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mmills

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  1. mmills
    I think you are mistaking the meaning of "erstwhile"...
  2. mmills
    @BTM_Pix What about changing frame rates in 4K Photo mode? It would be great to get 24fps vs the stock 30fps in this mode for shooting video with various aspect ratios.
  3.    BTM_Pix reacted to a post in a topic: Would You Perhaps Be Interested In A Different GX80/85 Colour Profile???
  4. mmills
    @BTM_Pix Excellent work! It works fine on my Ver.01 GX85. I hope you plan to release an html file for Cinelike V too!
  5. mmills
    I hope you include a couple shots in the new L.Monochrome mode when testing the 4K video function. I'm very curious to see what this camera can do with SOOC black & white video.
  6.    Sean Cunningham reacted to a post in a topic: Digital goes back to the 70's - 1st impressions of Dog Schnit Optiks Flare Factory 58 lens and sample photos
  7.    P337 reacted to a post in a topic: Digital goes back to the 70's - 1st impressions of Dog Schnit Optiks Flare Factory 58 lens and sample photos
  8. mmills
    The flares in your comparison video are a good example of what I am talking about. It's as if the light source you are attempting to capture is of a nature beyond what the lens can accurately render.
  9.    richg101 reacted to a post in a topic: Digital goes back to the 70's - 1st impressions of Dog Schnit Optiks Flare Factory 58 lens and sample photos
  10. mmills
    I think the appeal of such a modified lens is somewhat related to how we are capable of having a response to any emotion that seems to go beyond the limits of the vehicle of its expression. For instance, the voice that cracks because it is expressing emotions that go beyond the capacity of what the lungs and throat can bear, or the guitar that feedbacks because the emotion expressed goes beyond the limits of amplification, etc. Many of these limits have been overcome with digital technology, creating the potential for anodyne, sterile images. This is one way to throw a little analogue grime ba
  11. mmills
      Yes, of course you are right, Axel. I didn't make the distinction between photographing in anamorphic versus projecting in anamorphic.
  12. mmills
    While remaining aspect ratio agnostic, here are some superlative examples of anamorphic cinematography that deserve to be seen by appreciative eyes:   "The Round-up" (1966) dir. Miklos Jancso; dop. Tamas Somlo "Last Year at Marienbad" (1961) dir. Alain Resnais; dop. Sacha Vierny "Lawrence of Arabia" (1962) dir. David Lean; dop. Freddie Young "The Saragossa Manuscript" (1964) dir. Wojciech Has; dop. Mieczyslaw Jahoda "Europa" (1991) dir. Lars von Trier; dop. Henning Bendtsen "2001: A Space Odyssey" (1968)  dir. Stanley Kubrick; dop. Geoffrey Unsworth "The Lion In Winter" (1968
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