QuickHitRecord

That's odd. He's always been very responsive when I have contacted him. It wasn't the Iscorama, but I've had one before and I know exactly what you mean by the tapered body. I always used mine with one of the thicker ziptie gears from Half Inch Rails, tightening down one of the zipties just a little more than the other. But of course it was not seamless.

Perhaps not a scam, but certainly something that is going to trip a few bidders up. Look at the shipping costs on this lens: http://www.ebay.com/itm/Anamorphic-Lens-for-GSMO-and-CP-16-Moviecameras-/291050634439

http://www.magiclantern.fm/forum/index.php?topic=7122.900 Audio recording while shooting in raw (MLV) has now been enabled by g3ggo. It seems like they are still working out some bugs, but it's good news. It has been out for a few days now, but I have not seen anyone else talking about it so I figured that it warranted its own thread.

I am still going through the posts about it, but it looks like MLV files are now capable of recording audio in addition to video with the mlv_sound module. It's a big step for ML raw!

For storage, I keep all valuable lenses in sealed zip-lock bags with desiccant. No fungus so far!

In case anyone has missed it, there's an audio solution for recording in ML raw now using the Zoom H6: http://www.magiclantern.fm/forum/index.php?topic=9306.0

There's a seller on eBay (helicoptersean) who prints custom delrin focus gears. Here's one of his listings: http://www.ebay.com/itm/Custom-Focus-Gear-Ring-for-Sigma-50mm-F1-4-Lens-/261286581672 He has now made two gears from spec for me that are much wider for use with anamorphic lenses. I've been pleased with the quality and the price (around $30 per custom gear). If you want to contact Sean directly, his email is helicoptersean@gmail.com.

Interesting. Thank you for sharing. Your English is good!

What does a fig rig give you in combination with a monopod that a monopod won't by itself?

From where I stand, I believe that making a living in this industry comes down to being willing to share credit and to take criticism, having a willingness to learn regardless of your experience level, and going out of your way to make the life of the person that hired you a little easier. Also, punctuality and responsiveness to emails. These are the kinds of people that I want to hire (and be hired by).

This is good advice and comes at a very timely moment for me in more ways than one. I watched the film. Didn't love it, but it had its moments. Did Gregory Peck's character make the right call? I think that he did for his family. Would it be for me? I'm not sure about that yet.

I work for a big corporation. I have never freelanced and I often wonder what it would be like to set my own schedule and have more creative control. I suppose that the grass is always greener. But many of my friends and old classmates who freelance seem to think that I have the "holy grail" of video jobs. I never wanted to believe this, because I often feel that we are steered away from making the visually striking and thought-provoking content that I have always wanted to create. But then about two years ago, my boss posted an ad for another Producer -- basically my job. We got a lot of replies, and now every freelancer that I meet asks where I work, and then tells me that they applied for that position. We are certainly not the only in-house creative department in the area, but this has happened dozens of times. So, the question that I pose to the other people looking in on this thread is this: apart from the established filmmakers, hot-ticket commercial DPs, and above-the-line production folks, are a steady paycheck and health benefits really as good as it gets for people in our field?

A simple solution might be putting an 82mm lens hood on a step ring and attaching that to the front of your Iscorama (72mm thread if I remember correctly). You'll have to experiment to see what vignettes and what doesn't.

The slider base from here: http://www.lockcircle.com/matbox/buy/ And a set of "nuns knickers" like this: Would probably get you most of the way there.

Yes, that would be the field of view (horizontally). However, this can actually change slightly if you have a lens that breathes. For instance, a close up shot might offer a true 2x stretch, but focusing to infinity with the same lens may give you a 1.7x stretch or a 1.8x stretch, and that can affect your final field of view. But this formula is good for a ballpark number. If you are using a camera with a 2x crop sensor, then yes. GH3 and 2x lenses are always the easiest to calculate.

(Lens focal length x Sensor crop factor) / Anamorphic stretch factor

Try this: Then rename.

Looks great, Tito. I haven't seen the Foton used in a modern narrative piece before and it really shines. What a wonderful location you have there. I am curious to see what happens next!

It appears that I was wrong.

They don't officially support the DP6 anymore (it has been replaced by the AC7), so I'd be surprised if there was additional firmware on the way. But good luck!

Not having to worry about rainbow moire on the 5D, and the prospect of higher resale value were the big ones for me. The more that I delve into Magic Lantern, the more that I'm impressed. It is nice to have choices.

4:3 Recording Times (5DMiii; 64GB 1000x card)  1920x1288 > 98.9MB/s > About 10 minutes* 1600x1200 > 76.8MB/s > About 13 minutes 1472x1104 > 65MB/s > About 15 minutes 1344x1008 > 54.2MB/s > About 18 minutes 1280x960 > 49.1MB/s > About 20 minutes *I can record for about 30 seconds, but I can't get RawMagic to recognize files shot at this resolution.

I don't think that they appear for sale often enough to have an understood price point. But probably.

Look at the SmallHD DP7 (which is expensive), and possibly the Convergent Design Odyssey7Q (also pricey).

Unfortunately, the Ikan does not have anamorphic monitoring or custom aspect ratios. Also, Ikan doesn't seem to ever offer firmware updates.