QuickHitRecord

You'll get less noisy results if you stick to the top line of ISO options (i.e. 160, 320, 640, etc.). I get those lines too. I think that most if not all GH2s do. Mine start showing up at iso 1250, so as a general rule I only shoot at 160 or 320. Here's hoping that the GH3 resolves this.

Tony,

While we are talking about Hypergonars, how does [url="http://www.ebay.com/itm/Rare-Twentieth-Century-FoxHenry-Creitien-Hypergonar-lens-/110943840229"]this one[/url] made for Twentieth Century Fox stack up to the HiFi-2? Looks like it might be a 1.33x crop...

I have never seen one on eBay. It's dual-focus (not necessarily a bad thing). Definitely could use some cleaning. Does the focus ring turn smoothly?

You should hold it in front of your camera lens and see if you can focus with it before you buy it.

Moiré!

Well, that makes it a simple decision for me.

Thanks for the comparison.

Hollywood uses Panavision and Hawk anamorphic lenses. For indie films, you'll see more Lomo round and squarefronts or sometimes Kowa anamorphics. The next step down are the Iscorama adapters. And then you have Kowa, Moller, Sankor, LA7200 and a couple dozen other lenses which are better suited for budget filmmaking.

Zeiss has new anamorphic lenses on the way. Supposedly SLR Magic is developing one for Micro Four Thirds as well.

The example above has a 2x crop, a glamorous "washed out" look, and some crazy flaring that is prevalent in Lomos, though these look more purple than what I have seen with mine. But that might be from the color correction.

If you're interested in learning more about anamorphic lenses, Andrew's e-book is pretty useful.

Looks like Lomo squarefront to me.

I can't speak for the Tamron but the [color=#282828][font=helvetica, arial, sans-serif]Canon EF-S 17-55mm f/2.8 IS USM was my favorite when I was shooting with my 7D. This was the last piece that I shot with it before I sold it:[/font][/color]

http://vimeo.com/43008797

Simply a fantastic lens.

It's about time that someone other than Zeiss got back in the game.

A good start. I have a lot of M43 and M43-adapted glass riding on this release.

It would be really useful to have one. Then I could really perfect the lighting [i]before[/i] my talent shows up. But why do they all look like Kim Kardashian?

http://www.mannequinhub.com/female-mannequin-head-en.html

My girlfriend would kill me.

[quote name='KarimNassar' timestamp='1346690501' post='17226']
interesting setup thanks for sharing
would matte box that hold filters be an option too?
or would the filter be too far away from the lens
[/quote]

I suppose it's possible, but the LA7200 already has sort of a matte-box shape, so it might be tricky to get the filters close to the front glass. Also, do they even make square close up filters?

Mark at EyePatch films did a YouTube tutorial about using a Cinetactics Anamorphic Matteblox a while back. I've tried it out and I much prefer the solution above -- it is much cheaper and you can get the diopter closer to the glass.

[quote name='Inean' timestamp='1346670037' post='17214']
Hello, I'm a little doubt arises, The Cokin Close Up +1 A101 are too small right? And these ( [url="http://www.ebay.es/itm/KOOD-P-Series-Close-Up-1-Macro-Filter-Fits-Cokin-/200608019419?pt=UK_CamerasPhoto_CameraAccessories_CameraLensesFilters_JN&hash=item2eb52b73db"]http://www.ebay.es/i...=item2eb52b73db[/url] ) are well-adjusted? Regards
[/quote]

I have never used with a Cokin A-series filter, only P-series. The item in your link seems like it would work since it seems to be P-series size.

I have not seen this posted here yet.

From Sony Alpha Rumors ([url="http://www.sonyalpharumors.com/sr5-full-a99-specs/"]http://www.sonyalpha...full-a99-specs/[/url]):[list]
[*]24.3 Mpx Full frame CMOS Exmor sensor
[*]SLT technology
[*]New Bionz imaging engine
[*]14 bit RAW recording
[*]10 fps
[*]ISO 100 up to 25.600
[*]50 ISO extended (with lower dynamic range)
[*]102 AF point AF (11 cross).
[*]AF range
[*]MF assist
[*]Dual Phase detection system (with AF phase pixels on sensor)
[*]30 sec and 1/8000 maximum shutter speed
[*]Time Lag 0.05 sec.
[*]Shutter life guarantee of 200,000 cycles
[*]2.360k OLED electornic viewfinder
[*]3″921k LCD with same tilting system of the A77
[*]Full HD video recording at 1920×1080/60p AVCHD format
[*]HDMI output
[*]Built-in stereo mic
[*]Built-in flash with guide number of 12
[*]Auto HDR capability
[*]New multi-segment low pass filter
[*]Photodiode expansion technology
[*]Light concentration technology
[*]Selective noise reduction
[*]Ultrasonic anti dust system
[*]In body image stabilization
[*]Two memory slots: SD and SD+MS cards
[*]USB: 2.0
[*]Announced on September 12, 2012
[*]Available in stores in late October 2012
[*]New accessories to be released with the a99: battery grip, flash, remote control, microphone etc.
[*]Very light, weather sealed magnesium alloy body.With 730 g this is the lightest FF body on market!
[/list]
Speaking of full-frame, the same site is reporting rumors of a full-framed E-mount camcorder called the VG-900, to be released at Photokina as well (this was briefly discussed in one of the current GH3 threads): [url="http://www.sonyalpharumors.com/filmmaker-will-not-beleve-me-on-this-nex-vg900-full-frame-e-mount-camera-for-a-tiny-bit-more-than-3-000-euro/"]http://www.sonyalpha...han-3-000-euro/[/url]

It is a legit Panavision [i]projection[/i] lens, not a Panavision [i]cine[/i] lens. This is the one to get excited about:

[img]http://www.hurlbutvisuals.com/blog/wp-content/uploads/2009/09/primo1.jpg[/img]

[quote][color=#282828][font=helvetica, arial, sans-serif]But if both the cameras (GH2 and 5D3) were priced equal - theorically - which one would you prefer QuickHitRecord?[/font][/color][/quote]

Priced equally? I may catch hell for this on these boards, but I'd go with the 5Diii. It is not a camera that I am excited about, but it is pretty stable. No banding (that I have seen), better low-light, built-in headphone jack. The fewer camera quirks and shortcomings, the more attention that I can pay to actually shooting.

But the fact remains, they aren't priced anywhere near the same and I do have high hopes for the GH3.

Very nice, Rich. It doesn't get much more cinematic than that. The flip of the actress's hair to bring color to the scene was a wonderful transition. I feel like the anamorphic look is better suited for shots of timeless subjects (i.e. no iPhones!) and this is certainly timeless.

Also shot with a Red and Lomos, I offer:

https://vimeo.com/13422656

It's films like these that make me glad that I am lucky enough to have a pair (of Lomos).

I ditched Canon and jumped on the GH2 bandwagon a few months ago. At first I was very pleased, especially with the legacy glass options that it afforded me. But the GH2 (or at least my GH2) often has color banding in the gradients as can be found in smooth bokeh or the sky. It's not in every shot (maybe 1 in 10), and YouTube and Vimeo compressions will cause this as well so most web videos end up with it anyway. But it has been ruining the party for me lately. If the GH3 improves on nothing else, I hope that it resolves this issue. At this point, I would not recommend the GH2.

I have also shot with the 5D Mark III. You can get a nice cinematic image out of it. But it's pricey for what you get.

I'd wait until Photokina in September. They will be announcing some new cameras that should be better than what we have now.

This is great, Rich. It looks like it would work well. Thanks for the concept and sketch. It's really great to get someone else's eyes on this, especially someone of your machining abilities. If I am able to execute something along these lines, I will be sure to share it here.

I'd really like to find a good, economical solution to put ND filters in front of my set (75, 50 and 35mm in OCT18). I know that a matte box with 4x5.6 would be the most elegant solution, but I can't justify the cost since I wouldn't be using it use it with my other lenses. I use a fader for those. I have contemplated trying to trap a large-diameter ND fader in a lens collar (mounted to a rail block) and then sliding that in front of my lenses. But that seems like a disaster waiting to happen. Surely there must be a better solution. Anyone have any ideas?

[quote name='richg101' timestamp='1346313566' post='16930']
Nice work man:) i think a custom zoom feature in general would be good. to allow custom framing without using masking tape ie. if you wanted to zoom into a de-squeezed 1.5x anamorphic image (2.66:1) in order to see a 1.33x (2.35:1) cropping off the edges by zooming in. I have to say. it is hard enough getting focus bang on with a wide angle and anamorphic attachment (21mm on the width for my setup) even while using the full surface area on my 5" screen. a desqueeze would hinder me while acquiring footage, but would be nice on a larger additional monitor for showing a director who wants to see the final aspect ratio on set.
[/quote]

That would indeed be very useful. Maybe if we make enough noise about it, they may include it in the firmware update.

[quote name='septemberdawn' timestamp='1346309082' post='16922']
Could someone offer advice regarding this 'tweak' for the DP6. I've just received a smallHD DP6. I assume anamorphic settings are made via the 'Custom Scale' feature?
[/quote]

[color=#282828][font=helvetica, arial, sans-serif]There are[/font][/color] 16:9, 4:3, 2.35:1, 1.85:1, 15:9, and 16:10 aspect ratio presets. There's nothing for 3.55:1 (2x stretch), but if you start[color=#282828][font=helvetica, arial, sans-serif] out with the the 2.35:1 aspect ratio, you can push the V-size parameter until right before it unmistakably corrupts. It's a lot of button presses and you'll have a bar of garbled nonsense underneath the image area, but it can be useful. Do this while you are in one of your presets so that you don't have to do it every time.[/font][/color]

I have mine set so that presets 1, 3 and 5 are anamorphic stretches of 2x, 1.5x and 1.33x respectively. Presets 2, 4 and 6 have all been set to Pixel-to-Pixel (or whatever SmallHD calls it) with Focus Assist enabled. That way, I can jump over into an even-numbered preset and check focus quickly.

[quote name='TC' timestamp='1346245032' post='16800']But what next from Canon? C200: same electronics again, but 35Mbps for $12,000? C50: same electronics again, but plastic body and no clean HDMI out for $5000?
[/quote]

Ha. One can only wonder.

For what you are getting at that price point, I am not sure why anyone would choose this over the Black Magic.

I did mention this in another thread, but I think that it probably deserves its own topic.

For those of you trying to mount diopters on LA7200 anamorphic lenses, this is what I have been doing (see pictures).

The binding product is called Dual Lock. It is similar to velcro but is adhesive-sided and creates a stronger bond. I never have to worry about my diopters slipping off. It works well with inexpensive Cokin-P diopters as pictured. With a GH2, I can shoot with the Voigtlander Nokton and the LA7200 with only slight vignetting. So 30mm and up should be vignette free.

It's a very simple concept but I haven't seen anyone else using it and it took me a while to figure it out. I hope that others find it useful.

As excited as I am for the GH3, I'm really hoping that Panasonic delivers us this mutation: [url="http://www.43rumors.com/hot-patent-panasonic-working-on-a-compact-micro-four-thirds-videocamera-with-sliding-grip/"]http://www.43rumors....h-sliding-grip/[/url]

In a perfect world, it's the GH3 with a micro four-thirds sensor minus that photography bit (for the most part) but plus some additional video performance.

(Of course, this is where somebody tells me that it has been debunked as a late April Fools joke).

Yes, the stuff that I got was called "Dual Lock". It offers a much more rigid hold than velcro.