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I've bought the first feature film from Joshua Caldwell, "Layover": I've bought the version with special content, and I'm very happy, because it is full of great informations. http://layoverfilm.com I heartily recommend it to you all, it is really amazing and it's great to see that it's not the camera, but the man to make a great movie. Joshua made it "guerrilla-style", with available lights, handelded, but there are many great scenes that I don't understand how he made so stable without a stedycam or a gimbal stabilizer (i.e. the scene with the girl walking in the airport at 00:08) or the scene with the bike (from 1:37). Some little parts were made with a GoPro, but the most is shot with a Canon 5D.

Not just technically very good, but everything about it:

Hi. I just wanted to show of my latest short film STORM. I shot it on the Panasonic Lumix GH4 with Kowa/Bell and Howell Anamorphic Please let me know what you think. //eric

That's a real anamorphic shot for sure. The flares in the trailer probably are a combination of real and added effects. The screen shot is a real flare for sure. You can check the details on IDMB: http://www.imdb.com/title/tt1291150/technical?ref_=tt_dt_spec Shot on Arri Alexa Plus in 4:3 with Panavision anamorphic lenses.

Sorry, I was just talking about getting low-contrast images using filters. That kind of softening stuff Any is talking about, I agree, every filmmaker should learn the technique. I was only joking about trying to get a very specific RAW image from a compressed video camera. Thanks for the links, Andy! Maybe I'll go back one day and do it the right way.

its a very old well established practice in cinematography - cheap and very very effective - it works! if its good enough for DP Seamus McGarvey and Shane Hurlbut its good enough for everyone on this forum.... here is his step by step post on how to do it properly http://www.hurlbutvisuals.com/blog/2012/05/diffusion-for-the-digital-age-part-2/ http://nofilmschool.com/2013/12/diffusion-how-and-why-to-use-stockings-on-your-lenses and the good thing about it is you can do it your own way and create your own look , no 2 people do it exactly the same ....so test it first and find the way that works for you ....then use it on a job

Not Seen this before, but looks a similar form factor as an iscomorphot 8/2x or animax fixed focus lens for 8mm. This one seems to have a focus mechinsm that is external...probably tighter turns are needed for adjustment rather than a smooth Helicoid on more common lenses. If it's 2x and of isco optic descent it will probably have a subdued gold flare, if 1.5x it would probably have a coating that gives the blueish flares. If it's optics are anything like the isco, it will be sharp when treated right and have a very nice organic look. If it is for sale for cheap, it might be worth getting to play with.

So this is mainly a BIG thank you to Andy for all his help & advice - so good to have a resource like this. On his recommendation I got a Tokina AT-X Pro 28-70mm f2.6-2.8 & it really is a v.nice lens - tried on my Canon & Pocket, I even wacked an Iscorama on it too. Also, got a Meteor 5-1 17-68mm f1.9 (just for the Pocket as its a 16mm lens) & this also seems to be a very good zoom, but it has it quirks: it vignettes on the Pocket until you get to 25/32mm & its min. focus is 2m. However, when you put a diopter on it, not only does it get you closer (obviously), but for some reason you can go a lot wider as long as you are close to Infinity (which is no longer infinity due to the diopter) - this struck me as a strange quirk. The Question: I am thinking about getting the EF speedbooster for the Pocket, but can you put adapters on it without any problems? I have M42, Canon EF & Nikon lenses - I've already got an RJ SB clone for M42, but could really do with the extra boost.

Hmm I wonder when this display will appear on its own? The 1440p iMac panels appeared as Dells pretty quickly I prefer the idea of having this monitor and a Cuda beast 780 Titan or GTX980 PC ;)

I've been exporting AVCHD from my G6, in all frame rates, into FCPX for a year now without any problems. I can edit AVCHD natively without any problem. I've experimented with converting to prores but haven't found any advantages. I do have a powerful iMac though. Having said that, although 24p AVCHD is the best quality image, I find 50p MP4 to be better than 50p AVCHD. 50p AVCHD has much more aliasing artefacts and looks overly sharpened to me. I shot this with my G6 recently, using 24p AVCHD and 50p MP4. All edited and (quite heavily) graded natively in FCPX. No transcode to prores, AVCHD imported straight into the FCPX event from the SD card:

Thanks everyone! Yes, those are Nikon colors. That´s one of the main reasons why I chose for shooting the movie with this cameras (D7100, D5300). Also the image gave me some nice dreamy look that really help to sell the atmosphere of the film. Also, some old Nikkor 35mm f2, creamy shots are in this teaser ;)

I worked on a Neve V series with flying faders for many years - i produced alot of big hit records on that desk. http://www.discogs.com/artist/11911-Love-To-Infinity?type=Credits&subtype=Remix