Nikkor

Lol never post an ebay link on a forum if you plan on getting it. (unless this is your special way of promoting your own auction)

Ebay.

No, it's just that they found a way (they gained access to it) to tell the HDMI chip to output 4:4:4, but the processing engine (expeed) that feeds the hdmi chip is still doing whatever it was doing before.

So I bit the bullet over the week and bought the filter. From what I had read the filters work by spreading the light around the image, which is different to simply using a low contrast lens I think. And besides that, I don't want to add another lens to my collection when I already have three superb ones.
 
I started with Ultra Contrast 3. It had good effect but I thought I'd go further so this morning I received the #5.
 
The filters have an immediate effect of making the image look way more filmic. The reason for this is that really do spread the light around the image - but it's not so simple. They take in more ambient light and thus ambient colour. The result is that you get a much more balanced picture in terms of colour and tonality. These filters really are something magical.
 
I have been shooting a fair bit with them over the past few days and will be putting together a video, but for now here's a few images:
 
No filter, Standard iDynamic:
 

 
With FilmConvert:
 

 
Tiffen Ultra Contrast #5 (no iDynamic):
 

 
With FilmConvert and some additional saturation.
 

 
Each filter costs just over £100 for the 77mm sizes. I do recommend getting the strongest one (the #5). After further consideration I think the #3 is a better choice because the #5 washes out darker midtones too readily.

just came across the "DSLR slate" app with a tiny horizontal checker? no idea if you could calibrate at all off your iPad screen, maybe you could tape a horizontal macbeth chart to the top of an iPad and use the rest of the slate's functionality.
 

 
and this one is more full featured, $30: https://itunes.apple.com/us/app/movieslate-clapperboard-shot/id320315888?mt=8
 
and the iPhone CineMeter?
 

 
got pretty high marks from users on-set.. 

Imagine the kind of 70' opening zoom you could do with that ^^. New York city panorama zooms to a window and continues to zoom onto a handwriting, that's some clichee.

Imagine the kind of 70' opening zoom you could do with that ^^. New York city panorama zooms to a window and continues to zoom onto a handwriting, that's some clichee.

Butcher and old DV camera and tape it on to your gh4.

The other thing that these aspect ratios offer that I haven't heard much talk about is that you have a completely different set of reframing options for 1080p. I often produce video for portrait orientation, and the 1:1 gives the option of copping to 1080p in either orientation, with plenty of reframing room on top.

... Thinking that the 1:1 and 4:3 modes, with a 2x anamorphic, is actually closer to a classic 35mm field-of-view based on the new pixel height... Adding a .71 speed booster might actually take it over the top.
 
Hey, that post earlier about changing the sensor resolution to create a "CinemaMode" is awesome! Great idea. Hoping this is taken seriously by Panasonic.
 
- - - - - - - - - - - -
 
2X Lensing Tests in PhotoMode:
 
I've found that with an ISCO 2x Ultra Star Mini that a 28mm Nikkor Prime doesn't vignette with PhotoMode set to 1:1. When shooting towards lights vignetting becomes noticeable. A Nikkor 35mm Prime in 4:3, 3:2, and 16x9 has no vignetting. However, in a 16x9 aspect ratio the vignetting becomes noticeable when shooting towards lights.

George lukas had focus pullers measuring distances and taking notes :p

Great news.
 
Here some size comparisons with 2x stretch preview.
 

Personally I think the 1:1 would be my favourite, anamorphic look with realestate.

No filtration, it was slow-mo so needed the higher shutter speed anyway and wanted to shoot it pure to gauge what the camera was doing.

Really more about light types and their characteristics. Lots of good info in the other talks too.
 
Introduction to lighting:
 

There are several versions, I have this one that's slighly less golden but it's short. It's has the inscription f=75mm-2.95in and came with such a taking lens screwed in.
I know there are versions that are longer. It cost me 90€ last year.

 
Here two samples with the nikkor 135 f2 DC (it works fine until 85mm, you also can use a 60mm on FF but you will get vignetting until you crop to 2.35:1 or a little less and you need a lens with a small front element)
 

 

That's a good bargain, lovely shoots

There are several versions, I have this one that's slighly less golden but it's short. It's has the inscription f=75mm-2.95in and came with such a taking lens screwed in.
I know there are versions that are longer. It cost me 90€ last year.

 
Here two samples with the nikkor 135 f2 DC (it works fine until 85mm, you also can use a 60mm on FF but you will get vignetting until you crop to 2.35:1 or a little less and you need a lens with a small front element)
 

 

The ultra star I have is about the same size and weight as the sankor 16d, it just has a larger diameter.

Hey guys,

Just a head's up the new Nikon D750 is superior to the D810 for video. I saw proof of this in person. Sorry I cannot show you the footage. It wasn't mine and was used on an adult vid. Both cams were on the set.

(D810 still better for stills - super large).

On the video side, the D750 has zero moire/aliasing to speak of (you will find it on D810) and it has a flip lcd screen. It's just as sharp as the D810 (GH3 quality in 1080p but MUCH MUCH better colors!) and is 24 meg Full Frame. The lcd is sharp as hell.

It has zebras, dedicated movie buttons and is lighter than D810. No peaking unfortunately but the zoom in for focus is real nice.

Best of all is the low light. It's at least a stop and half over the D810. Compared them side by side. I saw some footage where 12,800 ISO looked good (great with neat video) and 6400 ISO looked damn near perfect. That's shocking for a Nikon dslr video.

So you get one of the best still cameras in the world with perfect 1080p. (And yes it does 60 at 1080 and that looks fantastic as well. Could see no visible banding.

In my opinion the D750 is just as pleasing as 5D raw but without the time involved. If you shoot stills and want high quality video it's something you should consider. If you only shoot stills go with the D810. For video DSLR it's a no brainer with native Nikor lenses.

For mirrorless I would go A7s but if I'm 50% stills and don't need 4K, than I'm going DSLR Nikon. These dudes have upped their game. Big time.

Just one man's opinion.

Cheers

I'm not a plus member and I could download the 4K once I logged in with my free account.

That's pseudo science and you know it.The focal reducers may introduce aberrations, but they just modify the trayectory of the rays behind the lens, the lens in front and the real objects don't change.

http://www.pierretoscani.com/echo_focal_length.html
 
Same lens design, twice the size, twice the focal length. If you put a focal reducer behind the second one the focal length will change, the lens and the angles and the entrance pupil will still be the same size.
The look doesn't come from some magical property inside the number 80.

And remember that if someone comes out with a speedbooster for the A7s you will be able to get close to that look for just a few Thousands.

A website featuring stills from films and their corresponding color palettes. 
A tool to promote learning and inspiration. Updated daily.
 
 
http://moviesincolor.com/
 

This looks like the 2 diopter solution.

Well this sensor will have to be something special, because no current method they are using will give them anything near 4K. If they go with the d5200.etc method it will only reach 3000pixels wide, it would need to read out the whole 24mp sensor and downsample that data from 6000 pixels to 3840 pixels, that would be the best picture you can actually get, totally noise free at low isos.
I really want that, but I doubt it. Maybe it gives 4K in DX mode...