Paulio

The word hipster really has no point or basis in this discussion, and hurling it around in an attempt to insult really only derides the user.
 
I completely agree with woopax, none of the new anamorphics capture any of what I enjoy. Seb's footage was nice but I would use a dual focus kowa over that if I'm gonna go to the pain of shooting anamorphic. I think 1.5x is the minimum to bring any character.
 
 
 
It is great however, that prices do seem to be lowering or at least plateauing.

I'm never selling mine. I want to be buried with it. Rich: All the more reason to make a superior cine-mod !

The feature people are going to like are Pro-Res and Raw, not so much a particular camera or company.
Once an affordable Sony or Panasonic camera offers pro-res 4-2-2 and raw (without hacking), I think people will dump their pocket cameras.
It's a finnickety camera to use, it has QC issues, and is expensive to kit out due to the standard features you get with Sony and Panasonic that BMD have left out.

moon 7 is probably the best hack I've used. I've had no worries matching it with gh3 footage, I think the picture style you choose would have more effect than what hack you choosem in terms of matching.
 
One thing to keep in mind if you are travelling. The GH3 is much more rugged. 

yes this is a bit of a pain I know.  never go past 1 full turn and you're ok:)  I will do my own iscorama one day, but its a job and a half.  I've been looking at the van diemen rehousing recently and cannot justify the price and weight gain, so am likely to be machining a DSO rehousing which maintains the protrusion of the rear optic to allow deeper seating of the optic into lenses with deep bevels, gives focus gearing, and adds less weight than the van diemen bodywork.   I imagine if i do, it will be something that can be bought as 3 individual parts and fitted by the user.   

Hey, Thanks for tip!
 
Yes, I've shot a short with it since doing the close focus mod and honestly have gotten very used to knowing how far I can crank it before it screws off. I just cant let anyone else operate it now :)

It isn't designed as an acquisition format so much as a delivery one.
 
Like I said in the article, raw and ProRes will have a big advantage for heavy grading, keying, FX work in the same way it currently has an advantage over AVCHD and H.264 on DSLRs. It's just that H.265 will give us 10bit, small file sizes, 4K and lovely looking footage out of the box on consumer hardware. Given a few years.

I think the 5dmkIII raw very much holds a candle to the gh3, and i'm a gh3 owner. Filmmaking and event shooting are different horses. I would use a cheesy camcorder to shoot a film over my dead body, more sharpness is the least of my concerns.

I think the 5dmkIII raw very much holds a candle to the gh3, and i'm a gh3 owner. Filmmaking and event shooting are different horses. I would use a cheesy camcorder to shoot a film over my dead body, more sharpness is the least of my concerns.

Be aware the Kowa is dual focus, meaning you have to focus both the taking lens and the anamorphic.
I owned one and they create beautiful images, great minimum focus but the dual focus was totally impractical
on set, it slows things down too much and time is money on set. If it's for personal use i'd say go with a kowa
but if you making films or any sort of professional application you may want to look at the new SLR magic,
century optics, or if you have the cash an iscorama.

Yes, this is exactly the case. A smaller sensor won't really have an effect on how 'oval' the bokeh shape is, but if you use lenses designed for bigger sensors you are just cropping the middle part. Bokeh gets distorted near the corners of a lens (as an effect of that, the ovals might look more pronounced). The solution would be to find some glass that is made for the sensor size. For the Pocket you should be looking into C-mount lenses / Super 16mm glass.

On the spec you choose for Resolve at least 3GB VRAM on the GTX770, for the money a Zotac 4GB would be good, 5 yr warranty too.

RAM I'd watch those jerk off heat sinks possibly clashing with your CPU cooling if you were to choose a fan rather than water cooled. CAS is high and only dual channel? If 2x 8GB? Maybe consider some low CAS, low voltage Kingston HyperX or similar.

16GB is entry level for any RAM cache, play blast.

Does your mobo support dual 16x PCI-e 3.0 if you add a second GPU, if you're going for Resolve 10b with dual monitors then think about adding a second GPU for just GUI, as 10b supports multi GPU and prefably on a mobo supporting dual 16x not 16x then 8x and 8x.

Blackmagic recommend the Asus P9X79 Pro for that, socket 2011 Ivy Bridge, 4 channel RAM etc, have you done a cost comparison with socket 2011 and a quad core?

For PSU I'd suggest the 850W to cover things like second GPU and a small disk RAID. RAID 0 for that just as workspace, RAID 1 for backup to a Synology NAS and a eSATA dock for bare drives for off site. No RAID 5 or 6 unless using enterprise standard drives.

There's a lot you're missing, yes.
 
The whole image is different to a normal lens.
 
The flare is the tip of the iceberg... And actually, no you can't do it in post. It will look shit.
 
The aspect ratio is not the main thing either. The way it is achieved is far superior to cropping. You get a wider lens horizontally. With a normal lens, you need to get further away from your actor's head, to allow for the crop of the top and bottom. By coming further out, you lose the intimacy and the depth compression of the shot changes.
 
By having a lens that is wider horizontally, you also get more leeway to track a moving body sideways. If you imagine a close up of a face filling the screen in a 4:3 box from top to bottom, you'd have no room at the edges... no safety margin in your pan when the person moves. With anamorphic your pans are more graceful and considered, and you are not 'chasing' the moving actor around - yet still have a close up from top to bottom. You see what I mean?
 
Then there's the bokeh. We're not just talking oval light points. The whole out of focus parts have a different look. Something much more sublime and cinematic, less obvious. Foreground objects and background objects, anything which isn't directly in focus, you can tell there's anamorphic magic at play there.
 
The resolution gain is very real too.
 
If you take a 1920 x 1080 image and crop it, you end up with something like 1920 x 720.
 
Effectively 720p vertically. Not good.
 
With an anamorphic you maintain 1080p, and can stretch or upscale the horizontal pixel count to 2.5K.
 
And an anamorphic lens is the only way to make use of 1280p on the 5D Mark III with raw video without the dopy 3:2 aspect ratio making it look shit.
 
There's a reason top flight productions still spend $$$ renting anamorphic lenses and a reason the Arri Alexa Studio (with 4:3 mode) exists. That should tell you something about the advantages of real anamorphic shoots.
 
Django Unchained - also anamorphic.
 
As for the "everyone's screens are 16:9" argument... so what? For me the wider aspect ratio has nothing to do with historic cinema screen standards or current TV standards. Cinema is wider, because it's more artistic and more immersive and better looking that way. That's really the crux of the argument. Anamorphic is just BETTER.

agreed,  specifically I would get the dell U2713H, cost a bit extra but superior for color critical work.
I just bought one a few weeks ago, its great. I recommend buying an x-rite to collaborate it as a
grading monitor is only as good as it is accurate.
 
 
 

They want to sell what they can develop relatively easily, CODECs and chips, instead of what really diminishes the quality of most video, from production to display--low dynamic range and as NTSC used to be mocked as, "Never The Same Color" twice.  That said, I doubt consumer video will change much, in that regard.  Data requirements just too high.  What Panasonic could do is allow Vitaliy to hack the GH line into producing RAW video.  Doubt that would ever be a press release though!

I use a Dell U2711, and it's very good

Yeah unless you are using OpencolorIO or ACES when going linear you will clip all highlights. Not to throw this convo sideways but I found if you are not using that you have to use cineon or LogC to keep anything above a value of 1 even in 32bit float linear its just the way the curves work.
 
Awesome tests, I have a pocket I may return, ive had QC issues with 2 already and I just cant deal with the crop even with a speedbooster. Im still 50/50 but if I have to buy new wide lenses like lets say the 11-16 and the 18-35 with maybe a prime like the 12 1.6 why dont I just put the money towards something better or similar that I can use my current kit on....

cool..

contact vamp camp ask him if it will work with his clamps also ask him if he can make a helmet mount cos you want to go skydiving with your tushinsky..
get a friend to film from the ground as you make you way down to earth : )


just had an idea for the sky diving movie name..
DEEEEP IMPACT

i did years ago with a real bolex also with the gh1.
a lot of the variables are to do with lens condition abuse,budget optics.
the top line switar where used by bbc type natural history cameramen some where treated well others abused from a life spent in jungle or ice.
 
i always found the original olympus pen lens more interesting with iscorama back in the day just a case of trying matching.
some of the most expensive optics i had did not match well with iscorama.most stuff works.
 like making love to a fat girl it works but you get the feeling while you are doing it that it kind of isn't as good as it could be.

26mm macro switar....16mm ccd sensor and baby moller would be sublime match.
 
i collect fast lens have a few of the old greats 1 would suggest that some of the switars are very usable at 1.1.
clearly at f1.4-1.8 it starts getting very handy.

No I mean are you paying cash as you are suggesting we do.
 
It's not a troll comment. You've thrown quite a lot of vitriol towards other gear blogs like PB for this exact thing, it only seems fair if you are specifically inciting your reader base to purchase this thing, that you disclose if you are doing the same. S'all i'm sayin.
 
 

Agreed, I feel like even if his style is not to your tastes, it's refreshing that he has his own aesthetic and you can tell its his film within 10 seconds of watching, and any character from any of his films could walk into any other film without feeling out of place. Not many filmmakers I can say that about.

Haha well I was hoping to find out if it will work before I buy a set. 50's and 60's Kern Pailard switas are lovely lenses but they aint cheap! Your success is encouraging though. Happy shooting.

Hello everybody, here is my new anamorphic set ! :)
 
baby Berthiot Hypergonar anamorphic 1.75X lens
Qioptiq Linos MeVis-C 35mm f1.6 C-mount lens
 
I've order a special machined step up flat ring, then unscrew from the C-mount lens the ring that maintains the glass, then replace by the flat ring. I've screwed the original Berthiot small clamp, then screw and aligned the anamorphic. 
This combination of these two lenses seem to be very promising. Sharpness and no vignetting :)
 
Here is the set and two pictures taken with it on my OMD (video is coming soon). Thanks for your attention.
 
 
 
http://www.flickr.com/photos/43243778@N04/sets/72157636631334626/
 

I was out testing my two Dog Schidt Optiks lenses in Stockholm, and found two guys playing on a street and decided to shoot them:
 
https://vimeo.com/75661923
 
I have two FF58's: one low contrast +  more flares and amber tone, and one with a bit more contrast but with less flaring and neutral tone. This is shot with the one that flares less.
 
Footage is a bit shaky, all I had for stabilizing the camera was a minitripod, Velbon Ultra Maxi Mini:
http://t2.gstatic.com/images?q=tbn:ANd9GcQ4mZLVSi-Cl4d8xdloHiWpLyIjGvb5EBnbDU5Eg0LuG1WLfmX-JA
 
Having the weight of the tripod and a bit more to hold on to helps a bit, but not much.