lens 25mm f8 and much more...
    • EIS and IBIS are to different things and should not be compared. I wonder why Sony hasn't implemented EIS in their cams yet, since they should have plenty of know-how from their mobile division (although it is known their two departments were not communicating much).
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