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mmills

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  1. I think you are mistaking the meaning of "erstwhile"...
  2. @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 Excellent work! It works fine on my Ver.01 GX85. I hope you plan to release an html file for Cinelike V too!
  4. 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.
  5. 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.
  6. 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 back in the mix... it gives the images an authentic, lived-in patina. I like it for the same reason I like antique chairs and pictures of ruins. Nostalgia? Not really. I just like anything touched by human hands that get a little "untouched" by time.   Having said all that, I am looking forward to some video samples of the various configurations. I own a pristine (unmodified) Helios 44-M and can attest to its overall awesomeness.
  7.   Yes, of course you are right, Axel. I didn't make the distinction between photographing in anamorphic versus projecting in anamorphic.
  8. 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) dir. Anthony Harvey; dop. Douglas Slocombe   As for Andrei Tarkovsky, I should point out only two of his seven features were shot in anamorphic, those being "Andrei Rublev" (1966) and "Solaris" (1973) (both photographed by Vadim Yusov). The rest were 1:1.66 and 1:1.37.
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