cantsin

Well, this is certainly referring to a MKii update to the a7s, not to a firmware update of the current camera. An a7s Mkii would also be likely to get the in-body stabilization of the a7 Mkii.

My trusted dealer: http://mkoptics.net/m/index.php?cPath=21 http://mkoptics.net/m/index.php?cPath=22 http://mkoptics.net/m/index.php?cPath=23

The above example is for encoding to h.265. For encoding from h.265 (and any other codec) to ProRes HQ, use this: ffmpeg -threads 8 -i input.mov -c:v prores -profile:v 3 -qscale:v 9 -vendor ap10 -pix_fmt yuv422p10le output.mov You can also save this as a shell script, name it, for example, "any2prores", and run it from the command line: #!/bin/sh if [[ $1 ]]; then ffmpeg -threads 8 -i $1 -c:v prores -profile:v 3 -qscale:v 9 -vendor ap10 -pix_fmt yuv422p10le ${1/.*/-prores.mov} fiThis will do effectively the same as iffmpeg, only for $17 less...

Just a couple of days ago, somebody added file encryption to a Samsung NX300 thanks to its Open Source Linux-based firmware: http://petapixel.com/2014/12/19/hacker-creates-custom-firmware-samsung-nx300-can-auto-encrypt-photos/ Arguably, this was rather easy to achieve because it only involved hacking the storage routines of the core operating system - and nothing related to the camera sensor and image processing pipeline. Still, it remains to be seen what will be possible on the NX1. It is certainly an attractive camera to hack, and thanks to the Tizen firmware, this should be much easier than with the GH2 and Canon EOS cameras in the past.

Canon is one of the few profitable companies in the camera business while Sony, Panasonic & pretty much everyone else is struggling. They might be doing the wrong things in the eyes of a particular consumer segment, but they seem to do the right thing from a business perspective.

Based on raw stills, and sensor metrics (as DxO Mark always does). It's fair to assume that in video mode, the A7s will exploit its sensor's full dynamic range when you record in SLOG, and that the Canon 5D MKiii will exploit its sensor's full dynamic range when you record raw video. The point is not just how much you can push the footage. When you record 8bit SLOG with A7 and grade it into 8bit Rec709, you will end up (by mathematical laws) with less-than-8bit color in your final grade. (I'm not saying that the A7s is a bad camera, but only that going from 14bit raw to 8bit log will have its tradeoffs.)

DxOMark rates the A7s at 1.5 stops more dynamic range than the 5D Mark III. That's a lot, but maybe not dramatic enough a difference to trade in 14 bits for 8 bits. And when using the A7's full dynamic range of 13 stops and compressing it into 8 bits, you effectively only retain 0.6 bits luma information per f-stop and color channel...

There's no way that 8-bit log material gives you comparable room for color grading as 14 Bit from 5D MkIII raw (which contains 64 times more information per pixel). Don't sell your camera.

Other actors-turned-filmmakers: Sidney Lumet, Woody Allen, Terry Gilliam, Charlie Chaplin, Sergej Eisenstein, Pier Paolo Pasolini, Takeshi Kitano... (And Kitano is considered a low-brow tv comedian in Japan and an arthouse director in the West.) Just saying...

You can actually use any Helios M44 (and any other M42 lens) on an MFT mount camera if your M42-to-MFT lens adapter is well designed and pushes in the aperture lever of the lens. Most adapters, including the cheap Chinese ones on Ebay, should have this feature.

A disadvantage of the Schneider Arri mount lenses is, though, that they don't cover Super 16/1" sensors at focal lengths below 25mm, whereas the Kinetal 17.5mm and 12.5mm do cover.

The Helios 58mm is a wonderful lens that can often be found on fleamarkets for less than $20. But on the BMPCC, it will be either a long tele lens when mechanically adapter or a portrait tele lens with a focal reducer. In the latter case, it would require the Canon EF Pocket Speed Booster in combination with a M42-to-EF lens mount adapter (since M42 lenses cannot be adapted to the Nikon mount Pocket Speed Booster). Its focal length would then still be 33mm, twice as much as a normal lens for the BMPCC. Even with the a Century 0.7x adapter on top of this lens combination, it would remain at a portrait focal length of 24mm.

All above lenses would be tele lenses on the BMPCC - people seem to keep forgetting that it's a 1"/Super 16 camera. You need 14-17mm for a normal focal length, 8-12mm for wideangle, 24-35mm for standard tele, and everything from 50 will be super tele.

The Kinetals are the most affordable "Cooke look" option. From 12.5mm onwards, they cover Super 16/1" (the 12.5mm however will slightly vignette when stopped down). They are my favorite lenses on the BM Pocket concerning the beauty of images, but I also find that the Sigma 18-35mm Zoom gives a very similar 'pleasant' look. Combined with the Pocket Speed Booster, it will yield more wide angle, better low light capabilities and better foreground/background separation at fully open aperture. The two videos were graded using Tom Majerski's VisionT LUT.

Here are two videos I shot with the Kinetal (mostly the 17.5mm, some shots also with a run-down copy of the 12mm):

Keep in mind that you will need the Metabones Pocket Speed Booster to use SLR lenses for normal focal lengths. An 28mm lens becomes a normal lens with the Pocket Speed Booster; the Nikon Ai-s 28mm/2.8 or the Sigma 30mm/1.4 are fantastic choices for this purpose. If you want a real vintage cinema lens, I highly recommend the Cooke Kinetal 17.5mm/1.8 along with an Arri-S to MFT adapter. This will cost you ca. $500-600.

Morality of the story: ignore rumors - they're a contagious virus that will only do harm to your own reputation if you help spreading them.

Very simple: most cinematic image = Tarkovskij least cinematic image = sitcom.

The footage was shot with a steady hand and a good eye for composition and movement, there's clever use of 120p to avoid camera shake _and_ to be closer to a 180 degree shutter in bright daylight, scenes/environments with which the iPhone wouldn't cope well (such as low light) were avoided, editing and color grading are pro-grade. All that amounts to a visually pleasing film, and can be done with almost any camera that shoots half-decent HD footage. If you look close, with a trained eye, you will still see limitations of the camera - for example in color depth/gradation/skin tones/noise. Nevertheless, the decent quality of today's smartphone video is an entirely good thing. Not only because it gives more, and more accessible, shooting options. But also because it's a wakeup call for video camera manufacturers to up their game. I don't get how companies can still sell video cameras for several hundred or even several thousand dollars with 8bit/4:2:0 color sampling and codecs that are no better than that of the iPhone. (Even today's hottest 'innovation' of 50 Mbit/s-codecs like XAVC-S is something that the iPhone had for years with the Filmic Pro app.)

Does the jitter only appear at 4K resolution? - If the lens works okay at 2K/1080p, I'd use that. This is what to try to get across when pointing out that the lens doesn't optically resolve 4K.

The usefulness of this lens for 4K is debatable. DxO Labs rates its resolution at only 6 Megapixels in photo mode, which should leave about 5 MP in 16:9 video mode - and that's about 3K horizontal resolution. Also take into account that this lens relies on heavy in-camera software distortion correction. Since there's no image downscaling from the sensor when recording 4K, this means interpolated pixels.

The difference is that the Nikon has a smaller sensor (1" - half of the surface of a Micro Four Thirds Sensor, a fourth of the surface of an APS-C sensor, and an eighth of the surface of a full frame sensor) that needs less cooling. And that the whole Nikon 1 camera line has been designed around high computational speed (for better point and shoot, at the expense of manual operation).

The sensor of the A7s wouldn't resolve full HD anymore if you crop from full frame 35mm (36 x 20mm in 16:9) to Super 16 (12 x 7mm); the factor 3 crop would reduce the camera's video resolution from 4K to 720p. AFAIK, the camera offers no such crop mode in-camera, but you can always mount an adapted s16mm lens, shoot 4K with vignetting and crop the recorded image to 720p in post.

I need to be rude here - Mario Gorlas, please remove or change your Ebay ad ASAP. It is highly misleading and could be interpreted as fraudulent in its current wording. The Angenieux 8-64mm is a Super 8 camera lens. It covers less than 20% of a Super 16 sensor and less than 10% of a Micro Four Thirds sensor. This is lens is absolutely unfit for the advertised purposes.

Why is it then in Vimeo's G6 collection?