Xavier Plagaro Mussard

Because they dont want to.

I was talking about the Sony!

Hi Julian...
Thanks for the response. After a close family friend passed away years ago I arranged for the sale of his old Arriflex II-C camera, His Iscorama lens was given to me by his niece as a "thank you". I've used it for years, shooting slides, then shelved it when I "went digital". Several years ago I stumbled across the EOSHD website and it rekindled my interest in using it for digital work. It's only fairly recently that I've played around with it with the idea of adapting it for close-up shooting. I'm still not fully up to speed with it when working at close distances. The very shallow DOF at high magnifications is a problem, and working with mongrel supplementary lenses scavenged from junk lenses is "iffy" at times. There's a tremendous amount of variability in image quality when I mount add-on lenses on the Isco, depending upon which primary lens I'm using. Through quite a bit of testing I've created separate sets of supplementary lenses to work with the Isco when mounted on specific primary lenses. A few of my add-on lenses do vignette a bit, which is cropped away preserving the normal decompressed aspect ratio. I haven't run any focus / compression tests at anything closer than about three feet, but feel as you do, that if I leave the Isco at infinity there probably won't be a shift in the amount of "squeeze". 
Here are a few sample images, all taken using an old Nikkor-H 85mm f/1.8...  stopped down to f/16 or f/22, with a variety of supplemental lenses. The 85 and the Iscorama both have their focusing ring "locked" at infinity with wide rubber bands, focusing is achieved by moving the camera. Lighting is from either the pop-up flash, or a small speedlight bounced off foil covered cards or shot through a home-made bowl diffuser.

Forget-me-nots, 85mm Nikkor-H, Iscorama, objective from a junk Soligor 450mm reverse mounted on the Isco.
 

Orb weaver leg regeneration, Nikkor-H 85mm, Iscorama, Soligor 450mm objective. I really like the bokeh here (out of focus evergreen branches).
 

Web repair, 85mm with Iscorama, Soligor 450mm objective reversed on the Isco, with a Soligor 90-230mm zoom lens objective reversed on the 450mm.
 

Bee, Nikkor-H 85mm, Iscoama, with a Soligor 90-230mm objective reversed on the Isco, and a Panagor 85-205mm objective reversed on the Soligor.
 

Freshly moulted Funnel Weaver, Nikkor-H 85mm, Iscorama, with the objective from a Vivitar 28-210mm zoom lens reversed on the Isco. 
 

Tiny fly, Nikkor-H 85mm, Iscorama, and the objective from the Vivitar 28-210 reversed on the Isco.
 

Baby funnel weaver with a fruit fly, Nikkor-H 85mm, Iscorama, and a Raynox MSN-202 close up lens on the Isco. This add-on lens is mounted on an adapter ring that fits the Isco, not in the "snap-on" adapter supplied by Raynox.
The results I've been getting with the Iscorama are very encouraging. It's been great for general photography, but seems to work well up close too. Shooting anamorphic macro images is great... but there are a huge amount of "throw-aways"... more than with using a macro lens without the Iscorama. Shooting extreme close-ups with the Isco is probably "pushing the envelope" a bit, but I'm getting enough decent images to keep me at it. I've been asked why I'm "wasting my time" with the old isco, and been advised that shooting wide angle and cropping might be easier. Having done that years ago... there's no comparison. I just like the look and feel of the anamorphic images better. 
 
 
 
 
 
 

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

The 24-105 and the IBIS looks like a fantastic combo for doc work. For anything a little more creative, pairing an old vintage lens with lots of character with in-body stabilisation is really appealing to me. Wouldn't be perfect, but definitely a lot better than no IS at all.

Quotes like that annoy me as well because it's too easy when you have money rolling in left right and centre from professional video work to say "ah, throw that $12k 1D C aside I'll use it as a doorstop" and run out and spend another $3.5k on an A7R II. Way too easy!
However for the majority of people $3500 is a lot of money and significantly more than a GH4 or NX1 and thus the deliberation needs to be more critical.
When the Samsung NX1 came out Cinema5D basically rubbished it. The reason? Bad rolling shutter! Yet here with the S35 crop mode of the A7R II we have what looks like potentially even worse rolling shutter problems and they are practically mute about that... do I detect a Sony bias?
Well I have seen Cinema5D's guys operate first hand myself, at trade shows such as Photokina and they do know a few Sony people and get cameras early. It is too easy to recommend something when you have the camera literally dumped on your desk by a PR company as well.
I was offered a trip to the US to shoot with the A7R II by Sony and I turned them down. I was offered a demo unit by the US PR agency Sony had organising the A7R II marketing and I turned them down. On Wednesday 5th August I will walk into a shop, hand over my hard earned cash for the A7R II and if it is rubbish I will say so and take it back for a refund.
The only reason I am going anywhere near Sony and their PR agents is that they have organised an interesting shoot the day before on Tuesday and it is a chance to get some decent footage. Most of what I say to the Sony people there will be about how it can be improved and what the most glaring flaws are, because that is what I regard as feedback... saying "wow buy buy buy" does not have any useful substance to it, it is pure hype.
And so back to the topic...
It's an open secret Sony want you to buy more than one camera!
That's one reason why the launches are staggered like this. If the A7S II and A7R II came out on the same day you would be able to compare them and select the best ONE.
As it is, this week if you need an internally recording 4K full frame mirrorless camera and can't wait for a mystery to unfold 6 months from now then you are obligated to buy the A7R II.
Personally this is the approach I am taking because there's always eBay to shift gear whenever you like, whenever it is superseded.
I am sure the A7S II will push video to even greater heights, 4K 60p and at least 250fps 1080p, much less rolling shutter, better low light, etc.
it's a guess though and the A7R II is a guarantee of quality right now.
However there's always the danger with waiting for the next model and upgrading in that you never appreciate what is right in front of you.

That video is the Moire Bible!!! ;-DD

Today I realized I had footage from 14 different cameras at the "Building of Moire". And the last version of the video had 7, so every seventh it is
Now the Test includes:
Sony NEX5t
Sony a6000
Sony FS100
Sony AX100
Sony A7
Sony A7ii
Panasonic LX100
Panasonic HMC151
Panasonic GM1
Canon XC10
Blackmagic Pocket
Blackmagic 4K Production
Digital Bolex
Samsung NX1

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

If the size of LX100 doesn't look impressing for the customer smile emoticon
FOTGA rig,
Zoom H4N,
RODE stereo mic,
RAM mount,
LCD-V3,
Opteka 58mm extention tube.
There is no need for a belt to attach a follow focus.
The follow focus blocks access to the focus mode switch.

You put a 30000$ camera in place to shoot lions or hyenas(or what not) at night and pray to God that an elephant or a rhino doesn't come by 

Nowadays cameras have so many features, not always working 100% that it is a mess to buy one and know that it will work in your application!!! You could point a cheap camera to the LCD of the Samsung and feed that to Video TX... 

You could use your variable to test. 
Mark the stops on it if they're not already there and try different apeture/iso/nd combos and see what you feel you need the most.

I read that as an honest answer. This has been said over and over on this forum... Canon cameras just work. If you have 4K and it's overheating within 5 minutes, then it's not working, and since Canon's Rebel line is for enthusiasts, who will film their kid's birthday parties or baseball games, and it starts overheating before Susie blows out her candles, or before Billy gets up to the plate, that becomes a problem and in the end would hurt their brand more than not having it in the first place.

It is really sad that John has to resort to such bad business practices. It is also against the law. What he is saying is false, it is damaging and that is the very plain definition of libel.
That is the last I'm going to say about it because I don't want to wade in and blow it all out into a discussion... especially if there might be a law suit to follow. SLR Magic are really angry about what he is putting out onto social media. it isn't worthy of a discussion. We will SHOOT and not do politics on this forum, thanks for understanding.

Drones are not toys. To disturb firefighter planes with your drone you must be an asshole. 

​Drones are like any other tool, useful when used right, dangerous when used bad. Of course there must be laws and rules to keep the use on the good side and punish people who use them bad. It's so basic that it feels ridiculous to have to write it. When I first searched a drone pilot four years ago, here in Italy, there was already a regulation in UK. Here in Italy they are still changing the rules everyday....... 

Hey Jonesy, I'm a Linux user primarily. Since the death of IRIX, most post production and vfx software that used to run on SG workstations has long since been ported over.
commercial post software includes:
Maya, Houdini, Flame, Lustre, Nuke, Shake, PF* apps, MochaPro, Mari, Mudbox, Arnold, Renderman, Lightworks
useful free software:
Gimp, inkscape, ffmpeg, mplayer, mencoder, dvdauthor (for screeners), VLC, OpenColorIO, and tons of vfx utility apps, see a list here: http://opensource.mikrosimage.eu/index.html
free communication and f-off related:
LibreOffice, Steam, Pidgin, Thunderbird, Chrome, Banshee, Rhythmbox, Spotify, Renoise, Bacula (for project/footage backups)
and of course more programming tools than you could list, I prefer to use GNU/Linux emacs. 
Still need a dual boot option though for certain things like taxes, incoming photoshop files, certain games, commercial audio like Ableton and Max.. listening to my old DRM files (thanks Apple).

Fredrik, your video looks great and it's clear. If your video is just a recipe, only thing it lacks is the text for what ingredients/measures are. I love simple things and in a recipe, the simpler the better. Some movements can add some fun, but are not necessary, not in a 50 seconds video recipe.
Then you can think you want to go a step further, so you need some environments, some props, maybe a sexy voice over, some sound effects, etc. the sky is the limit! ;-D

Agreed. And a bit more dynamic shots in there couldn't hurt either.
Recently on another forum we discussed some food videos we liked. Maybe it's good inspiration for you:
Make a cocktail with Absolut Vodka! Notice the sound effects! https://www.youtube.com/channel/UCmUQ2vJjiGtR4FLhpUqjUyQ/videos
Very visual ad for friggin' sandwich spread pulled off in a great way! Great shots. Love the snappy edit.

Drones are not toys. To disturb firefighter planes with your drone you must be an asshole. 

Drones are not toys. To disturb firefighter planes with your drone you must be an asshole. 

Drones are not toys. To disturb firefighter planes with your drone you must be an asshole. 

Drones are not toys. To disturb firefighter planes with your drone you must be an asshole. 

Drones are not toys. To disturb firefighter planes with your drone you must be an asshole.