elgabogomez

https://www.atomos.com/cameras/sony-rx0

Well Sony and Fuji's engineers clearly disagree.
It works in 8bit. Clear advantage over Rec.709 colour profiles.
I've used it and seen the difference for myself. It isn't a 10bit-only colour space.
S-Gamut is also a wide colour space, and that can be compressed to 8bit as well.

I have a GH5S as of this evening. I’ll shoot some simple clips to show the MAR sensor in 16:9 modes versu in anamorphic mode to see if there is in fact an increase in vertical FOV. I can’t compare it to a GH5, because I don’t have one.

I've built prototypes of an iscorama-style single-focus adapter, but its really only suitable for shorter focal lengths in the 35mm to 75mm range.  Also, its a bit large, and the front element moves during focusing, which may cause some issues with matte boxes.  I'm also building a second type better suited for longer focal lengths in the 75 to 200mm range.  I'm still debating whether to modify these for internal focusing, which would be good for heavy-duty cine use, but would make the adapters larger, heavier, and more expensive.  To be honest, I've put the adapter project on hold until I get a few focal lengths in my anamorphic prime series completed.
 
 
 

Any chance you also recorded on camera? The info shows you had sd card in with space. You might have to use the internal recording (if it exists).

Any chance you also recorded on camera? The info shows you had sd card in with space. You might have to use the internal recording (if it exists).

Thanks Jonesy, I really appreciate that. Man, this movie is so Lo-Fi it’s kind of taken on a mind of it’s own. Due to a family medical issue, I lost some filming time this Fall and due to casting issues... nobody likes working for free... I am constantly rewriting the script to accommodate actors and tempt them for casting. Over the next month I am going to put together a 30 second teaser to try and drum up some interest from a couple actors I want to cast... so to make a long story short... soon hopefully. I’ll leave you with another screengrab from my last shoot and best location I have found...

Pretty sure I'm the first person outside of China who has the new Kinefinity TERRA 4k. I've been a bit of a ghost on this forum since going all-in on the Kine pre-order, but here's an unboxing video by way of saying hello again:
 

I was lucky enough to grab a Proxiscope from Max as soon as it became available...he had previously sent me his prototype to do a test fitting on my DIY close focus modded pre-36 iscorama. Here follows my review after using it for a few weeks...
Full Disclosure:
Although I was graciously approached by max to test out his prototype, I did not take up on the kind offer of a discount in the purchase price of the final housing. This was due to me wanting to give an honest review, as well as back someone who was going to add a great partial rehousing option to those with iscorama 36 lenses. Therefore my review is from the perspective of a regular customer.
I am very happy to report that the Proxiscope housing works flawlessly, not only with MC and pre-36 models- but with lenses that have already been DIY modified (cutting/ shaving stopper and body to allow grub screw stopper to be inserted for new stop etc). This is possible due to the proxiscope locking metal collar that completely bypasses the original plastic section and the front section having an integrated relocated metal stopper. The ingenious design allows the new front to enable the same close-focus ability as the DIY mod, but in a MUCH more elegant and reassuring way. No longer is the fear that the grub screw will work loose and let the rama front go smashing to the ground for example. The integrated focus gear to the design is much better than any third-party gear ring, as those never quite conform properly to the isco's tapered front.
The anodised finish of the Proxiscope is very complimentary to the original isco design as it does not spoil the classic look with obnoxious bulges or with added weight that then restricts it to rail mounting. Focus markings are clear and are denoted in meters, I think feet measurements are also an option. The Proxiscope comes in a nice wooden box, with all the tools needed to install, with easy to follow video instructions to be found on YouTube. Installation takes about 4 mins and can be 100% reversible to original factory condition.
In a world where everyone wants something for free, some may question the price. These people need to take just a second to consider the design time, R&D testing and small-run costs of getting anything of quality made these days. Also the fact that the current cost of a Tokina +0.4 combined with a decent focus gear will run you a comparable amount - without actually giving you the benefit of an 'in-body' solution that the Proxiscope does...Oh, and it's under half the price of the cheapest VD rehousing mod (that you have to wait 90 days+ for!).
So, all in all...a very impressive product that massively improves the practicality of using iscorama 36 lens types for modern film making whilst still maintaining the isco's classic look and light weight. Rehousing is solidly built with clear instructions for installation. Fully compatible with 'factory' iscorama 36 lens types...as well as those with previous DIY close-focus modded lenses.
 
 
(pic below shows slim UV filter attached - not part of Proxiscope)

Hello everyone, let me tell you the story of how I got the cheapest single focus solution. And how it compares to the Rectilux HCDNA (results a the end of the post)
Last month, I found this anamorphic adapter on ebay :

It was cheap, and looked like a weird anamorphic projection lens using prisms. So I bought it (Gear Acquisition Syndrome :D).
Then I took it apart to clean it, and noticed it consisted of two prisms (for the anamorphic part) and some kind of focussing solution in the front.

So I 3D printed an adapter for it (around 5GBP printed at a local shop) and tried it. And of course it confirmed to be a single focus solution !
So I had to test it ! Here are the results compared to the hardcore DNA :
Taking lens : Super Takumar MC 105mm f/2.8
Camera : Canon 50D
Anamorphic lens : Schneider Cinelux
Single Focus Solution : Rectilux HCDNA vs GB-Kalee Small Anamorphic (front part)
(Same grade applied to all shots)

Here is a picture of the setup :
 
Of course, the GB-Kalee is less convenient : 
- Minimum focus distance around 1.8m
- Smaller element diameter (would work better with smaller anamorphic)
- More difficult to focus (as my copy of this adapter is quite beaten up)
- Needs a mounting solution for both back and front as there is no filters. (But the HCDNA is similar here are the threads are not standard size)
So, What do you think ? 
I personally think this GB-Kalee needs a rehousing !

Final version of video.
 
 
 

What a handy gadget-ballons to diffuse sunlight
 
http://www.cinematography.com/index.php?showtopic=71898
 
 

Great read! Now I need to find out more details to the helium balloons used as diffuse clouds that he mentioned.

http://www.afcinema.com/Darius-Khondji-AFC-ASC-sheds-light-on-his-retrospective-at-the-Cinematheque-francaise.html?lang=fr

Hi Andrew:  Any input you can give to Panasonic would be terrific - I really appreciate it!  I'm really psyched about the GH5, and think it could become a really major anamorphic camera since the format is basically the same size as a 4:3 crop of Super 35.
Regarding anamorphic lenses, I'm currently working on primes, and they are mechanical beasts due to the Panavision-style counter-rotating  Stokes lenses.  So, I'm in the weeds worrying about screws, bearings, and special tools needed to manually pre-load a whole bunch of anti-backlash gears.  One thing related to M43 and the GH5 is that they will be compatible with the M43 Ultra Speed Booster via high quality PL-to-EF adapters, which will create T/1.4 speed for all but the longest focal lengths.

"Cinema camera" is nowadays two different things, 1, for a proyect where you want the end product to be proyected on a cinema screen. (Where we are talking dcp and p3 color gamut) or 2, an aspirational label to believe you are doing "better" or more professional job than with "lesser" cameras. On both instances I can see why raw is desirable. 

I was able to visit the Nashville TN area and took a few images.
There was on and off light pockets of cloud veiling, but I took these as it was getting dark, then darker and when it was emerging.

 

It is not a 4x3 mode, it's a 6x5, so maybe that's where you are having it wrong. The timeline for 2.40:1 in hd is 1920x800, for 2.35:1 1920x816. With the focus module you should be getting the 2x stretch as you are on infinity on your Schneider. 

Try not to mix different brand lenses on the same scene. For narrative films is very important that the image is consistent. There are some lenses you can mix and match but try beforehand. The contrast can be super different let alone the color and the "rendering" of each. What looks close enough in the edit doesn't always looks good on a big screen (if you are thinking film festivals). There is a reason cine lenses are matched sets and have Tstops, cause even if you are on the same settings (iso/aperture/lighting) by changing from 50 to 24 can look so different that you will end up spending hours matching them (if the lenses don't match). And it can happen to you in your most important scene or the most expensive of the production.

Looks awesome Keeesie65 - its so detailed - almost hyper real ! The focus pulls look smooth with the HCDNA. Is this all hand held ?
 
Heres one with a bit more crafting and story. Less testing now. Going for it ! Although I think i need to monitor the focus a little and get hold of a diopter.......... this was with the Bolex / Zcrane gimbal / Pentax K 28mm 3.5/ EOSHD Col Prof / no grading
 
 
 
 
 
 

Ok, now I understand why I am confused

True CinemaScope is a relative term, it was originally 2.66:1 as it was expanding a 4:3 negative x2. Later in cinema history it got cropped to 2.39:1 to allow the sound strip in the final edited film. At some point it became 2.35:1 or in some cases 2.4:1 and all 3 (2.4, 2.39 and 2.35) are academy accepted as wide screen formats. But 2.66 is the "true CinemaScope" and one could argue that it requires a 2x lens... So use what you want to achieve the format you want. The 1.85:1 with a 1.33 anamorphic lens gives you 2.46:1 aspect ratio (if the lens is really 1.33x).

16-235 in-camera stops the clipping so you should use that option like in my guide if you want to maximise dynamic range without having to fix the clipping problem in post.
If you're going to fix it in post using 0-255 in-camera is ok.
Smart Range + is a new thing, I saw the effect it had on JPEGs and realised it could be enabled in movie mode as well... I assumed before that it was some kind of Samsung TV thing!!

Schneider ES Cinelux 2x (Custom single focus) | Carl Zeiss Jena Pancolar 50mm F:1.8 | Sony a6300
Some shots with varyND. Early test, needed to learh how to achieve best result with this setup
 
 
DIY-body...
 
 
 

and few stills at Helios 44-2 F:2 and...
 

 
...Carl Zeiss Jena Pancolar 50mm F:1.8


 

Custom single focus test 35NAP 2-2