Andrew Reid

  I remember seeing some older Cooke lenses from the 60's and 70's on eBay in Arriflex mount for £250 a-piece. The T2.0 stuff.   Worth investigating eBay for the older lenses, as the image is sublime.

  Man, one article on Cooke, one on the Amira. And I'm changing direction completely away from DSLRS!? I have D5300, E-M1, A7R reviews coming in a few days. Also with greatest respect Matt you are someone who has joined the forum quite late (and begun reading EOSHD even later?) so you're not in the greatest position to tell me what direction to take with my filmmaking and the site. Would you turn down high end stuff if you had the chance to buy it for a bargain price?   Back on topic and no more reverse snobbery!!

What is it that makes Cooke cinema lenses so special? Read the full article here

Good design costs nothing :)

  No 4:3 mode. Arri have angered the anamorphic gods.   It's such a simple feature to add, don't know why more cameras don't do it considering the competition consists of one camera, and some hacked DSLRs.   Anamorphic is IN!   When you have got your AMIRA on your shoulder JG come to Berlin and you can use my Cooke PL lenses on it :)

Full information on the AMIRA can be seen at CVP Looking at the Oscar nominations recently at EOSHD, with not a Red camera in sight, it's clear Arri are a run-away success in the filmmaking industry. Now Arri are gunning for the Canon C300 and C500 with a camera which could seriously erode the market for Cinema EOS cameras at the high end of the broadcast and single-operator videographer market. The Amira's pricing starts at 25,980 euros which puts it in the Sony F55 and Canon C500 range. What's the secret to Arri's success? Read the full article here

OK Belinda I will send it now. Cheers!

Thanks. Nikon mount.

  Didn't realise it was his test. "Crap" was a bit rude in that light. But alas, there's the problem with the internet in a nutshell :)

Are you setting focus then stopping the lens down?   Back focus / front focus issues can only happen when you change the aperture.

Facebook and Twitter logins can be used again.   I've sorted out a spam filter.

Crap test, focus point is way off. The Sigma is focussed on the red cushion and the Voigtlander on the yellow ribbons almost 30cm further forwards. Totally clueless and therefore - Null and void :)   The Sigma 18-35mm is the sharper lens, especially if you're gonna be combining it with a decent adapter - like Speed Booster.   I will do a test showing that it is as sharp as the very best primes, even wide open.

Grading doesn't count as CGI / animation.   I think a general mix of live action and computer animation or stop-motion would be fine, I don't think anyone is measuring precisely for 25% :)

The invaders have now been turfed out.   Please delete any PMs you got from spammers.   Sorry this happened, I wasn't expecting it. Basically a bot used the "sign in with Facebook / Twitter" to gain access to the forums and slam it with spam. These features have now been turned off for new users. If you want to register as a new user you have to set up an EOSHD account.   Cheers

I think you not only hit the nail on the head there Policar, but several at once, with one hammer :)

Good luck :)

Love the temples. How was the audio recorded? If that was onboard then well done :)

You can be anyone, open to all.   For the compression I recommend 720p H.264 at 7Mbit, which is similar to what Vimeo streams at by default. You can easily get 5 minutes under the 250MB mark in that format.

The Sony PROduction Awards is a short film competition, and a chance to get your work noticed and win some pretty nifty Sony gear. Filmmakers from around the world will be pitted against each other and go up against a judging panel which includes myself, Andrew Reid of EOSHD, Shane Hurlbut ASC, Philip Bloom, BAFTA winning dramatist Tony Marchant and others! Enter your film now at the PROduction Awards competition website or read on for more details... Read the full article here

Go for the conversion, definitely. The adapters with glass to correct focus will leave you with a virtually unusably blurry image at fast apertures, which is what this lens is all about.   Great lens, deserves the conversion.   There's also a guy in the UK who does a conversion where you send the FD lens to him. Professional guy and highly recommended.   http://www.ebay.co.uk/usr/eddiehouston1545   Try dropping Eddie an email :)   The EdMika mounts look good too.

  No, I really do think the GH 4K will be better than the Pocket. Wait and see :)

Use any photo style you like for Film Convert. It is designed to work with anything from Vivid to Neutral.

It's old news. The technique uses interlacing on the sensor with alternate lines exposed at different ISOs, then blended in post to create the final high dynamic range image.   The problem for video is that it creates a TON of moire and aliasing plus a drop of almost half in terms of resolution! None of the headline grabbing articles ever mention this though, because it's click-bate drivel.   This technique is more useful for stills, but is it really needed? You can easily just blend three burst mode frames together bracketed at different exposures if you want 15 stops.   The latest 1 stop improvement is just a tweak, and it's what engineers like doing best. Maximising every ounce of performance from their code. This is understandable but I'd rather Magic Lantern took a long hard look at usability and implemented new features on that side. For instance putting the Canon menu functionality for video frame rate and resolution into the unified Magic Lantern menus. Have a feature that forces the camera to record to CF card not the SD card slot when a CF card is inserted. Have an option for no overlays like in the 3:2 full screen no-info display mode but 16:9. Little boring things like this would make my life a lot easier when shooting raw on the 5D Mark III.

I think that must be one of the most clueless articles I've ever read.

I still see e-mount having a clear section of the market. FS cameras and consumer. Sony will likely keep A mount as a high end DSLR thing. Cinema too? Maybe. But the mount on that 4K CINE DSLR doesn't look like A-mount actually, more like some kind of positive locking mount. The smaller, metal chassis camera looks to be PL mount.   Lots of 4K beasts to come from Sony I expect.   Hopefully Panasonic's keen pricing on their 4K GH, will stop Sony from getting too excited over pricing the models hinted at above!!