QuickHitRecord

Incredible flares! Are you sure that you can't buy this from your client?

I finally had a chance to take my Lomo square front (OCT18 mount) out:

[center]http://vimeo.com/44522585
[/center]

I actually meant to shoot more footage for a stronger shot sequence but the Lomo is the MOST frustrating lens that I have EVER worked with! It also delivers my favorite image! Very, very cinematic.

I bought mine from au8ust on eBay and it is immaculate. Truly a beautiful piece of glass. But the design of the lens is very frustrating. The anamorphic and spherical elements are held together by one small tab (i.e. one point of contact) and focusing is extremely difficult. The front element is very heavy and if I ever tilt the lens down, gravity causes the two elements to separate, distorting the image. And even with the stopper that I added to the Velbon support track to keep the front element from falling off completely, tilting up or down puts the weight on the taking lens makes turning the focus ring very difficult. I have never cursed so much at a lens and many of my shots were not usable.

But there is an [i]incredible[/i] look here, probably my favorite of all of my lenses, and I am determined to make it work. I am currently working on a few tweaks that may make it much more usable.

One more thing: This is not a low profile lens. Every single person who walked by stopped to ask what it was, which was kind of distracting.

Funny to see this post as I placed an order for a Gossen Digisix 2 last week. Up until now I have only been using a waveform to monitor exposure, but the ability to light a scene before the camera even shows up is invaluable to me. Also, I can match contrast ratios for consistency across a project. I'm really looking forward to getting it.

I just wrapped a shoot with a rented C100. I can't comment on the footage yet as I have not seen it (obviously the recording codec has its limitations), but I was surprised by how much I loved the design of the camera. It was intuitive and handled beautifully and had everything that I needed within easy access, much more than the FS100, AF100, probably the BlackMagic and certainly moreso than any ENG-type camera I have ever used. By the look of it, the C300 and the C500 are the same. Based on this experience alone, I believe that Canon is still in the game even though I can't afford to own one of these cameras for personal projects.
 
I believe that the "Democratization of Filmmaking" has already happened, and now we're just clamoring for slight IQ improvements. I've been caught up in it like so many others, but I'm trying to direct that energy towards shooting more stuff and building my skill set. The improvements will come sooner rather than later. But if I can't tell a story with a GH2 or a 5DIII, then those improvements will be lost on me when they get here.

I just wrapped a shoot with a rented C100. I can't comment on the footage yet as I have not seen it (obviously the recording codec has its limitations), but I was surprised by how much I loved the design of the camera. It was intuitive and handled beautifully and had everything that I needed within easy access, much more than the FS100, AF100, probably the BlackMagic and certainly moreso than any ENG-type camera I have ever used. By the look of it, the C300 and the C500 are the same. Based on this experience alone, I believe that Canon is still in the game even though I can't afford to own one of these cameras for personal projects.
 
I believe that the "Democratization of Filmmaking" has already happened, and now we're just clamoring for slight IQ improvements. I've been caught up in it like so many others, but I'm trying to direct that energy towards shooting more stuff and building my skill set. The improvements will come sooner rather than later. But if I can't tell a story with a GH2 or a 5DIII, then those improvements will be lost on me when they get here.

I just wrapped a shoot with a rented C100. I can't comment on the footage yet as I have not seen it (obviously the recording codec has its limitations), but I was surprised by how much I loved the design of the camera. It was intuitive and handled beautifully and had everything that I needed within easy access, much more than the FS100, AF100, probably the BlackMagic and certainly moreso than any ENG-type camera I have ever used. By the look of it, the C300 and the C500 are the same. Based on this experience alone, I believe that Canon is still in the game even though I can't afford to own one of these cameras for personal projects.
 
I believe that the "Democratization of Filmmaking" has already happened, and now we're just clamoring for slight IQ improvements. I've been caught up in it like so many others, but I'm trying to direct that energy towards shooting more stuff and building my skill set. The improvements will come sooner rather than later. But if I can't tell a story with a GH2 or a 5DIII, then those improvements will be lost on me when they get here.

I just wrapped a shoot with a rented C100. I can't comment on the footage yet as I have not seen it (obviously the recording codec has its limitations), but I was surprised by how much I loved the design of the camera. It was intuitive and handled beautifully and had everything that I needed within easy access, much more than the FS100, AF100, probably the BlackMagic and certainly moreso than any ENG-type camera I have ever used. By the look of it, the C300 and the C500 are the same. Based on this experience alone, I believe that Canon is still in the game even though I can't afford to own one of these cameras for personal projects.
 
I believe that the "Democratization of Filmmaking" has already happened, and now we're just clamoring for slight IQ improvements. I've been caught up in it like so many others, but I'm trying to direct that energy towards shooting more stuff and building my skill set. The improvements will come sooner rather than later. But if I can't tell a story with a GH2 or a 5DIII, then those improvements will be lost on me when they get here.

The SmallHDs have an anamorphic mode. Some of them only have a 1.5x viewing mode but through custom parameters, you can stretch the signal to monitor in 2x (or even a 1.5x crop of a 2x signal): http://www.eoshd.com/comments/topic/1625-how-to-crop-2x-footage-to-15x-footage-on-a-smallhd-monitor

I try to see things for what they are, not for what they aren't. The BMC has a lot to offer for the price.

I try to see things for what they are, not for what they aren't. The BMC has a lot to offer for the price.

The mist adds an interesting element to the anamorphic flares. Thanks for the share!

I enjoyed that, especially the visual of the women cutting the string and the way that it worked with the music. I think that the "Death" character and his liquor could have been a little more foreboding but the actors were good. It's nice to see anamorphic shots coming from wide open spaces instead of urban settings every once in a while. 

As soon as I get home, I think. I'm looking forward to it!

Rich, this is huge. You are an innovator and a pioneer in the world of anamorphic shooting. With your discovery, my Iscorama becomes twice as usable. My hat is off to you!

[url="http://www.eoshd.com/comments/topic/1299-gh2-iso-tests-rethinking-the-iso-bug-iso-320-cleaner-than-iso-160"]http://www.eoshd.com/comments/topic/1299-gh2-iso-tests-rethinking-the-iso-bug-iso-320-cleaner-than-iso-160[/url]

As of tonight, the new iMacs are finally officially available for ordering from the Apple store. The maximum configuration looks something like this:
[list]
[*]3.4GHz Quad-core Intel Core i7, Turbo Boost up to 3.9GHz
[*]32GB 1600MHz DDR3 SDRAM - 4X8GB
[*]768GB Flash Storage
[*]NVIDIA GeForce GTX 680MX 2GB GDDR5
[/list]All for about $4,500.
 
Opting for 8GB of RAM (to upgrade later) and a 3TB Fusion Drive instead bring the cost down to about $3000. 
 
Also, the Cubix Xpander is an external peripheral that allows for the use of second GPU, and the 10GB/s Thunderbolt connection allows for additional drives to be hooked up externally -- including the 12TB Thunderbolt RAID.
 
This all sounds impressive, but how future-proof (i.e. ready for the next five years) is this setup? I suspect that it can handle 4K ProRes, but what about 4K RAW (and Davinci Resolve)?
 
I have also been communicating with a custom PC builder on eBay who is going to spec out a workstation specifically designed to work optimally with Adobe CS6 and Davinci Resolve 9. I'll post the results of that when I get them.

I enjoyed it. The opening is especially strong. Where did you shoot this?

Many people find that a 2x (3.55:1) aspect ratio is just too narrow for their liking. The good news is that if you are using a 2x lens and you have a DP4 monitor, you can compose and shoot in 1.5x. This allows us to enjoy all the benefits of 2x glass (greater availability, lower prices, more dramatically stretched bokeh) with none of the headache. Here's how to do it:[list=1]
[*]Choose a Preset number so that you don't have to make these adjustments every time (just scroll back to the Preset).
[*]Under the [i]Advanced Menu[/i], go to [i]Scale[/i] and select [i]2.35:1[/i].
[*]Go to [i]Custom Scale[/i] and input the following values:
[/list]
[indent=1]HSTART: 706[/indent]
[indent=1]HSIZE: 94[/indent]
[indent=1]VSTART: 500[/indent]
[indent=1]VSIZE: 600[/indent]

Now you are set to monitor in 1.5x.

I have created an Apple Compressor setting that I just drag-and-drop onto incoming footage that squeezes AND crops the footage to 1.5x before I even begin my edit. It helps keep my render time down and I don't even have to deal with the trimmed footage area if I don't want to.

These values [i]may[/i] also work on the DP6, but I haven't tried it.

Many people find that a 2x (3.55:1) aspect ratio is just too narrow for their liking. The good news is that if you are using a 2x lens and you have a DP4 monitor, you can compose and shoot in 1.5x. This allows us to enjoy all the benefits of 2x glass (greater availability, lower prices, more dramatically stretched bokeh) with none of the headache. Here's how to do it:[list=1]
[*]Choose a Preset number so that you don't have to make these adjustments every time (just scroll back to the Preset).
[*]Under the [i]Advanced Menu[/i], go to [i]Scale[/i] and select [i]2.35:1[/i].
[*]Go to [i]Custom Scale[/i] and input the following values:
[/list]
[indent=1]HSTART: 706[/indent]
[indent=1]HSIZE: 94[/indent]
[indent=1]VSTART: 500[/indent]
[indent=1]VSIZE: 600[/indent]

Now you are set to monitor in 1.5x.

I have created an Apple Compressor setting that I just drag-and-drop onto incoming footage that squeezes AND crops the footage to 1.5x before I even begin my edit. It helps keep my render time down and I don't even have to deal with the trimmed footage area if I don't want to.

These values [i]may[/i] also work on the DP6, but I haven't tried it.

I have been following the development of a new anamorphic lens created by Personal-View user Apefos, and today we finally have the first footage:

[media]http://vimeo.com/52515544[/media]

It is remarkable to me what a lone person can overcome and accomplish with a little conviction and a lot of patience.

For more information, see the thread at Personal-View.

The filmmaker arrives at the set with a large case. He opens it to reveal four or five camera pods that look something like this:

[center][img]http://us.123rf.com/400wm/400/400/dacascas/dacascas1207/dacascas120700101/14636114-illustration-of-white-round-web-camera.jpg[/img][/center]

Except there are three "balls" underneath allowing for autonomous, multi-axis movement. He sets these camera pods down on assorted flat surfaces: the kitchen table, the floor, a high stool, and the highest bookshelf. With a handheld device, he activates the pods, which quickly scan the surfaces they are sitting on and instantly create CAD models for reference -- the pods now "know" how far they can move without crashing to the floor.

No lighting is necessary. Sixty stops of dynamic range make it a thing of the past.

The filmmaker uses his handheld device to drag and drop his favorite classic DP, editor and colorist into the app, or perhaps just the titles of a few movies that he saw over the weekend into the interface. The device quickly scans each filmography or film and comes up with an algorithm of common camera settings and movements, framing choices, focusing styles, etc.

As the scene begins, the operator hits a button and the pods will move about on their respective surfaces, executing these shooting styles and transmitting 80K video signals back to the handheld device where an algorithm makes real-time multicam edits and color grades for a 16K final video.

After the shoot/edit/grading session, the operator is now able to scrub back through the video and make any changes to the sub-final timeline before slapping his name on it and then hitting a button and almost instantly having it posted to the web.

[quote name='Germy1979' timestamp='1352488356' post='21416']
[/quote]

Now that's a short video skit just [i]begging[/i] to be made.

It wouldn't be hard to find out! Just leave your lens cap on and record a bunch of 5-second clips starting at the ISO 12800, then enhance the noise in post.

I haven't seen a side by side test like this so I decided to create one. The video is uploading on Vimeo but I suspect that the compression will make it difficult to gauge, so here are some screen grabs. Please click to view full screen:

[center][img]http://www.eoshd.com/comments/uploads/gallery/album_14/gallery_18451_14_61391.jpg[/img][/center]

[center]*I should also add that each stripe was sampled from the center of the image.[/center]

[center][img]http://www.eoshd.com/comments/uploads/gallery/album_14/gallery_18451_14_298073.jpg[/img][/center]

[center][img]http://www.eoshd.com/comments/uploads/gallery/album_14/gallery_18451_14_670092.jpg[/img][/center]

My previous tests concluded that ISO 320 was the sweet spot. However, when I did the same test this time, ISO 320 gave me a lot of macro blocking. Bizarre! I don't believe that I changed anything between last time's test and this one. To me, these images suggest that you'd be best off parking it in ISO 640 and leaving it there.

It's also interesting that different ISOs seem to have different color casts.

A follow focus is designed to make the focus pull even smoother and more precise by adding more gears between your hand and the focus ring on the lens. Most follow focuses come with markable discs so that you (or your dedicated 1st AC/focus puller) can design and execute very precise focus pulls.