Andrew Reid

Leang and Mark sorry to be blunt but your ignorance astounds me on so many levels.   The logic of the argument is what matters, and the judgement & talent of the person making the argument.   There's no other creative industry where talent is trumped by some weird class order, as if having ASC after your name makes a mediocre talent great and 'ignore the rest'. There are people with experience who I don't respect, because I don't rate their work, their art, their taste, their world view and what they have to say. Doesn't matter if they are an ASC or not.   Doyle is not a career filmmaker, he only cares about the cinematography. If only more people were focussed on that, on understanding, refining and generally getting on with it - rather than climbing a career ladder. It wouldn't happen in the music industry. With music nobody sneers at a talented guitarist because he isn't part of the RIAA. It's the creativity, stupid. In the movie industry talent somehow takes a back seat to bullshit. It's weird.   And it isn't just about the attitude, if Doyle wasn't a genius behind the camera, his attitude would carry no sway with me.   Sean's work here could have any level of standing at all and I'd still admire it as the artistic achievement it is.   I respect people based on what they do, not 'who they are'. Maybe because I am a doer, and more interested in doing stuff than bullshitting around it.

OK enough of this shit. Back on topic please.

The problem with trying this look in burst mode is that a flash creates banding with the rolling shutter, and the minimum shutter speed is 1/60 in burst mode - a bit too fast to get that really blurry look.   I'll keep experimenting.

I have the V1. The V2 is 3x more expensive at the moment and it is a fugly looking thing which offers very little more for the money, as seems to be the course for follow up models today. (I hear NEX 7N will have the same sensor as the 7 - WTF!) With the V2 the manual controls aren't simulated on the live view display but they do take effect in burst mode and you can put an adapted lens on it. With the V1 I'm happy to use P mode and the CX glass for now. The 18.5mm F1.8 is highly recommended.

Indeed seeing this as 'a primary camera' because of a 1 second 4K burst mode is very silly. Comparing this feature to a DSLR or C300 for example especially on non-experimental commercial work, is the wrong way of looking at it. I had this idiot on Facebook saying the title was misleading and that he couldn't use it to shoot a commercial because it would cut off after 1 second. Geez. See it for the creative inspiration it is - the opportunity to try something new. I'm going to shoot my burst mode piece tomorrow. The time limitation is springing up all sorts of ideas especially in the way the sequences are handled in post. Crop and re-frame also quite a big creative avenue too. I don't agree it has a 'one off' use like a gimmick. It is broad the kind of art you can produce with it. Also today I've been experimenting with the 400fps. Completely amazing creatively. If you liked Slow Moscow you will love the 400fps on this. The quality is enough to give you the eerie low-fi mood. The rest is down to the motion you capture, the people, the location and composition.   It's also a very handy small mirrorless with a built in EVF and the 18.5mm F1.8 is a great lens. I like it.

I'd have given it to Robert Richardson.   Anyway, there's VFX, and there's cinematography... Both important but they are separate awards for a reason.   This is a little bit like the award for best screenplay being given to the guy who edited the film.   I also think that the way the voting works is a little flawed, in that academy members tend to appreciate a film overall, and if it is not nominated for many categories, their votes overall for that film are pooled heavily into one award and so it wins, whereas films which are nominated for a broader range of categories have their votes more thinly spread. I know that is not how it is meant to work, and that the votes are for a particular aspect of the film, but that's the psychology of it.

As we know the V1 controls shutter automatically in burst mode.   From my experiments with the V2 so far this is not the case and you can operate burst mode with M selected on the mode dial.   Check these photos out -   http://www.thisiscolossal.com/2013/03/chicago-lights-flash-street-photography-by-satoki-nagata/   Now imagine them moving.   I've always been curious about using a slow shutter speed and a flash to prevent the subject blurring whilst everything else, like the backdrop, looks like it has been shot at 1/10.   Might only be good for a single frame at 1/10, but something to experiment with at 1/30 or 1/60 maybe with burst mode.

The fact that the award was a piece of shit shouldn't deminish the work of Miranda, but let's face it Doyle is speaking from a position of strength, his work rates far above Miranda's to date. Miranda's cinematography on Tron Legacy and The Curious Case of Benjamin Button is able (didn't like the films though) - but Doyle on Hero and 2046 - that's masterful and in a completely different league.   Christopher Doyle and Anthony Dod Mantle are purists, artists more than craftsmen or career DPs, have lensed some of my favourite cinematography and are inspirational to me personally in their whole approach.   Mantle is himself an Oscar winner for Slumdog - amazing - he's also a digital innovator, one of the first to embrace the format the late 90's with DV. Total respect to him. He's worked with two of my favourite directors - Lars Von Trier, Danny Boyle. Dogville took a paired down approach to staging (to say the least) and cinematography, the complete opposite of Life of Pi but still has bags of atmosphere and menace.   When Life of Pi got the award for cinematography - I felt it was for the technical achievement more than anything else, and that the DP was one of a large team who made that happen. Maybe it's possible the academy members overlooked that and just felt the finished film overall looked great and decided to pin that on a figurehead. I can completely understand the VFX award. The cinematography one was a mis-step as I think there were other guys nominated who deserved it more.

Nice work above.   Not notice? You'd have to be BLIND not to.

My belief is that when they switched to making the '36' as a stand-alone adapter, they added multi-coating. That is what gives it the blue/purple tint to the front element, whilst the older lenses have the amber tint from just a single coating.   Later they added 'MC', but the first ones to have multi-coating were not labeled as having it, leading to some confusion now. I thought I was buying a single coated version because it lacked the 'MC' designation.   So it goes something like this...   1968-69 - Iscorama, single coated 70-75 - Iscorama 36, multi-coated From some point in the 70's or 80's they added 'MC' lettering on the front of the lens

Any link to the Time-Lapse app?   That's a useful workflow Zach.   By the way... You can do a burst every 5-10 seconds when shooting at 2.8K JPEG and image quality is quite lovely.   Also you're getting the full vertical resolution of a 3:2 sensor from the V1, which is handy for anamorphic shooters with 2x stretch lenses.

Yes JPEGs are cleared to the card much faster, so if you need the resolution (4K) more than raw, then you're better off switching it to JPEG only. You can also shoot JPEG + RAW but then that takes the longest to write to the card.   Helpfully the camera has a buffer indicator telling you how many burst mode shots you can take whilst the card is being written to. It counts up from between 0-15 to 30 as the buffer is dumped out to the card. As soon as it reaches 30 you can go ahead and do another full burst. The good thing is the camera isn't locked whilst it writes the shots so you can go straight ahead and work on composing, framing, focussing the next shot.   I've also played briefly with the 400fps video mode today and it is very interesting in a low-fi way, much like the Casio F1 Slow Moscow video. I will certainly be using this artistically as well as the 1 second bursts.   Some people I notice are not quite getting the 1 second thing - yeah it is a very small amount of run-time but that is the beauty of it. It gives your work a theme. I already have sequences in mind that will be lucid flashes of a day, cut together - it is all in the cutting and editing. The way you sequence the clips will form your narrative, rather than letting each clip play out on its own. This is an interesting style of filmmaking. I also plan to do some quite extreme slow-mo with Twixtor where a 4K raw clip would be able to last almost 10 seconds and look like the 400fps mode but in 4K raw. As long as you keep the movement in the frame quite subtle, Twixtor is very good at emulating a Phantom Flex and now with so such a large frame and so much detail to process it could be even more accurate in the way it predicts motion. I cannot wait to Twixtor some 60fps half a second clips from this camera in 4K raw, it is going to look mind-blowing. No manual focus in burst mode BTW on the V1. But since you're not going to be racking focus within a 1 second shot and the AF stays locked for the course, this isn't the issue it would be in a standard video mode.   Once again that video for anyone lost on the creative uses of this feature...   https://vimeo.com/42191484

First link broken. 2nd link shows my mutli-coated Iscorama 36. The original "Iscorama" has a smaller 30mm rear element instead of 36mm and came together with a Isco 50mm F2.8 taking lens in variety of mounts (i.e. M42, Nikon, etc.). It is single coated, not multi-coated. Flares nicely, and coverage is about the same despite the smaller rear element. Usable out to 24mm on the GH3, 30mm (2x crop) on the GH2 (1.86x crop), 35mm on APS-C and 50mm on full frame.

  Good things happen in small bursts :)   BTW - I tried removing the chip from the lens mount on the 10-30mm kit lens. The electronic contacts come off easily when attached to the camera mount underneath a c-mount adapter, the camera is not fooled into thinking there's a lens attached. So it really does look like you need the V2 for non-CX glass in burst mode, unless an AF confirm chip adapter reaches the market from Asia.   The good news is, the 10-30mm CX kit zoom is par-focal and has a pretty good minimum focus distance.

I can't guarantee it won't break it, but I have covered mount contacts before without issues. Particularly some of the M42 adapters cover the contacts on the Metabones Speed Booster. It didn't break it, and I covered the back of the adapter with tape to stop it shorting out the contacts. The current supplied to the lens on a mirrorless camera is very low, and will unlikely blow out a fuse if shorted.

7D is 10fps.

  This is yet to be tested. I'll put it on the list.

  Maybe you should try the camera first. All the test shots I did with the V1 in-store had the shutter nailed at 1/60 and it never budged. The camera controlled exposure purely with the ISO and chose the lowest shutter speed and widest aperture available. In very strong light you will need NDs as the camera may try and choose a high shutter speed to control exposure but it definitely isn't impossible to make it stay around 1/60.

  It works with manual AI lenses too according to Nikon's specs   AI Nikkor 28mm f/2.8 AI Nikkor 35mm f/1.4 AI Nikkor 50mm f/1.2 AI Nikkor 50mm f/1.4 AI Micro-Nikkor 55mm f/2.8 AI Micro-Nikkor 105mm f/2.8 http://imaging.nikon.com/lineup/acil/lenses/mount_adapter_ft1/compatibility.htm   It is pricey for an adapter - maybe I will get it, maybe not. I want to keep it simple on the lens side for this camera until I know I'm going to make full use of it in my filmmaking, then I'll invest. I've ordered the CX 50mm F1.8 because it is $180 and to lock focus so quickly using AF and then just get on with the burst of shots is very useful. The images it produces are incredible, take a look at this - http://www.stevehuffphoto.com/2012/12/05/the-nikon-18-5-f1-8-cx-lens-review-for-the-1-series-by-craig-litten/

So it's $200 per second.   130 seconds per $26,000 :)   Joking aside, yes we are being taken for an almighty ride by the corporations.   I would like Blackmagic to consider Aptina as a sensor partner.   This chip gives us a better image than their current one and they should explore how to give it the cooling and memory to shoot continuously.   The sensor can't cost close to the RRP of the original Nikon J1 (which shares the sensor with the V1) otherwise Nikon would have made a loss.   So it is is a $100 part at best.   Canon and Sony risk having their asses handed to them if they're not careful. They could see an entire $20,000 market driven to the $500 price point unless they face reality. Electronics are cheap. It happened in the music industry.   They're all trying to 'add value' - which is corporate speak for mark-up. The premium range of cameras adds value at $26,000 by enabling what is already possible for under $3000.   I think the reason Nikon didn't add a larger buffer is that the limitation is really the card write speed. Raw to SD card is a slow process. You really need an SSD. But again, the SSD interface is a $10 part at best. USB SSD docks retail for $30.   The next time a company like Blackmagic or Ikonoskop source a sensor, we are looking at 4K for $4K definitely.

When my V1 arrives I am going to try covering the metal contacts on the mount with tin foil and see if I can get a combination of pin contacts that will fool the camera into thinking a lens is attached... Worth a shot :)

M43 to Nikon 1 won't go, so no Voigtlander fun but pretty much any other lens imaginable adapts to it.   Consider the Nikon FT1 adapter - expensive but it will allow you to use Nikon DSLR glass in burst mode on the V1, so still cheaper than having to get the V2 for more lens choices.

He FTPed me some files. I'll see if I can share the originals. Will ask him!

  4MP rather than 4K (which is 8MP to 10MP depending on aspect ratio). It only does the 40 frame burst for 1 second and outputs some rather dodgy looking downscaled JPEGs.   The beauty of the V1 is that it outputs full res raw!

  GH3 also has an electronic shutter mode. It does 2.5K JPEGs for 5 seconds but only at 20fps.   You can shoot in 4:3 for a tall vertical resolution in that mode - good for anamorphic. But 4 frames per second shy of usable!   Other cameras have fast 30fps burst modes but no raw and their buffers can barely hold 10 or 20 crappy resolution JPEGs before stopping!