QuickHitRecord

I use one at work and it makes my life a lot easier. The NDs and waveform are wonderful. The amount of detail in the images is very pleasing. It's a workhorse, and that's why I chose it for us.

I often edit for 8, 10 or 12 hours straight and this is what I use to keep the carpal tunnel at bay: http://www.evoluent.com/vm4r.htm

Good comparison. The jagged edges on the 5D3 are unfortunate, but not usually very apparent without magnification. The GH4 is really tempting. Has anyone seen this yet?

THAT made my day.

Yes, that's the kit. It did work well and everything looked good. The softbox is a nice key and I packed a tiny reflector as a fill, leaving me with a rim light and a kicker for the background. I also ordered a dome diffuser, and the fresnel lens, which both attach via magnets. The fresnel will give you the hard point that you are looking for. All that being said, I wouldn't use these for a green screen. There's simply not enough luminance here to do it properly without boosting your ISO through the roof. For wider shots, you could potentially take a white balance and then dial these heads in to match the color temperature (provided that you are working with a single, consistent source). Then you'd be able to add to what was already there. There aren't any proper reviews out yet since it's a relatively new product, but I've been happy with them for what they are.

This is either someone reselling my Lomo square front set (asking about twice what they paid me for it about a year ago), or using the images and description from my original listing: http://www.ebay.com/itm/141271312464

I just wrapped up a travel shoot with a three-LED kit from Fiilex (P360EX) that my work bought. I haven't reviewed the footage yet, but it looked good in the LCD. They were a joy to work with -- bright, lightweight, and checkable on my flight.

Baby Hypergonar is focus-through. Wonderful lens though.

If you value a large sensor and raw over 4K resolution and workflow, then absolutely.

I've used them with the doublet, no problem.

Can you share a link to where this was posted? EDIT: Nevermind, it's in a1ex's signature!

Looks nice. Some of the better looking footage from this lens I have seen.

The "rant" in this article has been some of my favorite EOSHD material yet.

No one has mentioned Nikkor AI and AI-S primes yet. I have a set of five, cine-modded by Duclos, and I have been pleased with them; first on my GH2, then on my FS100, and finally on my 5D3. I've also had them on a RED Scarlet, and they looked great at 4K. They are compact but well-built, and the lens characteristics match closely across the set. The only downside that I can think of is that the focus ring goes the other way, making a reversible follow focus a necessity. Here's a nice rundown on them by Caleb Pike of DSLRVideoShooter:

Some of the converters have "vertical stripe correction" built in and it seems to solve this issue. The one that I am using right now is this one (definitely works on MLVs, not certain if it works on .raw files): http://www.magiclantern.fm/forum/index.php?topic=9731.0 It's not the latest one, but it seems to work well.

I used one of these for my old Baby Hypergonar. I do not think that it will be able to grip the Iscomorphot 8/1.5 properly (as I recall you have to secure this lens by the silver portion at the rear of the lens; the black part rotates when focusing). There is not much surface area to work with.

Here's another way to mount it, if you have parts like these lying around:

NAB is only a month out. I'd wait.

I think that you have to use conversion software with "vertical stripe correction". Not all of them have it.

Wow. A simple search in this very forum will give you all of the information that you need.

Pretty neat. Reading the thread, it looks like there is a new version right around the corner. I've been using an older converter (with the recursive0.4.command file) to convert to DNGs. It applies "vertical stripe correction", which I assume removes some of the fixed noise pattern that can appear at higher ISOs. Do you know if this one does anything like that?

Most forum users have probably already read Andrew's article on the effects of scaling 8-bit 4:2:0 4K footage down to 10-bit 4444 1080P footage: '?do=embed' frameborder='0' data-embedContent>> We in the anamorphic world are constantly rescaling our footage, though only on one axis. What I am curious to know is whether this can affect (positively or negatively) the color space and bit depth of the resulting footage. Also, can we better preserve footage by using wider pixels (as opposed to using square pixels + resizing)? This is new territory for me, and probably for a lot of others as well. Note: I posed the question in the thread above, but I think that this deserves its own thread.

A great film. Agreed. The technology is there, and it's accessible. We have already have a slew of affordable ninety-percent imaging solutions out there but so many of us are focusing all of our attention on each new 0.25% improvement rather than putting in the time and effort to master the craft, assemble the crew, recruit the talent, and bridge the gap that imaging technology never will.

I can see how that would be the case for a de-squeeze, but how about stretching the image (i.e. enlarging it horizontally)? In the past, anamorphic shooters have surmised that image quality doesn't really take a hit when doing this, but we weren't really looking at it through the lens of this new theory.

Would the opposite be true (i.e. deterioration of bit depth and color space) when stretching anamorphic footage horizontally?