Andrew Reid

  I found the aliasing in normal 24p mode around highlights, not sure it is just a slow-mo thing.   I still have a Blackmagic Cinema Camera in my head as benchmark. This is the main problem. Seriously.

Thanks for the tests JCS, good info.

The Ikonoskop footage had real issues unfortunately. I really need the camera back again for longer than a few hours, and to go deeper into it. The comparison footage we shot vs the Blackmagic was pretty nice but the ND was giving us contaminated blacks, the LUT can't recover the image fully to match the Blackmagic and the frame has a black border.

http://vimeo.com/58068874 I've had a FS700 for a few days and tonight myself and Rudi of Slashcam.de got out and gave it a test run. We only shot for 2 or 3 hours and after editing the test I had a lot of ideas for slow-mo shots that would have worked with the song - slow-mo is actually a great creative tool, not a gimmick. Had we the FS700 for longer then I think I could run with this theme of rushing commuters set to the David Bowie song Move On, which pokes a little fun at wanderlust. Alas slow-mo is the FS700's best feature. I consider the ND as a bit of a clumsy bolt on, the Sony F5 does it much better. I will consider the 4K output when I see it. Until then this is a 1080p camera. I've also been shooting with the new SLR Magic 35mm T0.95 (Leica M / E-mount) and 25mm T0.95 (Micro Four Thirds / Blackmagic Cinema Camera MFT). Shooting slow mo in low light, you need them.  

Think is Ian I don't really use zooms in my work. I use primes. So my advice will be sketchy here, apologies for that. Also most photographic glass isn't par focal. That tends to be a high end cinema / TV lens thing.   I tried the 24-105mm on the Speed Booster tonight. Works beautifully. I think that is the best value Canon L lens you can get for the Speed Booster at the moment. Becomes a F2.8!

  I totally agree with you on this. There's a place for separate discussion of all the elements important to filmmaking. If I see anyone trying to derail a discussion about some technical aspects of film production on here with their boringly obvious and uninformative 'content is king' mantras I will be, to quote Tarantino, shutting their butts down.   The analogy you used about the actor board was perfect. One wouldn't interrupt a discussion about acting technique with something completely irrelevant about CMOS sensors so why do we see it happen so often in reverse on camera forums?   "Hey Daniel Day Lewis your acting is pretty useless without a lens!! How about we talk about what's really important!!?? Canon or Nikon glass?"

Welcome to the forum Ian. As far as my experience goes, the 24-105 is a parfocal lens but not tried it on the Speed Booster yet. You REALLY need to test this in a shop with your FS700 and Speed Booster before putting any money down on one.

  That doesn't sound right. Depth of field looks the same as a full frame sensor to me.   I could put some unlabelled shots up from the 5D Mark III with a 50mm on full frame, and the same 50mm on APS-C with Speed Booster. You wouldn't be able to tell them apart. If you think you can, you're welcome to try and I will take some shots :)

  Anything that adapts to EF mount works. I've tried M42, Contax Zeiss (CY), Nikon, OM, etc.

  Remember the lens needs to have space behind it between the sensor and rear element to work with the Speed Booster, so Leica M mount stuff won't work with it. Only SLR glass.

  Beats me. Because there's more profit in making a larger CMOS sensor and a lens that covers that I suppose?

http://vimeo.com/57901943   Buy the E-mount Metabones Speed Booster - $599 for Canon EOS lens adapter, $399 for others   The Metabones Speed Booster adapter brings the full frame look to Sony mirrorless APS-C and Super 35mm E-mount. (Indeed it will bring the Super 35mm look to Micro Four Thirds but not until March).   It also gives you an extra stop of light. F2.8 becomes F2.0 and F2.0 becomes F1.4. F1.2 becomes a lightning fast F0.90.   It would appear the full frame sensor is now rather pointless. Is there a catch, a trade off in image quality?

  I think it may be possible. There's already a LOMO anamorphic (a zoom) which has the anamorphic element behind the rear element of the aspherical lens rather than in front of it.   One possible problem is that manufacturing and machining of anamorphic glass is expensive and difficult to get done because it is an unusual thing to do. 99% of lenses are aspherical so the machining is all designed to make those rather than anamorphic.

Preview of coming attractions...     Settings on both cameras: Shutter 1/50, ISO 1600, physical aperture F2.0, 1080/25p.

It is unlikely to be resolved.   My advice is to crush the blacks and avoid Canon LOG, shooting with a standard picture profile and exposing just spot on every shot.   This isn't the camera to do heavy grading on.

It looks like the codec is allocating less bitrate to smooth gradated areas with little detail, like a painted wall for instance.   In the shadows it will allocate even less bitrate so compression and macro blocking will be worse.   As for 8bit, not much of a fix for that. There's only 255 luma levels so subtle gradations aren't possible. There will be big bands to get from one shade to another. It won't be smooth. May even be dithered, which has a rough texture and more noise in it.

A guest post by director Roberto Miller. Andrew asked me to write a brief article for EOSHD about the experience of making my feature film, Mandorla, now in post, with a pair of GH2s and LOMO anamorphic lenses. I’m happy to do so because, truth is, it’s Andrew and the EOSHD community that inspired me to go the GH2-anamorphic route, which achieved a cinematic look and vibe that I never thought possible for a low-budget indie feature.

Micro Four Thirds becoming Super 35mm is nothing to be sniffed at!   How many of us were calling for a Blackmagic Cinema Camera 2 with Super 35mm sized chip?

It is definitely cheap for what it is. Caldwell's other optics are not this cheap to say the least.   Yes it is right to say the relevancy of full frame is compromised, in the video world at least. The AF is rather slow on the Metabones adpater but we don't use that in the filmmaking world. What I wanted was the look.

I think the Speed Booster appeals to every single mirrorless camera owner around. And those with an APS-C DSLR are likely to be extremely jealous and consider swapping. I know a lot of people who shoot Rebel + L glass because they can't afford a full frame camera. Now they can swap systems and not have to sell all their glass & reinvest.   The full frame look is now nothing that is exclusive to a few high end cameras.   The 6D and 5D Mark III will continue to sell well but in video terms there's no even less reason to get one on the basis that the sensor size adds something special.   The 1D C for example is full frame, well APS-H... And that was a big deal. Now, not so much since suddenly anything 4K and Super 35mm sized has the full frame look and a wider aperture.

  Of course, yes. When the adapter comes out. EF in June. Before that, legacy glass + Nikon in March.

  Yes, less shallow if the aperture is stopped down on the NEX 7. If the aperture is physically at the same setting then both will have the same depth of field characteristics. Remember that aperture with the Speed Booster applied is a virtual number to describe the increase in brightness created by the adapter. The round hole in the lens stays physically the same size.   The added bonus is that you can stop down on the NEX 7 if you need extra sharpness and not lose any low light performance.   The purple fringing comes from the Sigma lens wide open not the adapter. Next comparison will use my better glass. I just wanted to show what it looked like at 24mm wide angle and that was the only fast wide I had to hand at the time.

  Yeah and what do you say to those you WILL be shooting awesome films with this adapter and getting into Sundance? I think they should make you watch the films with the edges cut off and a 1.5x crop version just for Mr Sarcastic.

  My prototype just needs to be adjusted. There's a built in adjustment for infinity focus which I will do here http://www.metabones.com/smart-adapter-operation-manual/155-infinity-adjustment-speed-booster-only   On the production models you don't need to do this unless you have a very old dodgy lens that you need infinity on. In other words, the adapter is calibrated at the factory for correct infinity focus unless the lens is faulty then you can adjust it.

Speed Booster at 35mm F1.0 on the Sony NEX 7 With the Metabones Speed Booster APS-C and Super 35mm sized sensors have taken a barrelling charge up to the door of full frame. Does it blow the doors off?