dhessel

No need to worry about the PL mount on the F3. The camera actually has a FZ mount which can be adapted to just about anything. It shipped with an FZ to PL mount adatper which is one rerason why you see so many of them with PL mounts.

No it isn't available in any Adobe product on Windows. Apple hasn't approved its use on Windows which is why it is not. Any software on windows that does offer it is doing so via a custom coded unapproved version of ProRes. Also the whole downscale to 10bit is an internet myth but there are gains in chroma sampling from downscaling.

You are correct if you want to know the new focal length in 35mm/Full Frame equivilant then you multiply the focal length x crop factor x focal reduction. However DPreview and the others are also correct in that a 28mm and booster will yeild the fov of a 20mm lens on a MFT camera. In turn that 20mm will have the fov of a 40mm on a Full Frame camera.

Just in case you didn't already know but the Kowa is only 2x at infinity at its closest focus it is more like 1.7x. I am not sure if the how the breathing affects the barrel distorion but I wouldn't be surprised if the distortion varies as well.

There 3 main benifits as far as I can see. 1. Future proofing as you already mentioned. For example the F35 has an s-gamut colorspace which is much larger than Rec709. Aces is even larger so by going from s-gamut to aces you can retain that extended gamut for future devices that could utilize them. 2. Ease of export/switching between output colorspaces. you can open a project graded on a Rec709 monitor on a computer with a P3 or Rec2020 monitor and all you have to do is switch the display transform you the proper format and everything will display correctly, same thing is true when exporting for different colorspaces. 3. All footage starts with a nuetral base. One of the nice things about aces is that it has standard input transforms that are designed to convert footage from a specific camera into the aces color space so you end up with footage that is neutral. There no unexpected results or looks that are transfered from luts. This is mainly usefull for log shooting cameras and you end up with footage that is more closely matched if using different cameras. So far I have found that this aces techique in the linked blog post produces the most neutral/correct footage from the F35 of any other technique so far. In order from best to worst in Resolve I ranking them like this. 1. Aces 2. auto color matching via color chart. 3. Slog to Cineon, Arri LogC to Rec709. For me my main interest is having a way of de-logging s-log/s-gamut footage from the F35 and getting a neutral image without adding a look which ACES shows promise. The biggest downside so far is that it appears using ACES doesn't work well with film emulation luts. They are designed for Rec709 and don't transfer properly in ACES as far as I can tell.

Thanks for this, just gave it a quick try and it seems to work out really well. Probably the first time I feel like I have been able to go from slog/sgamut to rec709 and get a nice neutral image without adding a look. Feel like noise is handled better on underexposed shots too.

looking good, I just got an F35 myself so any detailed info you can offer on grading slog footage from it would be awesome.

It just converts the 8bit values to 10bit values. There is nothing added or lost so there is no increase or decrease in quality. For all practical purposes an 8bit file and a 8bit file converted to 10bit are identical, material captured at 10bit v 8bit is a different story.

It is fine, I won't hurt anything. Really the only negative is that the file size will be larger that it would need to be if it were only 8bit.

if you are using any of of the default s log profiles that use s gamut you MUST use a proper lut built for that version of slog or you can get yellow and magenta color shifts. Color in s gamut is totally different than rec709 and these profiles are not forgiving. It is not the gamma curve it is the s gamut it is a much wider color space crammed in a 8bit file . The A7s always had something a little off with the color for sure but most of the really bad color out there were from people not handling s log/s gamut properly. The slog 3 on the new Sony cameras is reported to be much better that the s log2 on the A7s. Putting it another way s gamut and just grading in resolve is like have data in meters working with it like it is in feet and then wondering why your calculations are off.

How were you grading footage from the A7sII? If shooting any of the default slog modes that use s-gamut you must us a lut to transform it back to rec709. Using curves and boosting saturation will cause bad color shifts since the footage is not in the same color space.

Flange distance it too long for Nikon so yes it will not focus to infinity if you tried to use your SB with the Helios.

The helios is fully manual so just about any adapter will work fine, don't need an expensive one. They make some that are mft to m42 but you can also get a m42 to EF adapter and go EF to MFT. If you do that you can get a speedbooster from metabones and squeeze the most FOV and stop increase ot of it or you can go a cheaper route and get the RJ focal reducer instead. The RJ has m42 to MFT in addition to EF to MFT while the metabones one doesn't have a m42 option. Personally I would probably get the RJ m42 to MFT, it is really good and it seems kind of silly to me to spend 10x as much on the adapter as you probably did for your lens.

Personally I thnk no internal ND's was a mistake especially since they advertised as being a run and gun camera. I think they like to think of themselves as making cinema cameras, shich they do, but forget their main market is more of the DSLR crowd that would prefere to not use a mattebox and to keep something like the Mini, mini. Regardless that was there decision and that is fine but that was not really my point. The answer given as to why they didn't add it was total BS.

They already are and have been for a long time, there are many out there who won't use BM cameras due their bad rep. Granted they are more higher end and have more options but regardless they don't have a good reputation out there. Also for the time being they have lost me as a customer too. I had the Mini on pre-order and decided I was going to give them a chance but cancelled shortly after the July deadline, yes I knew their history as a previous BMCC owner. I also was interested in the VA, but for now I am done with BM and will only purchase second hand used items from them. I have no way of verifying it but I imagine they have lost or will lose some customers that move over to the FS5 instead. Not a single one of BM's camera related items shipped on time or even close to it. It is not a case that they were on target and delayed so they could fix something, they never had any intention of making the deadline it was all BS, that is the difference. I don't care that the products ship late I care about the obvious deception. The thing that sucks is that I love BM for what they are trying to do, but I hate the unecessary BS - "yeah we considered internal ND's but adding them would have made the mount to bullky". By the way the Ursa Mini is not the best camera on the planet maybe it is for you but you don't speak for everyone, I am sure many customers will purchase the FS5 instead of the Mini because they feel no other manufacturer is delivering what sony will with the FS5 and guess what they are releasing the A7s early...

$4500 O.B.O, see my post on RU for pics and details. Thanks. http://www.reduser.net/forum/showthread.php?136796-Lomo-Squarefront-F50-F75-HAC-pl-mount-with-ff-gear

While what you are saying is true that doesn't give them the right or justification to deceive people which is what they are doing and if you reallly did business the way they do you would loose clients I know I would. If the Mini has FPN or corrupted audio or promised features that are not available for months and months later via a firmware update or the Mini drops $1000 a few months after you finally get your pre-order are you still going to feel the same way? I mean if you knew their history you would have known it might happen so the fault is yours not theirs, right? BM has a reputation for being unreliable and not trustworthy, I think they have earned that reputation.

Like the title says looking for one of these by itself or with the rectilux 3FF, thanks.

I don't think there are many still lenses that are really parfocal but some are better than others. Still lens mounts are not accurate enough for them to be anyway. In order for a lens to be parfocal the flange focal distance must be correct and the lens needs to be designed to do so. The reason why some say the canon lens is and some say it isn't is due to the in-accuracy of the lens mount. Basically some are closer to the correct distance than others so results vary. The speed booster is actually a positive because it can be used to adjust the back focus of the lens. If you adjust the booster until infinity hits its mark then you will have better results than you might otherwise. You may find that the canon lens is parfocal enough if you do that. No guarentees I have never tried it. I don't recall which but some of the rumored parfocal canon zooms are only parfocal when zooming tele to wide.

I had one on pre-order for a while and cancelled after they missed the July shipping date. I knew their history so I was not surprised at all by it and was going to just keep on waiting until I realized that not one of their new camera related items was ready to ship and non of them seemed to be even close. I feel like it is BM's stragegy to get people to preorder by saying it will ship in July - a few months away during NAB - and then just string them along until they are finally ready to ship. The whole joke of them and their shipping dates is getting really unprofessional and is starting to feel more like deception to me than over optimisum. By all accounts it appears that the Mini 4.6k will be the last BM product to ship and anyone who pre-ordered should count them selves lucky if they get it before the end of the year. Another consideration for me was realizing all this chances are I would only have the camera a few months before BM drops the price by $1000 around NAB, which seems likely based of past experiences. Couple that with the risk of buggy firmware or quality issues that have plagued about every one of their cameras it became clear to me that the most logical choice was to cancel wait for the reviews, firmware updates to hit and inevitable drop in price and then purchase. Maybe even snag one used once folks start selling them off for whatever they announce an NAB next year.

Yes Resolve works in 32bit hence it is decimal precision so it never rounds to integers, it is floating point. I know what you are thinking with the summing of the 4 pixels increasing bit depth, it is logical and I tested this theory just like you did by writing program to do it. Yes if you downscale 4K to HD you can get 10 bit 4:4:4, however all you have done is incease the numeric precision from 8bit to 10bit you have not increased the color accuracy, the same is true in any program including Resolve. For example lets say you have 4 pixel who's lumance if recorded 10bit native would have a value of 801, 10bit is 0 - 1023. When recorded at 8 bit these pixels would have a value of 200, 8bit 0 - 255. Take those 4 pixels and sum them up and you have a 10bit value of 800 not 801. So you have increased the bit depth but the accuracy of the data is still the same as it was when it was 8bit. So there is no benifit to the increase in bit depth as the final pixel will have the same potential error as before as far as grading is concerned In fact if I am not misaken there is the same amount of potential error as if you just converted the 4K to 10bit without downscaling, there is a increase in chroma though as you now have chroma data for every pixel, hence no sub sampling. Basically the increased bit depth is artifical and not the same as 10bit capture. Any program that has the option of working in 32bit will not round. All the programs I listed have the option to or do so by default.

Yes and every single NLE, color grading, encoding software uses some kind of averaging when doing downscaling. It is pratically impossible to find any that will even give the option not to. Premiere, photoshop, after effects, nuke, resolve, media encoder and final cut all do. Resolve converts everything to 32bit float and processes it in that bit depth which is the highest precision in computing unless you count doubles which no software I am aware of uses.

Do you evidence to back that claim that scaling in other programs throws away color information? I have tested this in many different apps and have never seen that behavior in any of them. Resolve, for example, operates in a 32bit RGBY colorspace and will not throw away any color information during scaling.

I am selling my Cineovision anamorphic, it is just not getting much use anymore so I can't justify keeping it any longer. PM me if interested. Thanks. http://www.reduser.net/forum/showthread.php?132879-Cineovision-35mm-T1-6-Anamorphic-Lens-PL-Mount

You will probably want to have a 2x anamorphic for the Mini and just about all of the Iscorama's are not, the 3K mode has a 1.2 aspect which desqueezes to 2.4, a 1.5x anamorphic would only desqueeze to 1.8 which is fine but you won't have a true anamorphic aspect ratio. I would say either a Rextilux with a Kowa 16H, Iscorama or a Lomo square front. The reticlux will give you more options since it is a single focus adapter that can be put on many different lenses with different mounts. The Lomo's would have to be PL mount. Lastly the anamorphic mode in the Mini is really just a crop of the sensor, you are not gaining any height by using it. In fact you can get a slightly larger image by shooting 4.6K and cropping in post. The benifits come from being able to monitor it properly desqueezed at the correct aspect ratio and the reduced file size which is valuable due to cost of media and shear file size of raw. Just in case you didn't already know 3K anamorphic is raw only.