richg101

BRAVO!   I sense a lot of the moaners will have gone quiet right about now.  this little sucker will fit inside forbes70!

BRAVO!   I sense a lot of the moaners will have gone quiet right about now.  this little sucker will fit inside forbes70!

BRAVO!   I sense a lot of the moaners will have gone quiet right about now.  this little sucker will fit inside forbes70!

Who needs a prototype.   it's a c100mk2 without recording or monitoring.  They've told us that.  We know the size.  Logic tells us everything we need to know.  

remove from the metal housing and wrap the element in masking tape
draw a line down the middle
drill lots of holes along the line using a glass/ceramic drill bit - like an arrow head shaped drill bit - make sure the elements are in a shallow pool of water to aid cooling/lubrication during drilling.  don;t apply pressure - let the drill do the work.  high speed, use a battery powered drill for safety - 230volts and water don't go!
using a tile cutting fret saw slowly cut along the line - the drilled holes will mean you have less material to physically cut through
using very high quality 'wet and dry' glass paper from 240 grit down to around 1000grit to grind the edge flat.  the courser the paper, the more likely you are of chipping the edge so go steady when using he course grades.  grind 'edge ways' not 'across' to avoid chipping
once flat, apply a very fine chamfer to the cut edge using 1000 grit wet so remove any tiny chips.
thin down some enamel matte black paint and apply to the ground edge - thinning will mean the paint natirally absorbs into the frosted ground edge
dry in oven for an hour at 90degrees

 
since the cheaper single element diopters from vivitar are crown glass they are less prone to chipping  start on the diopter you;re less likely to actually use so you can practice.
 
DO NOT attempt this with cemented doublets!  you'll think you;re doing really well, then when that drill bit gets through the first layer and hits the second it'll shatter.

I'd argue against and say, avoid VR and VFX artists like the plague.  Those sticking to their guns and insisting on pushing the envelope with true cinematography will find themselves sitting in a niche when others have all jumped on this technology bandwagon just like they did with 3D.  I think most worthwhile film makers who fell foul to the 3D fad 3-4 years ago probably feel deeply embarrassed by that point in their career.    
 

@jgharding would have raised so much money he'd be able to bribe the head of business planning of Arri to sell him one. 

remove from the metal housing and wrap the element in masking tape
draw a line down the middle
drill lots of holes along the line using a glass/ceramic drill bit - like an arrow head shaped drill bit - make sure the elements are in a shallow pool of water to aid cooling/lubrication during drilling.  don;t apply pressure - let the drill do the work.  high speed, use a battery powered drill for safety - 230volts and water don't go!
using a tile cutting fret saw slowly cut along the line - the drilled holes will mean you have less material to physically cut through
using very high quality 'wet and dry' glass paper from 240 grit down to around 1000grit to grind the edge flat.  the courser the paper, the more likely you are of chipping the edge so go steady when using he course grades.  grind 'edge ways' not 'across' to avoid chipping
once flat, apply a very fine chamfer to the cut edge using 1000 grit wet so remove any tiny chips.
thin down some enamel matte black paint and apply to the ground edge - thinning will mean the paint natirally absorbs into the frosted ground edge
dry in oven for an hour at 90degrees

 
since the cheaper single element diopters from vivitar are crown glass they are less prone to chipping  start on the diopter you;re less likely to actually use so you can practice.
 
DO NOT attempt this with cemented doublets!  you'll think you;re doing really well, then when that drill bit gets through the first layer and hits the second it'll shatter.

remove from the metal housing and wrap the element in masking tape
draw a line down the middle
drill lots of holes along the line using a glass/ceramic drill bit - like an arrow head shaped drill bit - make sure the elements are in a shallow pool of water to aid cooling/lubrication during drilling.  don;t apply pressure - let the drill do the work.  high speed, use a battery powered drill for safety - 230volts and water don't go!
using a tile cutting fret saw slowly cut along the line - the drilled holes will mean you have less material to physically cut through
using very high quality 'wet and dry' glass paper from 240 grit down to around 1000grit to grind the edge flat.  the courser the paper, the more likely you are of chipping the edge so go steady when using he course grades.  grind 'edge ways' not 'across' to avoid chipping
once flat, apply a very fine chamfer to the cut edge using 1000 grit wet so remove any tiny chips.
thin down some enamel matte black paint and apply to the ground edge - thinning will mean the paint natirally absorbs into the frosted ground edge
dry in oven for an hour at 90degrees

 
since the cheaper single element diopters from vivitar are crown glass they are less prone to chipping  start on the diopter you;re less likely to actually use so you can practice.
 
DO NOT attempt this with cemented doublets!  you'll think you;re doing really well, then when that drill bit gets through the first layer and hits the second it'll shatter.

@jgharding would have raised so much money he'd be able to bribe the head of business planning of Arri to sell him one. 

I believe there are now electronic contax 645 lens adaptors allowing aperture control.  contax 645 will be the best bet - they still just about deliver on digital backs since are modern by the standards of other mf lenses in the price range.  the cheap mamiya mf glass is cheap for a reason.  The number of RED guys waiting on their Vista vision/8k sensor upgrade who are stockpiling mamiya mf lenses thinking they'll be a good move for what is effectively a full frame sensor is staggering.  Instead of putting the money towards full frame lenses that on the whole do a better job for less weight and cost.
If your budget allows then go contax 645 for best results.  f2.8 hassy V lenses (50mm, 80mm, 150mm) are amazing lenses and a good investment since they have 80mm image circles so are somewhat future proof.  the 50mm matches a good full frame 50mm, the 80mm outdoes most 80-85mm lenses for full frame and the 150mm/2.8 hassy smashes nearly all 135-150mm f2.8 lenses for full frame.  The 110/2 is just a madman, but sadly is very costly.  if sony ever release a mf interhchangable then these will be a very desirable lens.  these lenses are gonna be the only ones worth using with the medium format speed boosters that are coming out too.
 
Personally I;d suggest contax 'CY zeisses' and leitax nikon remounts.  at f2.8 on full frame they'll kill medium format lenses for overall image.  only once you go medium format does the advantage of the medium format image circle become worth the weight and expense.
  

@jgharding would have raised so much money he'd be able to bribe the head of business planning of Arri to sell him one. 

I believe there are now electronic contax 645 lens adaptors allowing aperture control.  contax 645 will be the best bet - they still just about deliver on digital backs since are modern by the standards of other mf lenses in the price range.  the cheap mamiya mf glass is cheap for a reason.  The number of RED guys waiting on their Vista vision/8k sensor upgrade who are stockpiling mamiya mf lenses thinking they'll be a good move for what is effectively a full frame sensor is staggering.  Instead of putting the money towards full frame lenses that on the whole do a better job for less weight and cost.
If your budget allows then go contax 645 for best results.  f2.8 hassy V lenses (50mm, 80mm, 150mm) are amazing lenses and a good investment since they have 80mm image circles so are somewhat future proof.  the 50mm matches a good full frame 50mm, the 80mm outdoes most 80-85mm lenses for full frame and the 150mm/2.8 hassy smashes nearly all 135-150mm f2.8 lenses for full frame.  The 110/2 is just a madman, but sadly is very costly.  if sony ever release a mf interhchangable then these will be a very desirable lens.  these lenses are gonna be the only ones worth using with the medium format speed boosters that are coming out too.
 
Personally I;d suggest contax 'CY zeisses' and leitax nikon remounts.  at f2.8 on full frame they'll kill medium format lenses for overall image.  only once you go medium format does the advantage of the medium format image circle become worth the weight and expense.
  

Just searched for a Minolta 35/1.8 (I only have the 35/2.8 yet :s) and fond that the minoltas MD lenses are going cheaper and cheaper :O

Minolta MD 50/1.4 : 60€, which is very very very reasonable IMO 
http://www.ebay.fr/itm/Objectif-Minolta-50mm-f-1-4-MD-ROKKOR-1-1-4-/252344490621?hash=item3ac0e75a7d:g:z9YAAOSwdU1W9lHL
MInolta MD 28/2.8 (only have the 28/3.5 myself ....) : 42€, reasonable too 
http://www.ebay.fr/itm/28-mm-1-2-8-Minolta-MD-Rokkor-/172165384575?hash=item2815db497f:g:W3AAAOSwSzdXDPZj
Minolta MD 135/2.8 : 55€, which is a great compact telephoto/portrait lens
http://www.ebay.fr/itm/Minolta-MD-Rokkor-1-2-8-135-/131775607947?hash=item1eae70348b:g:4xEAAOSwr7ZW4Fwi
There are also quite a lot of 35-70/3.5 which are known to be very good lenses for video around 40€
As a bonus, there is a cute 45/2 pancake which usually goes for 50€ in auction
http://www.ebay.fr/itm/vintage-Minolta-MD-ROKKOR-45-mm-45mm-F-2-PANCAKE-LENS-/281999659321?hash=item41a87d5139:g:oLAAAOSwoudW8WdD
Anyway, This jut motivated me to do a full review of my Minolta lenses. As it is quite difficult to find complete reviews on the web for minolta lenses with video.
I'll set up a scene this weekend and compare all my lenses. Results to come :p

A lot of the haze type issues are related to how a lens has been stored.  damp conditions, warmth and old lubricants/broken down adhesives can often cause a gassing effect, which manifests itself as condensation then once moisture has evaporated the contributions from the lubricants are left intact.  since often lenses are stored face up, the gasses naturally rise and the build up is usually around the front edge of the front element.  removal of a front element is often quite easy, and an ether based lens cleaner and 100% cotton cloth will remove the build up.  
 
as a general rule if a lens has hazing it's also accompanied by a dried up focus mechanism and oil on the aperture blades. 

IMO auto focus and 'cinematic' shouldn't really be uttered in the same sentence.  However for things like an impromptu talking head in a run and gun environment with a large sensor, a good af system capable of tracking focus of a face will always be welcome.  I highly doubt I'd ever use such a thing since I actually like the aesthetic of a human being pulling focus by eye.  
If people like to think a Canon will make their colours nicer without having to learn how to set up wb, profiles and learn how to use curves that's up to them.
The fact here isn't about af or colour.  It's about the fact that the image from the 80D doesn't even deliver true 720p.  it's mush.  and is noisy.    The lack of video ergonomics of a mirrored camera can be worked around when the image is worth working around for - the 1dc, 5dmk3 in raw, etc.  But entertaining any positive discussion about Canon cameras not of the Cinema EOS range or ML hacked for film making is madness.  Those still buying such devices for cinematic type film making are either ignorant to what else is available, blind or buying out of sympathy for Canon.  I see no difference between the 80D and the 550D/T2i in terms of video performance.  Canon hasn't made any worthwhile video improvements on their non cinema eos cameras since the 5Dmk2!    

No probs man:)  Be aware that what Allister Chapman says might not be what others believe is best for certain scenes.  - so often s-log might be very viable for certain low light scenes where you need the huge dynamic range advantage in highlight detail.  for instance just after sunset, shooting towards the sun.   for the scene in your images you;re dedicating a lot of dr to the strret lights - which will be blown out even if you had 20 stops of dr.

IMO the A7R mk1 had the nicest image (arguably the same sensor as the d800).  the a7r2 is incredible in resolution and post production capabilities due to the dynamic range, but somewhat doesn't deliver as nice images as I remember from the a7r mk1.  feels a little noisier for raw stills.  The a7s mk1 makes amazing still images but I always feel 12mpx isn't enough for landscape shots where you might want to apply a little sharpening.  None have a problem with colour.  I expect if there are wb issues then the slider in camera raw allows for fine tuning.  - with 8bit 4.2.0 workarounds need to be done before you hit record.  in raw I'd say the a7r and a7r2 have such amazing capturing abilities than it's harder to get an image wrong than it is to get it right. - much like the d800 

I'd jump in and say that most of the colour problems are a combination of lack of understanding of picture profiles and wb user error.  I rarely get 'accurate' colour when I use a camera because i'm busy 'getting the shot' rather than being anal about it.  If i were to enjoy moaning about the colour of Sony cameras and be obsessed with shooting s-log when really I have no need to be doing so, to the point where I discard the sony for an vastly inferior camera that doesn't offer true Log anyway.  I'd first make sure it's not my own error.  
 
 If you're using a picture profile without understanding highlight rolloff and it's response to red, green or blue no amount of white balance accuracy will help.  TBH we're lucky Sony even gave us S-Log on the A7 range.  Canon don;t give you true log.    If you want to yield results from it you need to learn how to use it.   simply setting your WB to 3200 because your LED panels say they're 3200k ain't enough.  Setting to 5600k outdoors isn't enough either - since sky temp changes drastically and you can't do enough to 8bit footage to correct for being 1000k+ off the ture wb.  you need to shoot a grey card in the light you're shooting in, look at what's happening on the scopes and dial in a custom wb offset to suit both the light source and the response curve of the profile your're using.  Unless you;re willing to do that, either stop moaning, or shoot with canon and lose the vast lens options, dynamic range of true s-log and evf with punch in, as well as the ibis with manual lenses, speed boosters, 4k, etc.    

I'd jump in and say that most of the colour problems are a combination of lack of understanding of picture profiles and wb user error.  I rarely get 'accurate' colour when I use a camera because i'm busy 'getting the shot' rather than being anal about it.  If i were to enjoy moaning about the colour of Sony cameras and be obsessed with shooting s-log when really I have no need to be doing so, to the point where I discard the sony for an vastly inferior camera that doesn't offer true Log anyway.  I'd first make sure it's not my own error.  
 
 If you're using a picture profile without understanding highlight rolloff and it's response to red, green or blue no amount of white balance accuracy will help.  TBH we're lucky Sony even gave us S-Log on the A7 range.  Canon don;t give you true log.    If you want to yield results from it you need to learn how to use it.   simply setting your WB to 3200 because your LED panels say they're 3200k ain't enough.  Setting to 5600k outdoors isn't enough either - since sky temp changes drastically and you can't do enough to 8bit footage to correct for being 1000k+ off the ture wb.  you need to shoot a grey card in the light you're shooting in, look at what's happening on the scopes and dial in a custom wb offset to suit both the light source and the response curve of the profile your're using.  Unless you;re willing to do that, either stop moaning, or shoot with canon and lose the vast lens options, dynamic range of true s-log and evf with punch in, as well as the ibis with manual lenses, speed boosters, 4k, etc.    

You're mistaken.  sony cameras are shooting 25p (25 individual frames per second), it just so happens that the sensor is gathering light for 1/5th of a second then closing, then gathering light for another 5th of a second, five times a second.  each 5 consecutive frames are the same.  if it was shooting just 5 frames per second, when I open the file in premiere i'd see 5p, but I instead see 25p meaning there are 25frames there.  there might not be 25 different frames, but I have 25 frames none the less.  Tell me one mirrored camera that can shoot continuously for 25mins at 5 frames a second with each frame exposed continuously without a gap.  it isnt physically possible to open and close a mirror that quickly, continuously for 25mins regularly.  even a 1dx or d4 will eat up its shutter count and mirror will be dead in 2 months.  with the a7s you can shoot these clips at 4k, speed up by 500% and you have a timelapse with a rather interesting motion blur created practically, and in small file sizes. 

for this technique you want less frames per second.  Shooting at 120fps means you will degrade image quality for no reason since each frame will be sharp, and low light benefits no longer apply.
 
 
 for instance, 25p at 1/5th of a second confirms perfectly when sped up to 500% since the 1/5th shutter equates to 5 frames being exposed with one image.  hyperspeed by 500% smooths as if it were 25fps.  
 
shooting 24p and 1/4 sec means you need to speed up by 600% to keep the perfect conformation.  1/4 x 600% = 1/24th sec or 360degree shutter.
 
 
 
this was shot on the humble NEX5n, more than 3 years ago at around 400iso i think.  imagine how clean the a7s would be when in this mode. 

Sony allow as slow as 1/4sec at any frame rate.  shooting at 25p and 1/5th sec then speeding it up by 500% gives beautiful low light results for timelapse type stuff.  with the motion blur which is very pleasing for thing slike cars in the dark.  
https://vimeo.com/52579247 
 

Yep, slog should be used with caution with 8bit cameras. Alister is very knowledgeable but he comes from a high end camera point of view that usually is at least 10bit and not limited by codec (plus it seems he doesn't want to piss off Sony).  
Cine2/Cine1(0-255 cine2) work nice under low light for me with less highlight protection but some boost in the shadows.