Andrew Reid

Yep it is a intentional style thing. Just preferred it to the full squash and as I said in the blog the LOMO changes the actual squeeze factor depending on the focal position. Need to send them off to a repair guy and see if anything can be done because it seems impossible to rack focus like this. Question for you guys who find it distracting - was the distraction caused by all shots in the first 25 seconds (summer scenes) or just a few?

This is an interesting idea. Possibly the challenges are that it is a very specialist piece of machinery to produce and you can't really find a third party supply for it? Also heavy on the battery and would be difficult to fit in the mount. F65 has rotary shutter but that is PL not EF / MFT. I don't think they could do one for $500 either. This is a very high precision piece, it needs to be utterly perfect in manufacture for zero vibration and noise at such fast spin speeds.

[quote name='blazer003' timestamp='1354078800' post='22500'] I couldn't past the first 8 seconds of the video. That is horrible image quality! Needs to be hacked... ;) [/quote] Welcome to the forum. I'm glad you think filmmaking is all about sharpness and image quality. One more person I don't need to pay very much attention to.

I hope people are downloading the files and not just streaming the Vimeo clips. Also use a decent screen. I recommend Dell U2711.

[quote name='/p/' timestamp='1354024283' post='22436'] What exactly is the fascination of a FF GH3? Seems unnecessary.. If Panasonic decide to increase the size of the sensor it should be to S35 not 35mm FF............... Why drastically increase the price for near to no benefit whatsoever? Just look at what the BMCC does with an even smaller sensor............................ Tell me again why Panasonic should make a 35mm FF camera? [/quote] Marketing. There's no way they can compete with Canon when all the dummies out there are obsessed with sensor size with their 'bigger is better' mentality.

This discussion would be better visually. Can you show me some example frames and explain the squeeze that you find distracting? Basic screen grab and post on here would be fine.

Again if we take the view that it is JUST content that is important, there's no motivation for filmmakers to put any artistry into their camera work and cinematography. A disaster. If we take the view that it is JUST image quality that matters and that the camera is the most important thing, you lose the motivation to work on the content and just churn out pretty timelapses. Is this balance so difficult for people to grasp? Why is every argument in 2012 polarised, be it about cameras, politics, music, anything...

Well Bruno. Once again, I don't agree.

http://vimeo.com/54352877 Thanks Johnnie for another enlightening test. The image is sharp (sharpened in post) but soft out of the camera. Confusingly though we now have a different problem. Some intentional market segmentation causing this to be a worse camera for filmmakers than it needs to be. Moire everywhere! Terrible aliasing! No headphone jack! Therefore I cannot recommend it for video and I urge Canon to put a halt to this kind of bullshit immediately. Just make each product as good as it can feasibly be for the money. I mean seriously how much does a headphone jack cost!? I am going out tonight so no time to do a proper blog post on this but will look at it again later in the week.

[quote name='jcmbender' timestamp='1354013929' post='22419'] Living in France where the theaters are kitted out in 2K, even spectacular theaters like the Max Linder Panorama, I can say that I often find the 2K projection disappointing and far from seamless. At the Max Linder, the best seats in the house are at the front of the mezzanine, where you're just below the center of the screen and about 2.5 screen lengths away, but from there I often feel that I can see the pixels. Of course fortunately this is a city with dozens of little cinemas showing gems on 35. Got to see a fabulous, nearly pristine copy of Marker's [i]Le joli mai[/i] in 35 the other day — stunning! [/quote] This is interesting. I value real life cinema experience about the science actually.

Its OK keep it here. Nice stuff dude

Nice lenses addhawk. The 22mm is quite rare, not seen one before. Did you try it in the Canon adapter as well? Out of the 6 asphericals I was loaned, only 1 fits the Canon adapter so these are not the lenses you should have if you are an avid 60D user. Great on the GH2 and FS100.

[quote name='DJJ' timestamp='1354016582' post='22422'] So, I have to ask, was leaving the anamorphic footage still squashed a "creative" decision? I keep seeing the screenshots and have now seen the video, footage that isn't square pixelled and is squashed is something I can spot a mile off, it jumps right out at me, and I can clearly see it here in some of the shots. I can see you've stretched out the footage on the anamorphic shots, but not fully so it's still squashed, which is an interesting thing to do. I admit it's a personal thing and it bugs me, but everyone is different. It's not a criticism so no need to go ballistic on me, I'm just curious why you did it. [/quote] Really? You can spot that the pixels aren't square? Would this happen in a normal viewing situation or is it because you are concentrating more on the science than on the actual content? Not having a go, just curious as to how this 'jumps out at you from a mile off'. To me it looks fine! It looked weirder squashed to 3.55:1 so the 'creative decision' was just about making it look better. I don't give a damn about whether the pixels are square. It is ALL about the look. That is the important thing, no?

[media]http://vimeo.com/54261970[/media] Get Dreamleaver by Herdwhite on iTunes A big thanks to Ciecio7 for donating his superb OCT19 to E-Mount lens adapter for this shoot. This is available on eBay. We shot this with the young German movie actress Lili Zahavi (IMDB) and theatre actor Niklas Braubach. A big thanks to both of them for their performances. This is a music video for my fellow friend from Manchester "Herdwhite" whose track Dreamleaver was recorded here in Berlin. The Sony FS100 has a nice image but it isn't as organic as the Blackmagic Cinema Camera. To make it more organic you use organic lenses. Actually as Herdwhite would tell you it is the same with music. You can use a drum sample - but it is not as organic as a real drummer. Anamorphic gives you instant production value if used right.

Oh I would pay for a more polite humanity too. Where can we get one!?

[url="http://www.eoshd.com/wp-content/uploads/2012/11/474.jpg"][img]http://www.eoshd.com/wp-content/uploads/2012/11/474.jpg[/img][/url] Sony have published a study into 4K in theaters. Called "Does 4K really make a difference?" the advice is aimed at cinema companies upgrading to digital projection, who are faced with the choice of either 2K or 4K projection systems.

I don't agree. Highest usable ISO is 3200. What other DSLRs do better for 2012? Only two spring to mind - 5D Mark III and 1D X. Both a LOT more expensive than the GH3. And in low light you need to stop the lens right down on those if you want manageable focus. Needing more than ISO 1600 or 3200 at F0.95 in low light is rare. As for tight spaces, I assume you're talking about shooting actors with the camera rammed up their noses. For that you will indeed be better off with a 50mm on a 5D Mark III rather than 50mm on the GH2. Oh I forgot - maybe use a 25mm!??

[quote name='TJB' timestamp='1353972856' post='22373'] Has the GH3 got a 2x crop factor or is it the same as the GH2 1.86x crop factor? Anyone? [/quote] It is 2x now. http://www.eoshd.com/content/9170/panasonic-gh3-real-world-test-pre-production-firmware

[youtube]http://www.youtube.com/watch?v=nanrwUlGA24[/youtube] More on the Sony F55 at EOSHD: [url="http://www.eoshd.com/content/9148/sony-drop-a-bombshell-with-4k-raw-180fps-and-global-shutter-here-are-the-sony-f5-and-f55"]Analysis and specs[/url] Here it is! Shot in 4K at 60fps for slow-mo, this is a test movie from the Sony F55. Designed to compete head-on with the Arri Alexa, the camera's major selling points are a global shutter and future proof 4K.

[quote name='Scott' timestamp='1353966728' post='22365'] Personally I've never gotten acceptable results sharpening Mk III footage in post. For some reason 'softness' occurring naturally from the lens seems preferable to 'softness' caused by an AA filter. [/quote] This is likely because digital sharpening in post increases the micro-contrast between pixels, leading to a less organic look.

If you need to test if your Super 16mm lens works, buy the Micro Four Thirds adapter now and put it on an Olympus OM-D E-M5 in a shop or borrow one. Make sure IS is on, switch to video mode. Exact same 2.3x crop as BMCC.

Here's the thing with moire & aliasing... ALL cameras have it. Even the 1D C and that is $12,000, and the Blackmagic Cinema Camera. The 5D Mark II had much worse moire and aliasing than the GH3 and that didn't stop it being used by pros in Hollywood. It isn't a desirable quality of the image but the way some guys have gone on about it on forums has been ridiculously over the top. The list of cameras that the GH3 is better than for moire and aliasing is staggeringly long - 5D2, NEX 5N, NEX 5R, NEX 7, A99, D800, D600, 7D, 60D, 600D, 650D, EOS M, 550D, OM-D and nearly every other DSLR on the market. The 5D3 is soft but when you sharpen in post sometimes you get some aliasing. The GH2 had slightly less moire & aliasing than the GH3 given the same situation. But it still occasionally flared up. Not so much in the real world but with a very sharp lens with a very narrow band of fine patterns. You may get 1 occurrence out of every 100 shots with it. On the GH3 maybe you'll get 5 occurrences out of a 100. Depends what you're shooting. The 5D2 was doing it on roof tiles and water!! All sorts of stuff. The GH3 seems to have a lighter anti-aliasing filter, so there's a very slightly wider window of fine patterns that it occurs on. I hope this puts the GH3's moire into perspective. I know it can be a confusing issue, as it depends on so many different factors whether you get some or not. By the way, it is far less visible on a TV or projector than it is on a computer monitor - which is the least organic and cinematic way to watch video.

The 'real' cinematographers are all off shooting Alexa ;)

Sub $700 is: Intel 3.4Ghz i7 2700K 8GB RAM GeForce GTX 560 Ti 1.5GB USB 3.0 Those are the bits that matter. The rest doesn't need to be anything special. This should all come to under $700 and if you can't build it yourself, buy one second hand on eBay. Mine is a Dell XPS 8300 of similar spec to the above and it cost me 600 euros. If you can stretch another $200 for an SSD, that is a good idea. Put a 2TB hard disk in there (that is OK for editing raw footage off), but also an 240GB SSD for the main OS, apps & boot drive.

That was in colour then converted to B/W in Premiere. There is a monochrome in-camera picture profile though of course.