Julian

http://www.ephotozine.com/article/b-w-filters-are-fighting-lens-mildew-with-uv-light--27637
Pretty interesting device.
 
 

Best penis swinging physics I have ever seen in a computer game!
Loved the whole style, it's entertaining from start to finish. If anything it almost looked too good!! If you really want VHS quality.... shoot with a NEX VG90!! It has the VHS colours straight out of the camera. I'm not joking!!
Have you seen Computer Chess? I haven't yet but loved the trailer and it's on my list... that looks very CRT tubey.
I love it when someone puts a ton of effort into something and its a labour of love which this music video clearly was. Enjoyed the music too man... we shall have to work together on something in the future, perhaps when I get myself back to the UK and divorce myself from my family of 600 lenses and 24 cameras

We had a lot of fun making this one, three people in crew in total and a £500 budget for all the extras (props location etc) the kit is our own
Animation took a long time, and VHS style was tough to build! Happy to answer questions on production if anyone is interested!

Horses for courses. Not everybody wants a big professional cinema camera.
No point in comparing the two in my opinion.
 
 
 
 

Yeah, I saw it mentioned on mirrorlessrumors. With SLR Magic and their CINE APO and the Veydra Mini Primes, this could be another interesting addition worth keeping an eye on.
I think the only one who could pull of rehousing is Sigma (and that's already being done by others, which is also happening for some Tokina and Nikon lenses for example). I do feel like Rokinon would really have to up it when asking 2499 for a lens. Frank appears rather impressed, so that sounds promising. I appreciate these kind of developments, it makes the market an interesting playground.
Actually does sound quite similar to what Tokina is doing with zooms: http://www.tokinacinema.com/lenses.html .
Though, mind you: 'using the successful optical formula'. So, claiming it's not just rehoused (like so) doesn't neccesarily mean they aren't using old optical formulas.

Horses for courses. Not everybody wants a big professional cinema camera.
No point in comparing the two in my opinion.
 
 
 
 

The Kowa + Rectilux combination looks neat indeed!
Is the SLR Magic a preproduction sample? Was it fully in focus here?

Never really understood why people care what other folk do with their cash!

Exactly,  not getting the Mini is probably a better way to cure GAS.

Nope. If you're stuck in that loop, another camera is not going to get you out of it.
 

I love the Moller, I don't have one though. I'd pay a lot for it if it was single focus... I think it's the best baby for sure.
I'm the lucky owner of a Petit Cinevision. It's probably not the best baby in town, but I love this little lens. Since I picked it up in 2013 I have never seen one again and it is impossible to find something about it on Google. A real unicorn!

I really have to take my baby out sometime again...

Horses for courses. Not everybody wants a big professional cinema camera.
No point in comparing the two in my opinion.
 
 
 
 

Agree.
The URSA Mini should be compared to the FS7, C300 Mk II and RED Scarlet Dragon, if anything. 

You know NX500 as a great little video camera that shares many of NX1's awesome qualities. What may not be obvious is that it can work as a great teleconverter. Using its APS-C sensor and 4K crop and placing its 4K footage onto a 1080p timeline, you can turn a 200 mm zoom into a 1,000+ mm ultra zoom (200 x 1.54 x 1.58 x 2.13 = 1,037 mm). I got an NX500 yesterday and thought I'd post some footage of birds on our street that I shot today with my Canon 70-200 L lens. Try it out if you have the NX500.

Thanks again. : ) I'd also love the e-shutter for timelapse, always felt bad for the Nikon when I heard it snap every 20 seconds.

@agolex You can download raw samples here: http://www.photographyblog.com/previews/sony_a7r_ii_photos/
Photoshop CC supports them. I tried a few and the dynamic range looks amazing - as we can expect from a Sony-sensor. I'm pretty sure it will be on par - at least - with the D800.

@agolex: in the description: Shutter Speeds: Various (Sometimes very High). Occasional use of ND Filter on the 50mm 1.4 to achieve 180 degree shutter (1/50).
So looks like all the other shots are shot without ND's with high shutter speeds - that's what makes motion look bad...

Andrew, 
And what if it is true?
what if Sony gives you a a7rii like cinema 5d and you think wow it's fantastic and more than a7s, wouldn't you say it? 
I mean, we can split on those guys cause they got the camera early and give us a test, and split on them cause they say the camera is fantastic. It might just be that....
 

"Remember that the Super 35mm mode would also be able to benefit from the Metabones Speed Booster for an further gain in low light performance of nearly 2 stops."
Huh?  Nearly 2?  I thought all the FE adapters were 1 stop, and only the Micro four thirds had an extreme speedbooster.  I've been known to be wrong though as I HATE HATE HATE using adapters.
 
This is for the micro 4/3rds - http://www.metabones.com/products/details/MB_SPEF-m43-BT3 - 1 1/3 stop.
The Sony FE to Canon - 1 full stop - http://www.metabones.com/products/details/MB_SPEF-E-BT2
Where is the "nearly 2 stops" adapter for Sony?

Perhaps there won't be a A7S II...

Hello!
I haven't slept much last night but here it is, the α7R II low light test! (i also posted my initial thoughts at the beginning but feel free to skip to the test if you get bored!) 
The results are very surprising, whereas during the day i couldn't really spot a difference in quality between the FF and S35 modes things are completely different when the lights go down: the S35 mode is vastly superior to the Full Frame, they are not even in the same league! I don't know if that is only the result of the better readout from the sensor in S35 or there is some noise reduction wizardry happening in real time but the output from the S35 mode is way cleaner.
And not only the S35 mode is cleaner, we're actually talking about α7S levels of performance!  (at least up to ISO 25,600 which is the maximum for the α7R II)
don't believe that? I included a low light shootout with the Queen of the night itself!
In the end i decided not to include the 1080 samples because they're quite bad, way worse then the both the 4K modes so it's definitely better to downscale when a 1080 output is required.
What else to say.. i'm very impressed.. this camera keeps getting better and better by the minute!! 
Today i'm gonna shoot some real word run and gun footage to see how the Steady Shot performs and how is the footage when graded, needless to say i have very high expectations now!
Thanks for watching!
ps. i just noticed how badly YouTube compression affects the video so I uploaded a better version here if you want to have a better look!
http://we.tl/XBCZm1NsgK
 
 
 

Well we can expect to see people unloading their A7Ss on ebay and the prices dropping pretty soon, as it seems the A7Rii will be a more balanced camera in a smaller form factor when shooting 4k.

Hi Ricardo and welcome!  I am also a relative newcomer and have found a huge amount of info on this site, and people here are great at sharing their experiences.  You can take a look at the Anamorphic Lens-o-pedia, which is an aggregation of details about various adapters.  Also consider the Anamorphic Shooter's Guide. Tito Ferradans has put together some fantastic info here too.
All have adapters have advantages and disadvantages.  Anamorphic lenses with more in the 'plus' column and less in the 'minus' column are usually more elusive & expensive.  A full frame camera like the NX1 will reduce your practical options, and determining the anamorphic size/weight that fits your style of shooting (narrative, documentary, etc), will help narrow your choices further.  Once you have reduced your list to a few possibilities, follow that up with research on each,  Obviously EOSHD is a great resource, and you can find other tidbits of info scattered around the web.  Make sure to watch lots of videos and test footage of your choices to see if the image quality will meet your needs.  If you go for a vintage/discontinued product, you'll need to have some patience and diligence to locate it in the condition & the price range you're looking for.
For me personally, wanting to do narrative, I decided I wanted something that is single-focus and relatively lightweight.  I have a Century Precision Optics widescreen adapter which can be acquired relatively easily, but is not great at wide apertures and is soft at the edges.  However it is easy to swap out taking lenses, allows partial zoom-through, the taking lens does the focusing, and is light enough to carry around handheld if needed (though rails is always a good idea to reduce stress on camera & lens joints).  I also have a Bell & Howell projection lens, but it requires modification for greater ease of use.  I haven't done the mod yet, and there is always risk of damaging the anamorphic unit.  So like I said, every choice has pros and cons.
I don't know if any choice is perfect, but most folks here seem to have found workarounds for limitations,  Sometimes that means changing the way you shoot, sometimes that means selling the gear and putting the money towards a different option, sometimes that means doing crazy and ingenious modifications.  But first: research, research, research, and a good anamorphic choice will emerge.  Hope this helps!
 
Best
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This thread went from 'weird' to 'absolute awesomeness' in two posts.
Art V., you're my new idol. Anamorphic macro is definitely something I'm hearing (AND SEEING!!!!) for the first time. The quality of the work as well as your patience to go into the details of the explanations already won my respect. Great stuff, man!

GH4 + LINOS MeVis-C 35mm f1.6 C-mount lens + baby Hypergonar 1.75x + SLR Magic Rangefinder