Christina Ava

last in to say, that the c300 colors blew my mind....

also inspiring... "Hands of Bresson" depicts the way robert bresson films peoples hands...pure poetry in motion.
 
 
 

It appears Cooke's imperfections help create their magic: https://www.hurlbutvisuals.com/blog/2014/03/why-do-we-want-flat-glass/ .

This was never going to be suitable for video, everyone new that from the start.  50mp is way too much.  Canon did everyone a favour by not even suggesting it would be good for video.

Last February I made the first EOSHD video quality charts 2014. This was an at-a-glance chart of image quality delivered by every camera I can possibly think. This year I've decided only to include the cameras I've direct experience of shooting with in my own filmmaking projects, with only a few exceptions such as the Sony F35 and Canon C300. I've also removed cameras that have been superseded by very similar ones (such as the GH2 by the G6, sharing the same sensor).
Here are the results...
Read the full article

​loved that film. 
Funny promo:
 
 
 

Permissions are usually expensive and a headache. Try gorilla shooting but remember: 1. Keep cast and crew small and inconspicuous. 2. Don't take hours to finish any scene. Elaborate scenes should be shot inside/ indoors. 3. Rehearse. 4. Don't carry equipment outside that draws too much attention. Just a  single camera with hidden lapel kics with wireless kindda recorders.  5. There should always be a production guy who can handle the cops. Also everyone should scoot while he does that. 6. Tiny handheld stabilizer like the Nebula 4000 or extreme wide lenses and a steady hand. B
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

​That's almost like being invited to see how the trick of cinema actually works. Mesmerising.

sometimes a great director comes up from nowhere, watch this movie shot with anamorphic zeiss lenses
killer scenario
killer images
makes you want to go out and shoot

also inspiring... "Hands of Bresson" depicts the way robert bresson films peoples hands...pure poetry in motion.
 
 
 

We can get a little bit bogged down with the tech side of stuff, sometimes its nice to get back to what we are all about.... images!
So for a bit of fun I propose a thread of just images using models. (Anamorphic of course) Feel free to post your own stuff here, it would be nice to see different styles and techniques. Have a dig through your drives, or grab your camera and see what you can come up with.
Here's one to get us started.
 

Canon 5d markii Lomo Squarefront 85mm.

my favorite pancacke 40mm 2.0 
a little jem. few people own it, but you can find it in ebay 
​
i got mine for 300 dollars
 
http://www.bhphotovideo.com/c/product/885407-REG/Voigtlander_ba229e_40mm_f_2_0_Ultron_SL.html
check the reviews here
UNBELIEVABLE FOR VIDEO
By davidjewels
from Miami, FL
About Me Pro Photographer
So I wanted a lens that helped me reduce the overall size of the Canon 1Dx and decided to choose a pancake lens: namely the Voightlander 40mm f2.0 Ultron. 
Normally for video I usually take along at least 5 of my Canon primes and I'm forced to use a backpack. Not with the Voightlander! This lens is so amazing, that after a few test videos, where I stood at varying distances from my subject, I realized that it was able to fill the needs of all my other lenses and there was ABSOLUTELY NO DISTORTION even when I got real up and close to the subject. 
The focus ring is pure heaven to use. And the sharpness is TACK SHARP, so sharp that you might cut your eyes after seeing the video you have shot!!!
For stills, just like some of the other reviewers have mentioned, after a little practice you get the hang of it. The lens has focus confirmation blips that light up to confirm focus anyways, and if you magnify the image with the camera you can dial in the PRECISE focus and then take the shot. 
Obviously it's not going to be as fast as an autofocus lens, but you will get the hang of it eventually: I bought it for video. 
The construction of the lens is SOLID. It's a very beautiful jewel of a lens to look and hold too.

Here is my last music video of JAZill (Lisa Bandy) on GH4 anamorphic, enjoy
 
 
I've made this music video with Lisa with :
GH4 photomode 4K UHD 16/9 25p + 96fps FHD mode, all export in 24p
Dciné mode -2 -5 -5 +0
Lumetri cine1 and cine2 color correction on Premiere
Qioptiq 35mm f1.6 MeVis-C C-mount lens with baby Hypergonar 1.75x anamorphic lens
SLR Magic +0.33 and +1.33 diopters. Manomi +3 diopter
from 200 to 1000 asa
4K version downloadable here on Vimeo (for members) or watchable on youtube : youtu.be/kUzIs1dTCyY
Lisa Bandy youtube and facebook
youtube.com/channel/UCDBqyzLcmVbLOWvps9ViMBA
facebook.com/jazilljazill

also inspiring... "Hands of Bresson" depicts the way robert bresson films peoples hands...pure poetry in motion.
 
 
 

also inspiring... "Hands of Bresson" depicts the way robert bresson films peoples hands...pure poetry in motion.
 
 
 

Lovely job! The first few shots in the forest are epic, and I do love the film look.
A7S seems to lend itself to a very filmic tone I think.
The musician reminds me of Daughter...
It's a shame the Shogun is so big! It makes the package look quite unwieldy

you caught some beautiful light on your video, i think its one of the  best things you have ever shot for my tastes
reminded me the "hunters in the snow"
http://www.most-famous-paintings.org/86810/The-Hunters-in-the-Snow-(Winter)-1565-large.jpg 

Just watched that also and was really impressed. On a similar note, can't say enough about Abbas Kiarostami:
 
 
 

sometimes a great director comes up from nowhere, watch this movie shot with anamorphic zeiss lenses
killer scenario
killer images
makes you want to go out and shoot

1D C

A7S

Same exposure

Next test. This one is a bit clearer I think.

Click to enlarge them.

The shot contains a GH4 to represents the blacks / lows and out of the window at the top I've cropped out the tree line / sky for the highs.
The shot of the GH4 on the 1D C shot is usable, the A7S isn't, or at least needs cleaning up. There's also moire and aliasing on the lens rings. You get these noisy blacks at ISO 3200 at the bottom of the S-LOG file. What I do is to of course apply a curve to the file to get contrast back, crush the noisy blacks away, get colour looking right and tonality spot on. I have always crushed these parts of the image away by 1-2 stops because that's what you're supposed to do with LOG. Those blacks look awful if you keep them as-is. The blacks are so cinematic and milky clean on the 1D C I can keep them if I want to. If you clean up the noise in the A7S blacks with noise reduction software, the image overall will still look bad. So they need to go. Nobody can say looking at the shot above that the A7S looks better than the 1D C. I am not bringing bias into it, it's science pure and simple.
The tree line out of the window represents the highlights. Here the A7S is doing a hard clip to white above the tree branches and the 1D C goes beyond the trees to maintain some of the bright clouds. Well, as bright as the sky gets in January in England anyway!! Subtle difference. To find out how many stops DR each give I need a chart and I am not a chart tester. I am certain the 1D C is giving me more usable dynamic range though.

I love that you have the nikon there, as a lab animal  
 

​Exactly, more color but with out the light looking harsh.  Blown highlights is what makes for amateurish video which is why I can see professionals paying to get that image.

A7S + Shogun 4K in S-LOG exposed for highlights.
1D C the same, but 4K internal (Canon LOG).

1D C seems to have a dynamic range advantage. Maybe of 2 stops more usable information.
I don't understand why the A7S is dumping so much data in the shadows. Big holes in it and lots of noise.
Blacks should not be crushed like that in a LOG profile!
When you have a shot without a really hot area (like a window or light you want to expose for) you MUST bring S-LOG 2 up away from those lows to get a good image, even if it means putting the ISO to crazy levels.
The 1D C is different. It's applying ISO at an analogue level, and ISO 200 seems to have the same dynamic range as the other ISOs.
A7S needs to be at ISO 3200 as we know.
Not trying to justify my purchase here, just giving you some of my research early ahead of the blog post for commenting on. Will add depth to the final article to hear your thoughts.
But it seems 1D C is looking like a real bargain if the price keeps dropping...

​That you like it Christina is a good sign
Just unboxed it and already I can tell there's a ton more colour and data in the 4K MJPEG files than in the A7S Shogun files.
Canon LOG is phenomenal, the amount of stuff that is in the shadows and highlights when you grade it or pull it around.
It's like having raw again on the 5D! But 4K and bullet proof reliable!