Liszon

I'd rather have the better color and 10 bit color depth. Sony color and skintones especially are less accurate. But if you need to shoot in the dark, Sony is great.

As you say, let's hope they get the codec right.
If it is 8 bit 4:2:0 with a low bitrate, then it is almost wasted tech.

I'm not so sure about this - there is a lot of development into this technology right now, HDMI to USB converters are key in live streaming setups used on twitch tv and the likes. Currently the gold standard is the XCAPTURE-1 USB 3.0 HD Capture Unit, and this is the only external card of acceptable quality for a professional. There are amateur units avaliable, but they have issues, such as the Avermedia Live Gamer Extreme, and the quality is barely acceptable.
Such a small unit, I would expect massive latency and significant signal degradation.

I use it and to reduce damage to the grain by youtube/vimeo I find it best to oversharpen the main output before export.  So I don;t apply any sharpening to the footage, then I overlay some fine grain like 4k gorrilla grain, then apply sharpening onto the nested grain and footage.  get the sharpening to the point where it's perfect when viewed at 100%, then boost it a tiny bit more so it starts to look a bit graggy.  then go back to half way between 'perfect and 'graggy'   the grain and footage behind it glue together nicely and the grain has enough edge to be seen as detail to be preserved by the youtube/vimeo compressor.  I also feed them a 2560x1440 file rather than a 1920x1010 file - even if the original footage was only 1080p.  seems to maintain more of the grain.

the price on the f65 will probably be down to 5 grand in 1 year so don't worry !

Hello Ed,
Congrats for getting the F65, can we expect a write up on it one day?
It's not like I will have the cash to get one in the next 25 years, but I always enjoy reading about cameras I don't really know yet.
Have fun shooting!

If you're the one behind this, just be open about it.
I've personally just about had it with folks registering to promote their brand and then pretend as if they haven't got much clue and we need to check it for them to give advice.
Again... 0 post history before this and a campaign that needs more traction/people buying into it. Atleast I guess it has to do with filmmaking unlike that other guy asking our opinions on solar/wind energy charging/power solutions. Still as annoying as those Gudsen/Moza folks though. If it's interesting enough, it will get covered.
Anyways. If you would've bothered to follow this forum, you'd have come across this topic: http://www.eoshd.com/comments/topic/9273-nebula-4200-5-axis-gimbal/ .
With posts like:
Although the Nebula 4200 doesn't get too serious, which is great for us GH4/BMPCC/BMMCC/NX1/A7x shooters. But yeah, some might be looking for something that ís more serious... so who knows. If you have the money for a Ronin an a RED, you might just care enough about this.

But then you have to add RED SSD, RED batteries, RED things... and then your bank calls you

yes with everything set to infinity, the Rectilux will focus closer. but both can focus very close if you adjust the scope and taking lens to something other than infinity.

This is at a T/2.8 on a GH4 using a Kowa Bell & Howell with the Rectilux, followed by the SLR Magic Rangefinder. For each, I am seated as close as focus would allow. Forgive the sloppy alignment issues, I rushed this. Must get back to writing so i actually have a movie to use this stuff for...


also, if you're wondering which one looks more like the Kowa on it's own, it's the Rectilux. The Rangefinder adds warmth, blue flares/haze. Preference for either is left up to individual taste, I suppose.

I think it's worth getting solely based on the chroma noise reduction!

I reckon competition vs other low (or even no!) budget video guys is rife in such areas (Facebook groups / Craigslist).
My plan is a mix of old fashioned door knocking plus modern online advertising (YT/FB/Google/etc).

Hohho, the weather is nice there, and Italy is beautiful. I went to Chioggia and Padova once, doing hitchhiking! Great places.
Well of course I will stay in London, but you know, nothing is impossible. I was thinking about working with someone remotely as well. Like setting up an FTP server, get a 100/100 broadband and share the project files like that, and do Skype meet ups. Who knows. It wouldn't be the ideal solution at the moment, but I might get into this once.
 
Thanks for the heads up

Good luck! Sounds similar to my plan I've got here in Auckland (NZ) to team up with a friend 

Yeah, we know. It got spammed on the forum a few months back... I believe the posts got removed.
By the looks of it you're giving it another go... It's not like you're making it obvious or anything...

I think he's just went to to walk the Earth. You know, like Caine in Kung Fu. Walk from place to place, meet people, get into adventures.

I think he's just went to to walk the Earth. You know, like Caine in Kung Fu. Walk from place to place, meet people, get into adventures.

Any moment now...

​"Nikon Hacker discovers the possibility of RAW Video" might be more accurate at this point. 

​"Nikon Hacker discovers the possibility of RAW Video" might be more accurate at this point. 

No they really shouldn't. A lens does not "resolve 6MP".
A lens renders a certain spatial frequency at a certain contrast ratio. It might take detail at 20 line pairs per millimeter and produce 70% contrast, detail at 50 line pairs per millimeter results in 30% contrast etc. This relationship is captured by the modulation transfer function (MTF), a quantity which varies according to the distance from the image centre, and the direction you measure in (sagital vs tangential). Manufacturers already publish MTF charts for their lenses, which is the equivalent of what you're suggesting, only much more meaningful. There are some differences in how these charts are computed (e.g. whether diffraction is included or not) so they're not always directly comparable, but they aren't anywhere near as misleading as trying to attach a single "megapixel" rating to lenses.
The other reason stating "this lens resolves 6MP" is meaningless is that the important thing in determining how you images will look is not the lens MTF itself, but the system MTF. The system MTF is the product of MTFs of each part, the lens the filter stack and the sensor (and image processing to an extent). Because it's a mathematical product (a lens delivering 80% contrast combined with an AA filter that delivers 95% contrast results in 76% contrast (0.8 x 0.95 x 100)) you can improve the system MTF by improving the MTF of any component in the system. Hence you "6MP" lens will give you more resolution on a 24MP body than on a 6MP body.
 
It's exactly this thinking that leads people to declare that there's no reason to have a 50MP sensor as there are no 50MP lenses in existence. Even the kit lens in your example produces some contrast in the centre of the image at 50MP.

​The funny thing is, you can completely turn this around.
You could say this is a 10 grand camera originally, but if you don't need certain features such as WiFi, Dual SDI or that battery grip you can knock the price down let's say by 1.5 grand.
A different example: I like the URSA, but the iPad on the front annoys me. I would gladly save £500 and get rid of it, buying an extra CFast card instead.

what's with all the handheld gimbal manufacturers always spamming the anamorphic forum?

Sinister, but telling the truth I really wanted a post like this. Just for educational purposes..

​you must be tons of fun on set.