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​Yes. Be patient, it's a one person company, not a big Nikon/Canon/Zeiss type of company. To answer the question: I mainly had contact with him over email when I ordered mine, through the same mail address as listed on the site, http://dogschidtoptiks.co.uk/contact.html.

  Read the full article - http://www.eoshd.com/2015/02/dog-schidt-optiks-ff58-flare-factory-58-pl-mount-review/

My latest short film!!! "The Quiet Escape." Shot on the Samsung NX1 with 35mm Nikon AIS f2 lens and Leica R 100mm lens - one shot. Used Filmconvert and Gorilla Grain to treat it in Davinci Resolve. Came out so nicely. THANK YOU EOSHD and Andrew Reid for this camera!! Minus 5 contrast Minus 3 saturation Minus 12 (all the way) sharpness Before Gamma DR existed. The olden days.

Oh... Okay. It was in 3th of January that I contacted Rich first time... But well, if he is busy he is busy. that's how it is. I just have to wait then.

Another live music video, this time from the Koko in London. The lights were pretty full on, or should that be more professional than I've been used to! Hopefully I'll get a second bite of the cherry soon... Password:ws2000

I love this, thanks Rich!!!!

I mentioned this on Facebook about making taking lenses, since they wouldn't to focus, just adjust aperture, and Anamorphic Shop chimed in and said they are working on it.

I would much rather have the smaller one hand held ones posted. If you think about it for $2245 you can buy the Nibula 4000 for $700 and have $1545 left to buy a small 4k camera like the NX500 or Black magic pocket or the other brand coming out should let you use a NX1 or GH4 all for that same price and more easy and less pounds to deal with. Or get the $400 version and a 4k Gopro for $1000 http://copter-rc.com/en/catalog/35-pilotfly-funnygo-bt-3axis-stabilizer-for-gopro-3-4.html I see they have a price now on this new one of $749 was hoping it would be less VS the 4000 http://copter-rc.com/en/catalog/60-pilotfly-h1-microdslr-3asix-stabilizer.html

Ed. What a wonderful film. I could go on about all the technical aspects of your piece, and yes they are all wonderful. But for me as a viewer you hit at the core of what I went through when I left Los Angeles in the late nineties and moved back to my homeland of southwest Colorado. I do not make half the income as I did in LA. However, I am spiritually happy, I am still producing content and I am at peace with not having to deal with the driving rate race of LA. Speaking of which, once I finish writing this post I have to get back to editing our documentary Lasso The Sun. All the best from the mighty San Juan mountains. Bravo!

I've wondered myself - if the screw mount on the 70d is the same hardware as the 60d, that thing is pretty big! My only issue with the 60D? When the meter says it's peaking, it's not even close. I've gotten a lot of audio tracks that are pretty weak until I learned to (A) kinda slam the meters, (B) activate the -6DB safety track for peace of mind and (C) use the limiter (See"B")! Also, it has some issues with rechargeable batteries, announcing they're too low of a charge. But the 60D will run ALL FREAKING DAY with something like an Anker USB battery - $30!! I mount mine on a crossbar of 15mm rod, works great for tripod work...

hey guys i have my beautiful DSO and i love the brand, and its unique style lenses. i also love the fact that the lens is made by people that love the art themselves and not by some big corp. i used it in weddings i used it to take pics of my family both for photography and video. very distinct style. if i had money i would buy one of each tint and style.

​I just think they're using older inferior sensor tech 'kuz it's cheaper --and they don't have the option business-wise to really do otherwise. Bottom lines, spreadsheets, and all that. I can't quite grasp your logic that Panasonic or some other competitor will devalue their IQ for stabilization. That line of thinking just seems...odd. But I'm not that much of a pixel peeper that I dismiss that 5-axis stabilization. I don't always need awesome resolution and sharpness to capture the video I want. Sometimes I need great steady shots shots fast and easy. On those occasions, looks like the EM5II will be my camera. I shot some documentary stuff with both the GX7 and EM5II tonight. Got some shots with the EM5II that I couldn't do with the GX7. Got some GX7 shots I couldn't do with the EM5II. No big deal. Although, I have to say, the GX7 IQ is crazy good for less than $500. I have a series coming up in which I need a third camera for static coverage. I'll be buying another GX7 for that. Plus, I really like the ergos on the Panasonic. So yeah, at this point I still prefer the GX7, but I could see warming to the EM5II, even with its limitations. It's just a tool. BTW, my shooting has revealed that the 2x mode on the EM5II is pretty much worthless. The IQ is way too compromised. I feel the same way about the Panasonic "Ex Tele." Also, an annoying quirk I ran into on the EM5II is that the record button fails to engage at times. Push push push push push...nothing. Why? Not sure yet. I think it might be because a dial or button might be activated by accident. (There's a lot of stuff on that camera body) And my fingers maybe are inadvertently doing something I'm unaware of. Additionally the EVF and LCD have both turned off simultaneously on occasion. Power cycle brings it back. Still buggy or user error? Who knows? Other issues: In the dark, improper exposure in M/S/A/P mode. Fine in movie mode. Weird. Lens auto focused during movie shooting --while in Manual focus mode, and this was with an Oly lens. Strange. Again, I may be creating some ignorant activations of things being kinda rusty on the Oly interface, but my impression is that it's bugs and kinks in the firmware. Don't recall these issues with the original EM5 when I used it. I'll end on a good note: The video compression is a lot more robust now. Seems to hold up well.

I can't imagine getting really pristine sound from any DSLR - so-so circuitry designed to be tiny, not awesome. It's not about camera gain settings or XLR adapters. Don't choose a camera based on its audio capabilities, choose it as a camera. A Tascam DR-60 is 10x the utility and quality, and comes with PluralEyes, so your synch issues are history. 2 tracks with phantom power (and a -6DB backup track of each for safety) and 2 more line ins, headphone out with a level KNOB and line out - with a knob as well. A really, really unobtrusive limiter and a low cut. Can't beat it for $200. And that's just the entry level, but you get XLR combo's, good meters, a wealth of features. I shoot plenty of corporate stuff all by myself. It really doesn't take me any remarkable amount of time to plug my mics into a recorder vs. a camera. When I'm doing interview stuff or planned-out stuff with DSLR or BMC style cameras, I run a line out from the Tascam to the camera for cleaner synch. But PluralEyes synchs with the in-camera mic just fine. You can mount a recorder on your rails or stick it where it's convenient. If the gig is just a crazy run & gun deal, I use a "video" camera with ND, zoom, a real viewfinder with peaking, XLRs, etc. I've watched the DSLR guys miss 20% of their shots at those deals. Plugging mics into an NX1 (or a 5D or a Nikon or a BMC)... just don't do it. If you can afford a YHAGI you can afford a great recorder and do it right. $199 gets you out of the crap preamps realm, and if you have more budget you can get more. And the YHAGI is pretty overpriced unless you need the SDI. Dual system sound just does not add complexity to worry about. YMMV and my .02 of course...

​I shoot manual, even with AF lenses, so I'm adjusting exposure via ISO and f-stop on just about every shot. Sometimes I'll slow down the shutter too for a little exposure help. Anyway, I'd like ISO and Shutter on the wheels, but there's plenty of customization options that make whatever you want to do kinda easy, if not ideal. I've got my cam customized so I never have to take my eye off the EVF to make anything happen. Not that I'm doing much now shooting-wise anyway, just farting around. Here's a bunch of truly random overexposed handheld shots straight from the camera uploaded to YT with a 1980's 24mm 2.8 lens. Some shots punched in with the 2x digital zoom. Not that these images tell you much about the M5II (except it's got moiré and we all knew that) but people like looking at random footage for no good reason and analyzing it completely out of context, so here's some more:

The sign of a good film is watching the film and not noticing any technical details- following the story, which I did- nice job! I feel ya regarding living in a big city vs. the country where I grew up (on 2 acres in San Diego). I moved to LA (Beverly Hills) in 2006 to work for Myspace. I avoided the #1 traffic in the USA by walking to work. After Myspace I've been fortunate to be able to do mostly remote contract work to avoid the traffic. Once when working in Santa Monica it took over 3 hours to go 11 miles to get home. I could have walked faster. Trying to go East from Santa Monica after 2pm is challenging (the 'secret shortcut' is jammed too). Big cities have their plusses, but after a while it's time to get out, at least most of the time (sometimes work/family/friends bring us back). I kinda understood why some people from big cities moved to small towns/country, now I fully understand. Fellowship and connection to friends/family is the most important thing in life, not money or things. After many years in tech and the arts my next business is related to organic foods and spending more time with nature.