dahlfors

Great work! There was only one thing I found out of place - I would have preferred having the water faucet mixed down far lower. Try mixing it lower, and I think you'll find your piece even better :)
 
Cheers!
 
(edit: for clarification, I'm on my macbook speakers now, and the faucet stood out on those speakers)

The BlackMagic Pocket Cinema Camera has arrived at Wooden camera.  Here are some of the demo videos:

BMPCC overview
http://www.youtube.com/watch?v=8gTZ0XS9LDM&feature=c4-overview&list=UUZt-vOtUh9DzT05lMAQXMDg
 
Accesory Kits
http://www.youtube.com/watch?v=UNmZOuSh0_c&feature=c4-overview&list=UUZt-vOtUh9DzT05lMAQXMDg
 
BMPCC Camera configurations
http://www.youtube.com/watch?v=K2_rV58kulE&feature=c4-overview&list=UUZt-vOtUh9DzT05lMAQXMDg
 
M/4/3rds to PL mount adapter
http://www.youtube.com/watch?v=mmFf5b7nGR4&feature=c4-overview&list=UUZt-vOtUh9DzT05lMAQXMDg
 
 

progress :D
 
http://instagram.com/p/b358s3o8HB/
 
 
my prototype MFT mount works GREAT :) its like no other on the market not pressed by springs its pressed by mechanics :D
 
big thx to my machinst without him this would not be possible.
 
one pity it the the c-mount to mft adapter i got from ebay dont works :-( the problem is that i cant screw the lens far enough in :-/
 
 
but my mft to ef mount works flawless also my backfocus adjustment :-) 
 
guess my buddy and me need to machine an own c-mount to mft adapter ;-)
cheers janosch

Full 1920x1080 at 60p in 10-bit would be lovely. Guess we'll have to wait for next generation of cameras...

Decay is much too long for it to be strobes. Cheapest way of achieving that effect is to get tungsten work lamps from a home depot/hardware store and synchronize the 'flashing' by simply turning the power on and off on the in-line switches. Do not overload the power socket by plugging too many lamps into a single socket! This will give you the natural 'fade' between flashes. A more portable version could be made by wiring 12v tungsten lamp heads or even car headlights to a decent car battery. The proper way of doing it would be through a lighting desk and by setting up synchronized cues via a dimmer to the lamp heads.

I purchased one of these and did a quick test! Thanks John
 
https://vimeo.com/69710158

Hi All, I just finished a big review of the Flare Factory 58 lenses from Dog Schidt Optics. You can read the full review here http://www.robbannister.com/blog/
 
The mandatory cat test was shot with the Neutral FF58 and the iscorama and the other video with the Amber FF58 is not with the anamorphic because I had sent it off for the close focus mod. Though the Amber version pairs really well with the iscorama and you can see a small sample of that at the end with the car.
 
https://vimeo.com/67975230
 
https://vimeo.com/69262934
 
straight out of the camera no CC, password: radioactive
https://vimeo.com/68393006
 
 
 

Our favourite GH2 hacker Vitaliy Kiselev has just released version 2.55 of "NTool", his firmware patcher for Nikon cameras. Vitaliy says there's references to 'LiveView Raw' in the firmware. What does it refer too?

[url=http://www.eoshd.com/content/10691/nikon-d7100-has-reference-to-liveview-raw-in-firmware-and-vitaliy-kiselev-working-on-patches]Read the full article here[/url]

Look at this scene from an older Superman movie. Look! They have a conversation! and there's a script!
 
WOAH!
 
http://www.youtube.com/watch?v=4Bb78jAYhcc

Bioskop, I think you mean the 62mm one, that`s +1.6 and achromatic. The 72mm are usually +1, and both are still quite cheap.
 
 
That's it. From now on, I'm never writing achromatic again. Just acrobatic. It's muuuch more apropriate, and enhances their quality and performance! hahahahahahaha :D

Just want to piece in my five cents about buying/selling anamorphics on EOSHD:
 
I'm a happy owner of an Iscorama thanks to the anamorphic forum. I've always loved the wide aspect ratios and anamorphics look, but didn't know much about anamorphic until I ended up buying the anamorphic guide and started lurking around here.
 
When I had the budget for an Iscorama I started bidding on a few lenses on ebay and I also added a buying post here. Fortunately enough, one guy in Europe on EOSHD had an Iscorama that he could sell. Knowing how much money was involved, I thought I might as well take a Ryanair flight and stay in a hotel for a few days to see the lens and exchange money in person. Worst thing that could happened would probably have been that I'd get a weekend vacation trip to a city I hadn't visited. 
 
The seller turned out to be a really nice & honest person and he of course had a great interest in anamorphics and film making as well - it felt like meeting up with a friend.
 
So, buying from longer time members in the forum - and making a low budget trip to exchange the goods might be a good advice to not get scammed.
 
If I'd buy/sell some anamorphic equipment in the future, this forum would be my first choice due to the helpful community. Cheers!

I don't think this is really BMPC footage. Whilst on this subject anyway, I think it is a good idea to mention this:
 
Asus 4K LCD monitor is here!
 

 
http://www.asus.com/News/L9xTPmmMwTlPMq5l

PROVE THEY HAVE THE GOODS
 
- Request to see photos of the item being sold with their EOSHD username displayed alongside it, preferably in handwriting on piece of paper so it cannot be faked.
 
COMMUNICATE
 
- Check their forum posting history, see if they are new. If they have a genuine history of posts and contributions to the forum, the seller is more likely to be genuine.
- If possible speak with the seller by telephone
- Until a deal has been closed, converse with the seller openly on the forum
 
ASK FOR ID
 
- Get a real name, address and ID
- If they refuse full details on privacy grounds, ask to continue the deal and all private comms via eBay instead of the forum
 
USE SAFE PAYMENT METHOD
 
- DO NOT use Western Union or wire transfers
- PayPal is preferable over bank transfers
- Ask if they accept cash on collection
 
SELLERS
 
- Sellers should provide a price in the main topic
- Sellers should provide a link to their feedback on eBay and be contactable via their eBay account
- Topics that don't meet these rules may be at risk of being deleted
 
DISCLAIMER
 
EOSHD is not responsible for buying and selling on the forums, deal at your own risk and buyer beware

Okay, when I started working on this film I new I wanted to shoot anamorphic but I was entirely not acquainted  with doing so. I found a place to rent an ISCO from for a pretty decent rate and just jumped in. There was enough time before shooting was set to start that I could do a very decent number of tests to get comfortable with the system. 
 
At first I was not sure which camera we were going to be going with so I tested a few. This was the first video test we did. It was the ISCO with a ISCO 35mm mounted on the 5D MKII with a Small HD DP4 on top. I just put the entire thing on a pistol grip and went out into a field and shot handheld. I knew after this test this was going to be a blast. I had no plan on what we were shooting that day, the lens had literally just arrived and we rushed out to catch the sunset at golden hour. I wanted to get some idea of how it looked so i could start making decisions. 



 
https://vimeo.com/49436068
 
Then after that test I got access to a FS100 and decided I'd give it a go with that but had not really tested anything with it, or seen anything. Then I stubbled across this video:
https://vimeo.com/28203770
 
 
and knew that I had to shoot with the FS100. And following that decision we shot this simple test video. The only lit segments are in the kitchen. Which have a 575 HMI through a silk coming in from a side window. Flashlights and such were placed intentionally to test the flare intensity. 
 
http://vimeo.com/49528017

After I made this decision, but before shooting on the film "seek" started I was commissioned to shoot an action adventure in the style of the goonies. We were planning on using the FS100 with the ISCO and shooting was going to happen over the course of 4 weeks. Sadly this project was cancelled, but I brought the FS100 along with me for initial location scouting. These shots were done for the sake of feeling out the space and I did them as quickly as possible. This was thrown together for the director to get a sense of what choices we had open to us. Watching this still pains me I did not get a chance to shoot this film. The FS100 would have been a spectacular fit for it too. (and would have been super convienent since I already had the FS100 for a long term rental)
 
https://vimeo.com/52070462
 
Working with this setup was a fantastic experience. It was not without its difficulties as getting used to using diopters and an achromat was quite the learning curve. It came with +1,+2,+4,+10 diopters. This thing could get amazingly sharp macro focus shots. This mantis was only the size of a dime, and here it fills the entire frame. Crazy. 
 

 
 
 
Let me know if anyone wants anymore details. 

No need for introducing the Iscorama here...
 
I thought that perhaps some of you might want to pixel peep and see exactly how sharp an Iscorama will be for future use at 4k, 8k etc.
 
So, I am sharing some of the Nikon D800 36 megapixel (7.3K) stills I shot with the Iscorama attached to the Nikon 50mm AF-D f/1.4 and Nikon 85mm AI-S f/2, stopped down to around f/5 to f/8:
 
http://we.tl/9dsQGS1GN7
 
These are the full .NEF raw files, works in newer versions of Lightroom & Photoshop. Keep in mind that wetransfer keeps the files available for 2 weeks only!
 
Since they get shared on the web now, I guess you can do anything you want with these files / re-post etc, as long as noone else steals the credit for them :)
 
Might be a nice thing to view for you who consider getting an Iscorama or wonder how well the sharpness holds on an Iscorama. It's not as supersharp as just the 50mm or 85mm lenses by themselves only - but in my opinion Iscorama would look lovely in 4k.

Huge thanks go to A1ex, g3gg0, 1% and the whole Magic Lantern team.

I have no other words to describe it - this is huge news.

Magic Lantern have done the seemingly impossible and given us a continuous raw recording mode on the Canon 5D Mark III. Once activated in the menus the 5D Mark III becomes essentially a full frame Blackmagic Cinema Camera and amazingly mine has not yet exploded. No more short bursts of raw, this is the real thing.

Read the full article here

Greetings all,

This is my first post here but I've lurked for quite some time, particularly in the anamorphic forum. I recently bought an Iscorama 36mc 1.5x anamorphic lens from another member here (QuickHitRecord) and wanted to share some of the results I've been getting.  This lens has quickly become my favorite lens!  A refreshing change from the perfect/sterile "Canon L glass look".

http://vimeo.com/65643270
 
Camera:
75% Canon 5D Mark III (more towards the beginning)
25% Blackmagic Cinema Camera (more towards the end)
 
Lenses:
Vivitar 28mm 2.5 M42 mount + Iscorama 36mc 1.5x
Iscorama 50mm 2.8 M42 mount + Iscorama 36mc 1.5x
Canon 85 mm 1.2L + Iscorama 36mc 1.5x
 
Adapters:
Genus 77mm variable ND filter
Polaroid 72mm Close-Up +1 filter (only on a few tighter shots toward the end.)
More thoughts in the description on Vimeo.  What do you think?

Also, I don't know how first posts are supposed to go or what's considered cheesy but I just wanted to say I look forward to becoming a more active member of the community here.  I hope to learn much and contribute where I can.

John
DuckDuck Collective

Sure!
 
I'd be happy to post a detailed explination of the process when I can if people are curious.
I know I was suspicious of the process when I got into this because of the fact that I could not find anyone that had shot a film longer than a few minutes with one of these lenses. If you have the right pieces the ISCO is amazing. Perfect edge to edge sharpness.

For some reason I was locked out of my account. Not sure why. I am AdamCinema.
 
Anyways, I buckled down and rented an Iscorama 35mm and 50mm. Really nice little kit, and I shot my entire senior thesis with this lens. 
 
The kit came with 4 diopters and an Achromat in addition to the lenses. I really wish I had, had the money to buy it after I rented it. Here are some stills from the film. 
 

A little early plug of our latest product...  a slight step up from the original little FF58.  This is early sample footage of a prototype we are working on.  Single focus, a lomo-esq integrated anamorphic lens, based on our FF58 with an anamorphot we are developing.  Single focus, but using the LOMO focus method rather than the iscorama method.  this is a f2.8 50mm anamorphic lens system.  no diopters are used.  focus currently is from 4.5ft-infinity.  with lomo-like sharpness, and flares from the gods:)
 
 
http://vimeo.com/65480667
Password:- ???
 
 
CA is there at the edges.  but without it, i think the feel of this type of lens might be lost.  
 
Lets hear some critique from you anamorphic nutters!.  We don't want to go into technicals as yet, but would love to hear some unbiased opinions on the look where getting from this first prototype.
 
in the movie you will see Hans using his Oct 18 square front and a FF58 in our new Bronze tint.  but all footage is shot with our newly developed anamorphot.  

SSD's cost around 150 euros and upwards for 250 GB, over 300 euros for 500 GB sizes.
 
SSD's are the most rugged ones for sure. Hard disks are far more sensitive to rough handling and shocks than SSD's. However, they are the most sensitive when they are powered on. If you eject hard disks safely before powering off - hard disks park their mechanical parts (arms with read/write heads). When in parked state, hard disks can withstand quite a lot of shocks and rough handling.
 
So, if you want lots of storage for a cheap price, hard disks are the way to go. If you want the absolutely best ruggedness but can survive on a bit smaller storage, SSD's will be the best choice.
 
Depending on where you travel, you want to keep both SSD's and HDD's dry. In jungle-like humidity you really would want to have some kind of sealed box/bag with something that absorbs humidity, like silica gel.
 
I've seen how bags get treated at airports, and would it be me, I'd be sure to keep the portable disk as hand luggage, wrapped in a sweater or so. Normal carrying like that in a backpack or so shouldn't be a problem if you aren't unusually careless about the bag.
 
When it comes to the casings of the hard disks, I wouldn't care too much about if it is padded or not, that's mainly cosmetic. What I'd care more about would be the cooling properties of the hard disk case. According to largescale tests done by larger data centers, hard disks have the least amount of failure if they run at around 30-40 degrees celcius. Cooler or warmer running increases risks for failure.
 
My personal recommendation for traveling storage on the cheap would be to get two portable hard disks, one for backup, then using same transporting & dry keeping for both of the disks. If they'd get banged around enough to break - you got a good chance that one of the disks survive at least. Hard disks are the same all around the world as well, so you'd easily be able to get a replacement for backup if one would break down.
 
Also, any portable hard disk that has the right interface for your mac (USB/Firewire) will work, no real difference.
 
My own solution is to get any cheap metal (better for keeping drives running cool) casing I can find for the interface I need (usb/firewire/esata), and then I drop in just a normal 3.5" hard disk. No reason for you to do it if you need a new case, I just do so because I usually have a lot of extra hard disks lying around.

Just playing with these for about 3 minutes, I can see why it's often called "baby Alexa"
 
UNGRADED
 

 
ATTEMPT TO CREATE "ALEXA STYLE" LOOK
 

Variable ND filters can be really handy, although they tend to remove a little bit of the sharpness of a video.
 
Here's a nice review of a few of the common ones: http://www.learningdslrvideo.com/variable-nd-filter-shootout/
 
 
I've personally used the Lightcraft Fader ND Mark II which I was pretty satisfied with - until I managed to have it cracked when it fell straight down on asphalt... I'm considering getting a second one of those :)
 
I also use the Cokin P-series filter system with square-shaped plexiglass ND filters which are also very useful - but not fully as portable (no loss of sharpness with these).
 
For proper exposure, I lock shutter speed at 1/50 for 24 fps video, set the aperture according to the style I want, and then try to keep ISO as low as possible. If it is very bright and ISO100 is not enough, that's when I use the ND's to get the proper exposure.

This video was posted here before, which shows the Nikon capabilities.  4K would be amazing.  Nikon has an unique look.  Cheers.
https://vimeo.com/57786264

https://vimeo.com/63892665
 
Things that stand out...
 
Compressed raw will likely come to the 2.5K camera, with firmware update Firmware on the Pocket Cinema Camera is identical to BMCC, only sensor part is different (debayering etc.) They hope to do a Quicktime wrapper for Cinema DNG making it easier to edit. Raw frames in Quicktime MOV!  
All very positive stuff and I like how knowledgable and engineering lead their CEO is. Not a business strategist but a proper technical man with ideas.