EssayVum

Last week I finished a short film that we shot on the GH3 with the Speed Booster. I thought it's maybe interesting for you guys to hear and see how it holds up in the field.
 
At first I received a faulty Speed Booster, but the 2nd one worked great. It feels solid and well designed, although there is a little 'play' on the camera mount side. Nothing to worry about though. It makes my lenses wider and better. There is some purple fringing though at low light shots when pointing at a light source, but this is only at very large apertures. The lenses are perfectly usable at high apertures in 'normal' situations with the Speed Booster. It didn't hold me back while I was shooting with it, so that's great. I see no increase or decrease in sharpness without pixel peeping. Simply to say, it's ignorable and you can shoot safely :)   To answer a previous question. The Speed Booster works great with the Samyang 16mm f2.0. It acts as an 11mm FOV and there is no vignetting! (well I do have some vignetting, but that's because I use a variable ND filter with a smaller filter thread that the one of my lens)   I'm a real fan of the Samyang primes. I have the 16mm f2.0 / 35mm f1.4 / 85mm f1.4.
They feel and look solid and professional. Image quality is great. Usuable wide open, but really good stopped down 1 - 2 stops. Thanks to the Speed Booster I love my GH3 even more now. With a crop factor of around 1.4x, it's comparible to a S35 sensor. So I now have the 6 most used focal lenghts (with normal adapter / speed booster), an effective s35 sensor when I need it and all the good stuff and quality that I'm used to from the GH3.   Maybe you guys are interested in the short film. It's a short comedy film (5 min) and is, with a few exceptions, shot with the Speed Booster.   Here is the link:   http://www.youtube.com/watch?v=4wdTVhlhzm8&hd=1
 
Would love to hear your opinions about it :) Hope I could help and thanks for watching.

The G6 achieves a certain yin-and-yang. With the GH3 now occupying a higher position in the line, the G6 has moved up to occupy the position once taken by our much loved GH2. It shares the same sensor which of course was always pretty special for video, yet adds a lot of significant new features like 1080/60p, a faster processor, high resolution LCD and something the GH3 doesn't even have - focus peaking.

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The recent rumours surfacing of Panasonic releasing an AG-GH4 around the $3000 mark have been given a boost. Panasonic have now officially announced the existence of a 16MP Micro Four Thirds sensor which is capable of 4K video at up to 30fps, matching the rumoured specs of the GH4.

Tantalisingly this sensor is even available as a customer part on the open market, making it available to Blackmagic Design.

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I plan on getting the sigma 18-35mm f1.8 in a nikon mount as I plan on getting a blackmagic cinema MFT camera in the future and using it with a nikon to MFT speedbooster. However I am currently shooting with canon cameras and was wondering if this adapter will work even though the tech specs for the sigma state that it uses a Nikon F mount. http://www.amazon.com/Fotodiox-Adapter-D-Type-EOS-Camera/dp/B008BBIBOM/ref=sr_1_1?ie=UTF8&qid=1384817119&sr=8-1&keywords=nikon+g+to+ef

Not a huge amount of discussion on gear/techniques used to record audio on this forum, though its not totally neglected.
 
I have a background in classical music recording, and am used to a laptop audio interface rig with great preamps and nice mics. Needless to say, I'm not happy with the preamp on the H4N and the rode videomic type shotguns. 
 
Anyone have any experience with the Roland R26? I've heard good things, but is the noise floor really lower than something like a zoom? If so I'd be interested in picking one up. If not, I feel like I'm going to need to invest in something like a sound devices mix pre to feed my NTG2 and NT4

View 10 frames from a rehearsal shoot with Bunny Suit, a Berlin based band I'm currently working with on a music video

Disclosure: I have worked closely with SLR Magic in refining the flare and have a close relationship with SLR Magic, but I am approaching the lens objectively in my articles.

It's here! The finished lens.

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The new SLR Magic anamorphic lens now has an official title and price.

Dubbed "ANAMORPHOT 1,33X 50" - it will cost $799 for the anamorphic adapter.

[url=http://www.eoshd.com/content/11290/exclusive-slr-magic-anamorphot-1-3x-50-pricing-announced]Read the full article here[/url]

Aside from Blackmagic there's only one other company endeavouring to give us affordable cinema cameras at the moment and that's Kinefinity. The MINI is a smaller cut down version of their S35, shooting 2K uncompressed raw to SSD from a Super 35mm sensor. It has an option for 4K to an external record (Q1 2014) and it's a powerful piece of kit, though I have some reservations about usability.

Is the KineRAW MINI the early stages of a new Arri? A Chinese cinema camera industry?

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New Nikon D5300 has started shipping
 
This is the first Nikon to have the new Expeed 4 image/video processor and the first
Nikon to be able to shoot video at 60 P.Nikon Canada are claiming that the video auto
focus is smoother than that on the 5200.
 
Any one else interested in this camera  for video ?? I have several Nikon full frame lens
from film days.

The full frame Sony A7 and A7R are disappointing for lacking 4K and a high bitrate codec (the time is now...), choosing to stay with 1080p and AVCHD from the last generation. However Sony have pushed on in other areas and are promising "pro-quality" video. Marketing speak or genuine breakthrough? Let's take a closer look...

[url=http://www.eoshd.com/content/11324/look-new-video-features-new-sony-a7-a7r-rx10]Read the full article here[/url]