itimjim

First FF non-pixel binned sensor. Positive though.

I may upload again with a slightly more evenly matched grade. But I love the Kodak look.

Close to a stop yes. Shouldn't make 'too' much difference in gauging what it's trying to show though.

If you want bang for buck the Canon FD is hard to beat, and they have a very nice Canon look to them without being sterile like their modern EF counterparts.
 
I have 20/2.8, 24/2.8, 28/2.0, 35/2.0, 50/1.4, 50/3.5 Macro, 85/1.8 and 135/2.8 all on a mFT > FD Speedbooster (0.71x). Fantastic collection, which I think I would struggle to ever part with.

Shot the following this weekend as part of the Sci-Fi London 48 Hour Film Challenge. It's a bit rough and I wish I'd had a little time to apply some NR to the Driftwood hack as it doesn't compress too well.
 
https://vimeo.com/63554916
 
Shot on GH2, Bolex 16/32/1.5x using Canon FD 35/2 and 50/1.4. One scene (lift) shot with Tokina 11-16 and given a 2.40 matte. Settings -2,-2,-2,-2 Moon Trial 5. Used mix of natural daylight and Arri Blonde / Redhead with 1-stop CTB.
 
Few straight out of camera (1.5x stretch in PS and to jpg) stills too:
 
[attachment=466:00002.MTS - 1 copy.jpg]
 
[attachment=467:00088.MTS - 1 copy.jpg]
 
 

I think the c300 is the best for handheld documentary stuff. 

Nice looking footage!
 
Did you use warp stabilisation on the above video? The flares are bouncing around, where as the frame stays quite smooth. Admittedly I'm confused over why the flare doesn't stabilise with the whole frame though...I need coffee.

It'll be ready in March. Download the pdf whitepaper, it's not 'planned' it's already done. Plus a passive Nikon F version too.

Yes, it's a language thing... of course it doesn't physically change the lens, but you get exactly the same image you would get with a wider lens.
 
By extender I mean a teleconverter (which also works with the light exiting), which works the same but the other way around.

 
@Richg101: Yes indeed. Extra speed, better quality in theory (downscaling the lens faults) and same dof as on fullframe. Just imagine the exact opposite effects of a 1.4x extender.

Excuse the crappy family day out video. A lot of this was shot at 28mm with a Tokina 28-80 and the Bolex 16/32/1.5x. My Kowa 8Z doesn't perform this well, and I've not even seen ISCO render detail as good as it either. Feel free to download the 1080p MP4.
 
https://vimeo.com/48683270

GH2, 28*1.83 = 51.24 vertical equiv
Sony APSC, 35*1.5 = 52.5
 
Trust me, the image with the hacked GH2 with a Bolex in front stretched out 1.5x is as detailed as it gets. It's got more detail than any native spherical Canon DSLR at 1080p. Sharpness is false, detail is king. Projected, these little super anamorphots hold up incredibly well.
 
I think I need to repeat. I see absolutely no degradation in image detail using the Bolex 16/32/1.5x on any of the primes/zooms I've used it on, all the way up to wide open aperture. Obviously apart from the horizontal softness that is introduced by stretching, and the difference in out of focus rendering. It definitely can add extra blooming, so hood/mattebox very useful.
 
I think you're getting hung up on focal lengths. I know a good range is important, but making comparisons across the range of sensor formats doesn't really say much. In most cases you're talking stepping a foot back or a foot forward, with very little change in image geometry. Only time I need wide for establishing shots, I'm usually quite happy switching back to spherical (Tokina 11-16), which needs a bit of work to match the anamorphic effect.
 
Nice truck shot by the way, really nice. You can still see the astigmatism at the edges of your image, which no amount of diopters is going to rescue. It's just flawed glass for large sensor. Just the same as my Optex 16:9 and Panasonic LA7200. I also have the Tokina ATX +0.4 Achromat, Heliopan +0.25, Cokin P101.
 
The quality of the shot distracts you from edge softness, so it still wouldn't be a stopper for me. Plus, filming talking heads, edge softness is rarely a problem. Still, Bolex, ISCO and Kowa are in a different league. I've tried them all.

Thought I'd share, as everyone in here is obviously keen on amateur anamorphic shooting.

[url="https://vimeo.com/48683270"]https://vimeo.com/48683270[/url]

Bit of a test of a new camera setting profile and lens combination, documenting a day trip out to Chatsworth House. Forgot my monopod, so it's shaky city I'm afraid. Combo would work well with a stabiliser, if not a bit heavy.

No grading at all. This is directly out of camera, edited in PP CS6, 1.5x interpretation, export to h264 HD 1080p/24 profile.

Camera: Panansonic GH2
Settings: Cluster v7 'Apocalypse Now' - 6 GOP Nebula with cbrandin/driftwood '444 Sharp2' matrix
Film Profile: Smooth -2,-2,-2,-2
Lens: Tokina AT-X 280 AF PRO 28-80/2.8
Filter: Hoya Pro 1 Digital CPL
Anamorphic: Moller Bolex 16/32/1.5x
Aim was to try and stress the new Driftwood settings out and see how the Tokina 28-80 and Bolex 16/32/1.5x behaved.

Settings:
Looks very good to me. Tonnes of detail in difficult conditions. Was a very bright day with big bright blue skies. Gradation in the blues is nice. Motion rendering looks superb in my eye, especially with my non-stabilised shaky cam.

Lens Combo:
Using the CPL introduced vignetting at 28mm on the Tokina, so I was stuck with about 35mm onwards. Needs a mattebox at the wider end, or a filter clamp and bigger CPL. I can't speak highly enough of the performance of the Bolex 16/32/1.5x. Can bloom when overexposed, but some of the internal reflections on my crappy mFT to Nikon G adapter. I need the Novoflex to be sure.

Well for under $1000 you are looking at what has the best codec & cleanest detail, and that is the GH2 with the hack. The GH1 has 4-2-2 but only in MJPEG mode at 720/30p. I'd say rather than chase 4-2-2 (which you cannot get for your price range in 1080p on a large sensor) the GH2 will make your job the easiest in post because of the high bitrates and clean resolution.