Julian

On behalf of the whole forum...
 

That colleague of yours is talking bollocks. The super35mm sensor doesn't use all the image area offered by the Zeiss (as you can see in your comparison with the fullframe 5D), but adding an anamorphic gives you a wider field of view, no matter the sensor size.

Putting this the same league as the 5D2 is abject nonsense.  I hope he was paid well.

Well, just put a GH3 on his head and you've a cheaper and biological MoWLI:
 
 
[youtube]https://www.youtube.com/watch?v=k6M-h5g3PwI[/youtube]

I didn't take Laforet for a barker. Guess i was wrong.

Although not specifically build for handheld use.... this could be a cheaper alternative ($3500 for the GH2 version)
 
https://www.youtube.com/watch?feature=player_embedded&v=v6TWct7VqCY

Yeah, jesus huh, yes it's a great bit of kit for some shots, not all shots, it's another tool BUT it isn't a 'Game Changer', it doesn't warrant the build up it's had, it doesn't warrant comparison as a 'game changer' to what the 5D MK II did to the 'industry', shot for shot in a movie how many times use this device, how many times use a 'game changing' camera, every shot.
 
I'm not judging the device based on the videos put up, I'm commenting on the over use if anything, yes it's to show off the device, better will follow but considering they had the heads up, surprised of whats been put up, that's all.

Craigslist

Inevitable. If analog film was the Titanic, the iceberg had already collided. Maybe you can still keep your balance and insist on taking a quiet walk on the upper deck despite the panic around you, but not for long.

I went down with analog photography, that was more than 15 years ago already. Back then, the professionals detested digital and stated they would never ever use it for serious work. This changed FAST. Like, one day the customer said, don't worry, you're going to handle my stuff forever, next day he said, your job is history.

Nikon released a firmware update for the D600. If the crippled 95% hdmi output bothered you, that's fixed now:
 
 
http://support.nikonusa.com/app/answers/detail/a_id/18267/kw/D600/session/L3RpbWUvMTM2NDg3NzMxMS9zaWQvQTJSKndHbWw%3D
 
 

A japanese nanobot that climbs inside your camera, chews all the Bullsh-t electonics out and gives a feed straight from the sensor to extenal raw capture, any camera. :-) Not made by Canon obviously as they thrive on it.

APS-C sensors are atheist.

There isn't anything similar to the Nikon 1's, definitely not better. Casio has compact camera's that do 30 fps (full res) for one second in jpg.
 
With a Canon 1D X you can shoot continuous jpg's at 14 fps for '5K video'. That's the fastest dslr, and thats about it. There's not much of a database to make imo.
 
http://youtu.be/qU71wZBoA1E

It could be 1920p video saved as 60 seperate jpg frames.. ;)

Not true, at least for photography.
 
Canon EOS 300D: first consumer dslr
Canon EOS 5D: first fullframe consumer dslr
Canon EOS 5D Mark II: first fullframe dslr with film function
 
Up till the 5D II and 550D, Canon was always pretty innovative and providing a lot of bang for your bucks.

I can only assume Canon fired all their engineers and scientists in 2008 and have employed only people in marketing since then. There is no other explanation.

Nice footage, I love the Speed Booster... the whole concept keeps amazing me even after it's been out for a while. Can't wait to get my hands on a M43 version :)
 
But... iso 1600/3200 @ f/1 equivalent is not completely dark imo. A f/1.2 lens on a speedbooster (@ f/0.9) on a FS100 @ iso 12.800 by moonlight on a cloudy day, that would be dark ;) Would love to see that.

Random goofing around...
 
https://vimeo.com/60911351

markm: you're evidently worked up, and i appreciate your passion, though you do come across a little patronising here. I'm no fool, in fact i'm rather well read in politics and economics.
 
I don't believe single-party systems are inherently bad, nor do I believe universal voting rights in a capital-driven system to be necessarily good. The fact that a group of millionaires from the same university class were able to convince the UK to vote for them using huge amounts of money is proof enough for me that multi-party democracy isn't an automatic pass card to great freedoms and a wonderful society!
 
I also believe Marxist systems can work, and indeed are the only forward for a peaceful world. In China, the middle way is in effect. It is an interesting evolution of the dialectic in economic and social terms, and it's exciting to see things pan out. Their economy is certainly booming.
 
The idea that I'm giving up freedom and democracy by not handing political power over to a party I mistrust is absurd. I'm excercising the very right by not voting for them.
 
When they start talking about a roadmap for renationalising health, education, transport, gas, electricity, water, post, banking, and other essential services they may start to interest me. At the moment there are huge holes in their manifesto surrounding such vital issues. The so-called manifestos are wishy washy at best, simply empty sentences at their worst.
 
I agree with tight border control, but only because huge numbers of unskilled workers flowing over borders only serves to create an international underclass and helps no one but the ruling elite. A properly-run communist system not only solidifies national identity, it also ensures a consistant quality of life and removes the possibility of excessive profit, exploitation, nepotism and greed. We've yet to see one so far in the world, but we will eventually, and like to see it in the UK. I don't think UKIP share this belief, thus I wont vote for them.
 
So yes, I could be classed as an extremist too, but I believe a preoccupation with equality, co-operation and eliminating corruption to be a good extreme, quite the opposite to your fear mongering.
 
Now I do love political debate, but this really has gone a bit far don't you think, for a Tarantino thread?
 
 
Anyway, take the last word my good man, and I'll leave you with this wonderful piece of Wiki in glorious Comic Sans:
 
Godwin's law (also known as Godwin's Rule of Nazi Analogies or Godwin's Law of Nazi Analogies[1][2]) is an observation made by Mike Godwin in 1990[2] that has become an Internet adage. It states: "As an online discussion grows longer, the probability of a comparison involving Nazis or Hitler approaches 1."[2][3] In other words, Godwin observed that, given enough time, in any online discussion—regardless of topic or scope—someone inevitably makes a comparison to Hitler or the Nazis.

The official position is that Metabones is contemplating that possibility, but could neither confirm nor deny whether there are concrete plans to do a medium format Speed Booster. Basically everything about the roadmap that can be disclosed is already in the FAQ section of the Metabones site. All the rest are "neither confirm nor deny". We are all ears to your ideas but your understanding is appreciated that we have to operate with a certain degree of secrecy but for various reasons not everything could be disclosed publicly.
 
If you would allow me to put down the official hat but just state my personal opinion, however, a medium format to full frame SB would not have rocked the world like the full frame to APS-C SB had. By that I mean, for APS-C there is no way to get a 17/1.0 other than 24/1.4 + SB. However, name any medium format lens, multiply both its focal length and aperture by 0.7 or thereabouts, and there is always already a full frame lens which could do its job. e.g. Mamiya 80/1.9 => 56/1.3, pretty close to a 50/1.4. There are no medium format lenses that I am aware of which were fast enough or wide enough for some breakthrough to occur in the full frame world.

For those looking for simplification, a summary of what I've learned so far about the destructive aspects of video compression follows.
 
This is from the perspective of someone who likes to shoot but loses interest at the level of coding and mathematical formulas, or where the complexity of information outweighs the practical benefits gained from the knowledge outside of the lab/software or hardware development.
 
If you're the same, you'll probably like it. 
 
---
 
Bit-depth = number of possible shades.
 
8-bit allows 255 different levels of colour for each channel. 10-bit allows 1023 different levels. And so on.
 
Side effects of limited bit-rate such as 8-bit include banding in areas with subtle gradients such as sky and smoke, "plastic" looking skin tones.
 
Practical fix: shoot your footage as close to your final look as possible. If you shoot flat, colour grade in After Effects, DaVinci, or another application with a 32-bit processing mode.
 
---
 
Sub sampling = spatial resolution of colour channels. There are three colour channels in digital video.
 
Uncompressed is R G and B, all at full resolution.
 
Sub-sampled is Y (black and white, or luminance), Cb (blue) and Cr (red). 4:4:4 all channels are full resolution. 4:2:2 the colour channels are half resolution. 4:2:0 the blue channel is half resolution, the red channel is quarter resolution.
 
This is not a mathematically perfect way of describing it, but it's conceptually sound for most of us in practice. It's as much as we need to know.
 
Side effects of 4:2:0 sub sampling include jagged pixelation and edges to red areas such as red glow from lights or red clothing. 
 
Practical fix: use a cooler white balance and bring your red back in post using a finishing application like after effects.
 
---
 
Bit rate = the amount of data used for video encoding measured over time.
 
50mbps is 50 megabits per second = 6.25 megabytes per second, for example.
 
This data rate alone does not necessary directly reflect visual and aesthetic quality, as compression algorithms and implementations are extremely complex and varied. Some fall within standards, others do not.
 
I-frame codecs encode each frame individually. I-frame allows most film-like motion "cadence".
 
GOP encoding uses Groups Of Pictures. The longer the GOP the more the codec can struggle with lots of movement. Long GOPs can contribute to a digital video "feel"
 
Side effects of limited bit rates include pixelation in high-motion shots, very little data in under-exposed or dark areas leading to blockiness and inability to recover shadow detail. general masking of natural sensor noise (grain) with unattractive pixelation.
 
Practical fix: a low bit rate is very destructive even with an advanced codec like AVCHD. This is why Canon use AVCHD for the C100, and their implementation of MPEG2 for the C300.
 
If your camera has a "black level" or "pedestal" or "Cinestyle" or "DRO", you can shift this up a little to prevent data from being encoded where there is very little priority given to it by the codec. This does spread data more thinly though, also remember your 8 bits...  Hack your camera if you can ;)
 
---
 
In short, working with compressed footage is a bit of a balancing act. A huge amount of data is thrown away in order to make files small and to separate markets.
 
The process is destructive, and cannot be reversed, though being intelligent on set and in post can help a lot. 
 
The ideal is something like Red R3D: visually lossless compression that maintains raw processing capabilities. It is a joy to work with.
 
Ironically, it's actually more important  that you get your shot right with a cheaper consumer camera than with a RAW camera, as you can't do so much in post production. Though users of lower end DSLRs are the least likely to use a light meter, for example, they are actually the most likely to benefit from it.
 
Practice makes perfect.

It's a modified Helios, right? Could you share a bit of the process? what are you actually changing about the lens and how? That'd be interesting to see.

I've never seen noise showing up in highlights more than in shadows. Is that even possible?

My question is : with that kind of result, do I need a GH3 and mainly an Iscorama 36 ? I'm not so sure now for the Isco ;) Could it be better with the 0.4 achromatic diopter ? Please tell me your opinion :)   https://vimeo.com/59844561   GH1 hacked 720P 50 baby Berthiot Hypergonar anamorphic lens 1.75X Planar 45mm f/2  Hartbley Super-Rotator tilt and shift 80mm f/2.8 lens Tokina 0.5 diopter Light Craft variable ND filter   Premiere pro CS6 light CC (levels)   Maybe the ultimate combo for the baby Hypergonar anamorphic lens : the Planar 45mm f/2. As least for me. I've found for a reasonable price this Planar lens that I used to have few years ago on my Contax G1 rangefinder. I had great memories on that lens and sold it a few years ago for money reasons. Here it backs, for 200€. Popular Photography magazine said in 1994 that it is the sharpest lens ever made. Effectively this lens is very sharp, also at f/2. So I decide to test it with my (new, again) baby Berthiot Hypergonar 1.75X anamorphic lens, a very small and light (51,7 grams !!!!). For the close up I used my new Tokina 0.5 diopter. I just watched the export of this movie on my TV and I'm very pleased of the result, no vignetting, no distortion, and very sharp result to my opinion, with the Tokina in the close shot, and without in the wide shot. The very firsts shots (with the blurry corners) have been taken with a tilt and shift lens, the Hartblei Super-Rotator 80mm f/2.8 (Nikon mount). It is miraculously working with the baby Hypergonar, small vignetting when the lens is tilting, because it's a 80mm... It's hard to use because it was for me the very first time shooting with a tilt and shift lens. I surely have to practice, that's why I edited just few shots.    All this was shot with my old hacked GH1 in 720P. I've received few days ago the new GH3. I will do test with this combo soon. But the GH1 is still in the race !    music : Masked Ball (Jocelyn Pook) from Eye's Wide Shut soundtrack.  
 
 

 

 

 

 

Nikon, Leica R and lenses for larger formats (medium format etc).