QuickHitRecord

[quote name='Francisco Ríos' timestamp='1348947730' post='19192'] And ,what about the russian Lomo??? [/quote] I see no reason why not. Some people have raised concern about the flange distance, and the fact that the rear element moves backwards a lot when focusing (and could potentially hit the sensor). But some brave soul is going to have to try it out and report back!

[quote name='Germy1979' timestamp='1348988585' post='19220'] Those handles... (Snicker) Hey alright. They look like they belong on the nickel plated .45 of a midnight rape vigilante... ....who wears aviators. [/quote] Hilarious (and I agree, now that you mention it).

[quote name='Tim' timestamp='1348898089' post='19163'] You could buy just the slider support mount from Lock Circle for $160. [url="http://www.lockcircle.com/matbox/buy/"]http://www.lockcircle.com/matbox/buy/[/url] Might save yourself some hassle trying to do it yourself (I couldn't think of a good way to make one work). [/quote] I didn't see that when I was on their site. Perfect.

You will be able to use anamorphic adapters on the BMCC. Since the 2.3x crop factor is even greater than the GH2's 2x, the minimum focal length (without vignette) will be smaller. So with your Sankor, while you need a 50mm to shoot without vignette on the GH2, in theory you'd be able to get away with a 44mm lens (if such a lens were to exist) on the BMCC.

[quote name='Axel' timestamp='1348812358' post='19131'] [left][url="http://www.n-joy.de/leben/nachtschicht165.html"]Nachtschicht[/url] (nightshift), filmed in 720 50p (because of television frequency). There was no hack at this time. The author, an experienced operator, wanted to be as mobile and [font=Arial, Verdana, sans-serif]inconspicuous as possible. He used a mini tripod as a grip. He often used the very shallow DoF to blur faces, in order not to hurt the personal rights of the people.[/font][/left] [/quote] Thanks. Looks very interesting. I hope that they do a version with subtitles sometime soon.

[quote name='Axel' timestamp='1348782351' post='19123'] A very good doc about people working nightshifts in Hamburg was almost entirely shot with the Nokton @ aperture wide open (and Beachtek XLR-adaptor). The ability of the cameraman (and author) to hit the focus precisely every time (in a nightclub, in an occupied taxi, in an emergency room) was stunning. This could never have been done with any other camera or any other lens. [/quote] What was this called? I'd be curious to see a trailer.

Looks good. The changing leaves add a nice splash of color. This is a very sharp lens. And you wrote the music too?!

I came across a new mattebox from a company called Lock Circle that offers an impressive solution to address the main problem associated with using still photography lenses for video production: [media]http://vimeo.com/41414067[/media] (Skip to the 3:50 mark for the matte box demo). I already own a mattebox and looking at this clever sliding design, I am trying to think of a way to accomplish the sliding motion by modifying one of the many 15mm rail blocks like this that are available on eBay: [img]http://i.ebayimg.com/t/M6-Thread-Rail-Block-Rod-Clamp-fr-15mm-Rod-DSLR-Rig-Rail-System-Follow-Focus-/00/s/MTAwMFgxMDAw/$(KGrHqN,!nUE-wmo(CICBQBYwE0efQ~~60_35.JPG[/img] This would be a universal solution that could be adapted to any existing matte box (as far as I know, there is no rail block on the market with rod holes lined with ball bearings). With no modifications other than to loosen the thumbscrews that tightens the metal around the rods, there is already a promising range of movement. But it still needs a reduction in friction to be truly useful. My first thought is to pour some lubricant on the rods. This would allow your matte box to move around easily. Unfortunately, it would also cause everything else on your rods to slide around like an ice rink full of kindergarteners. Second thought: buy some of that padding that people put on the feet of their chairs and couches to keep them from scratching the floor, cut it into short, thin strips, and then line the rod holes. This could possibly work, but it also might not leave enough room for the block to slide freely around the rod. Also, I could see it easily becoming unstuck after just a little friction. Then there is something like this, which could be left disengaged for maximum rod mobility: [img]http://i.ebayimg.com/t/Fotga-Quick-Release-Slide-Slot-Block-Clamp-for-Ffollow-Ffocus-15mm-Rail-Rod-Rig-/00/s/NDAwWDQwMA==/$(KGrHqV,!q0E+og)2RDkBQJNNUtGEg~~60_12.JPG[/img] But there is no front-facing screw hole to accomodate a standard-type matte box riser. I'll continue to think about this, and if I have any findings, I will share them here. In the meantime, please feel free to share your own ideas and solutions as well.

[quote name='tony wilson' timestamp='1348519714' post='18993'] i tink it likes and old technovisiion hollywwod movie anamorphic from der 1980s. a little soft did yer smash your pizza plate size close up lens? [/quote] The whole setup was a bit silly. Scarlett Johansson would have had a laugh. I used a +1 diopter for this, which I find gives a much more pleasing image than the +0.4 achromat on the Hypergonar. Close up lenses seem to smear the backgrounds a bit and sometimes I find that they make circular bokeh out of background elements that really should not appear as circular bokeh. But the +1 and this lens is a sweet spot. I am still tempted to try to shoot an entire narrative short with this combination because I like the look so much -- but I just don't know if I could get through it and I wouldn't want to waste Ms Johansson's time! [quote name='richg101' timestamp='1348526079' post='19000'] I love the look. it looks like standard definition (in a good way). What I mean by that is it looks like expensive standard def rather than cheap high def. like the difference between late 1990's big budget bbc and Itv programs like morse / piorot and 5D mk2 footage. The SD high budget piorot and morse actually looks higher definition than what we often see as 1080p when played back on a decent system [/quote] I agree. There's a cool lo-fi feel here. I definitely see the "high-budget SD" comparison. I always have a hard time putting the "look" of this lens into words. I don't really think that my clients know what they want for this, but I think that they are going to love it (though I am sure that we will end up cropping it quite a bit). I am crazy about this lens. It's the least practical anamorphic I own but there is just something so uniquely epic about it.

[quote name='BurnetRhoades' timestamp='1348512231' post='18989'] What stop were you at? How much was your DOF? Seems like a good move being able to market yourself bringing something extra. Most industrial shooters (that I've seen) tend to be very conventional. [/quote] Thanks. I shoot a lot of these, so I try to bring something new to each shoot to keep things fresh. I could have kept it at f4 but I went up to f5.6 just to be extra sure that we would not have problems with focus as the camera moved further away from the subject.

Some said it couldn't be done, so I had to give it a try. I budgeted myself a little extra prep time and brought my HiFi-2 to work for a six-interview shoot. Here's a sample of the footage: [url="https://vimeo.com/50072695"]https://vimeo.com/50072695[/url] PW: hypergonar Original crop. No color correction. There's a slight reflection in the glass that I will probably motion-track out. As long as you can ask your talent to move slightly so that they are in focus, its actually a pretty good choice to breathe some life into talking head shots.

Look through some of the older threads. I seem to remember in the past month or two that someone used one of these old projection lenses and liked it very much. Also, Andy Lee seems to like these lenses a lot. I'm sure that he could tell you something about this one in particular. But for most people, the size, weight and twenty or thirty-foot minimum focus distance are pretty big deterrents.

I thought that it already was: http://www.eoshd.com/content/9011/the-panasonic-gh3-is-here

The video's creator just responded to my question about the BMC's rainbow flare on Vimeo. He says that it was the only time it has ever happened. He hasn't seen it before or since. Weird!

It's a very well done and compelling video. I enjoyed it a lot more than the film that he talks about. I have been going back and forth between the BMC and the GH3 as my next camera. This series of tests tilts the scale sharply back towards the BMC. I like everything I see here, except for the strange rainbow-colored flare that shows up at around 00:40. What is that?

There's an "other" option where you can write in Worldcam.

Please take a moment to vote: [url="http://kwiksurveys.com/app/showpoll.asp?sid=ftrgvl7xb4iso8j21673&qid=21673"]http://kwiksurveys.c...=21673&new=True[/url] At the $1300 price point, 770 votes would represent a potential million dollars in sales for Panasonic. If this poll gets enough participation, I will draft an open letter to Panasonic with the results. If you are interested in using the GH3 as a filmmaking tool, please cast a vote and share this with your fellow filmmakers.

[quote name='Flaaandeeers' timestamp='1348185686' post='18771']I couldn't even find a way to mount it.[/quote] This is how to mount it: [img]http://farm6.staticflickr.com/5203/5342021193_2b709de6b5_z.jpg[/img] [list] [*]Velbon SPT-1 [*]Lens collar/support [*]Redstan anamorphic clamp for 35mm lenses [/list]

[color=#222222][font=Helvetica Neue', Arial, Verdana, sans-serif][size=4][background=rgb(255, 255, 255)][quote name='zephyrnoid' timestamp='1348157015' post='18707'] I sure wish people would stop using a term that they don't understand precisely. Usability , Funtionality or the right feature mix? > They are different terms. The GH3 looks to have a higher [b][i]Usability Quotient [/i][/b]than the GH2, though I see that some functionality has taken a downgrade in the inevitable juggling of specifications. [b][i]ONLY[/i][/b] a direct side by side challenge will resolve doubts. [/quote] The GH3 has improved [i]functionality[/i], but only clean, moire-free shots are [i]usable[/i] to me.[/background][/size][/font][/color]

[quote name='AdRath' timestamp='1348154452' post='18704'] How so? I see far more pluses than negatives from the gh3. -better reliable rec formats all span. -highspeed 1080p -Real progressive not the interlaced wrapper crap -headphone jack -Better lcd screen -Superior build and weather proofing. -Wifi for monitor support (still to be confirmed) lots of potential with apps. -better dynamic range -better low light performance [/quote] All good things, but moire and aliasing? I liquidated my Canon camera and lenses so that I could switch over to the moire-free GH2. It was worth not having to worry about it anymore. But now it's back in the GH3? I just don't think that I can do it. If these were fixed, I'd go for it in a heartbeat.

Too many of the posts about this camera end with some variation of "I hope I'm wrong about this", but based on my observations I am beginning to feel that way too. Bluntly put, the GH3 seems like a downgrade from the GH2 in terms of usability. Unless there are some radical changes made between now and the GH3's release, I'll just hang onto my GH2 and wait for another viable MFT camera to be released. The good news is that these days there are new cameras announced almost every other month.

Here is the interview that the Personal-View team conducted with a Panasonic Senior Project Manager Matthias Matthes (unable to embed): https://vimeo.com/49831263

Thanks, Andrew.

Looks great, Tony. I have been following this project with rapt attention. The Hypergonars are fantastic. You've got something really unique here.

I posted this months ago but only just came figured out a simple solution: [img]http://www.eoshd.com/comments/uploads/gallery/album_14/gallery_18451_14_57990.jpg[/img] [img]http://www.eoshd.com/comments/uploads/gallery/album_14/gallery_18451_14_641.jpg[/img] [img]http://www.eoshd.com/comments/uploads/gallery/album_14/gallery_18451_14_43570.jpg[/img] Here is the part that you need to buy: [url="http://www.ebay.com/itm/270941674813"]http://www.ebay.com/itm/270941674813[/url] Specifically this one because the center groove on the top shelf is long enough to cover two of the three Velbon mounting holes located on the bottom of the main assembly. You could do it with a cheaper one (there are many out there, just search for "DSLR base plate"), but you probably will not get full hole coverage and you may have twisting issues. I also put two screws in the Manfrotto quick release plate to prevent twisting (I have been doing that a lot lately). Now it easily slides into any Manfrotto fluid head with no chance of twisting. I took out the adjustable-height riser and re-bolted it together so that it would be more compact, but you can always leave it in if you want to. This method is useful for putting a matte box in front of a Lomo square front, a Hypergonar HiFi-2, or any oversized lens. You could also mount a follow focus to use with your lens while keeping the ease-of-use afforded by the Velbon. I hope that this is helpful to someone.