elgabogomez

Redstan. http://www.redstan.com/index.php?route=product/product&product_id=68 (this includes front clamp too, but maybe you can message to find one with just the back, if that's what you want)
PS - 16s has a 39mm back thread, not 52mm

That image in your head is thanks to these babies:

And the optical design is trademarked and patented, so you couldn't replicate that look even if you tried. The SLR magic lenses tried to replicate that classic blue flare, but it came across as forced and overdone. The successful anamorphic systems out there (including the new Zeiss and Cookes, which have been selling like hotcakes) create their own unique look and don't try to copy the uncopy-able.

For the record, I sold my C100 and 5D3 and went with an A7s and A7r. Way happier with the results for stills and video. I'll have a review on my site next week that I'll share here

Sony A7S + Gonzalo Ezcurra Custom Picture Profile + 60's Canon FL Lens + Tamron Macro + 2 MiniCyclops takes.
Quick & unbusinesslike test - basic lighting interiors & w/o in outdoors - Full Frame mode - XAVC-S - without Slog 2 - N/R off 
Basics post & color grading
Models with self makeup / hair / costume / "art" 
Zero crew production: Only Camera operator & Models.
Produced, photographed, directed and post-produce: Gonzalo Ezcurra
* Download at Full HD h.264 @ 18Mbps / Link para bajarlo con calidad en Full HD h.264 a 18Mbps, pues mi vimeo gratuito solo tira 720p y lo recomprime a menos de 4Mbps: mediafire.com/download/5ssckrhvmrwsr1a/Gonzalo_Ezcurra_PP_A7S.rar
 

You should hire Sacha Baron Coen to ask those questions to them :)

You should hire Sacha Baron Coen to ask those questions to them :)

BTW this is not shot at T1.3 and T1.5 or only their noses would be in focus , this is more like 2.8 - 4 region (or even 5.6 as this is full frame 5D ) in reality or the focus puller would not be able to track them at all! (Act of Valor shot on 5D had to stick to 5.6 of they could not keep pulling focus accurately enough on full frame , they scrapped all the 2 weeks they shot at f2.8 at the start of the filming schedule as it was all too soft!)
 
I'm not seeing anything here I couldnt do on the Nikon 28-70mm f2.8 Bourne lens with a speedbooster at a fraction of the cost too,
its a full production you are watching here not just the lens , set design , lighting design , costumes props , atmosphere and acting all add to the final look as does the grade , the glass is nice but its not creating the look the Director is creating the whole look with all his choises to make this happen.
 
Just buying these lenses will not suddenly make your films look like this!! 

I agree with almost all of Erik's point in his blog, and some other points not... when will people realise on the internet that it's ok to differ! Different opinions do not need so much hatred attached.
 
Thanks Erik for coming on here and defending your views.
 
As Erik said in his article it wasn't a review but a look at the shortcomings and quirks. I have a similar article in the works as well.
 
It isn't a honeymoon period for me, the camera is delivering on the fundamentals in a big way, for my uses.
 
Agree on the battery life Erik. You really need the vertical grip to improve that. The ergonomics of that are quite nice but not ideal. The lenses are indeed too expensive and there are not enough fast primes. Sony seem to have compromised aperture size to get the size of the lenses down which is why there's no F2.8 zoom. They need to introduce one, and quick, and get the prices to a more reasonable level to compete with Sigma.
 
I have bought the Zeiss FE 55mm F1.8 for when I need AF. It is true that the other glass on the camera is a manual focus only affair which suits me just fine for video but not so much for stills.
 
I am having the same problem as Erik with the Metabones adapter and blank screen occasionally, it is an incompatibility with the adapter and Metabones are working hard to fix it.
 
Don't share the same view of Erik who prefers S35 to full frame. I love the look of the larger sensor for almost everything, especially 24-50mm range of focal lengths. For me it is about shallow DOF yet, but not how extreme you can get it, but that you can get any control over it at all at wider focal lengths or when your subject is further away from the lens. To have a little bit of subject / background separation when they are 5m away is wonderful. I can't get that with a smaller sensor unless I use a longer focal length and that changes the rendering of the whole scene.
 
Obviously the low light is a big attraction for me as that's just how I work creatively. I love using minimal light and natural light sources. I am not a broadcast guy like Erik or a studio shooter. I can absolutely appreciate why some people would not need ISO 12,800!!
 
As Erik and I both said in our articles, grading S-LOG 2 is indeed rather tricky. But the camera has extensive pro FS700-like control over the image. Switching colour mode to ITU709 for instance with S-LOG gamma makes it easier to get the correct hue in post.
 
It's definitely a valid observation that auto white balance and the exposure meter aren't really to be trusted a whole lot when shooting S-LOG. Do it manually though and you will end up with a stronger image, at the expense of maybe working a bit slower, which to some will be a deal breaker, to others not. There's no ONE way is right here!
 
Disagree Erik actually about the 120fps. I am really enjoying it! Good bonus feature and creative. I was just shooting 120fps by candle light at 1/200, getting a usable S-LOG image at ISO 12,800. How many other cameras can you name that can do that let alone for $2500?

Andrew, I really want to see your Cooke lenses on the a7s!!

A quesadilla is made with only one tortilla, with two it's called sincronizada (because the two tortillas are in sync)... Believe it or not :)

With CFL and LED lights around 5100K (WB setting), we were able to get skin tones looking better than in previous tests: '>

Hello everyone,
 
Here is my latest video work, an ad I shot with the red one mx:
 

 
hope you like it, let me know what you think
 
I also started a facebook page for my photo/video works: http://www.fb.com/karimnassarofficial
 
If you follow me there please pm me with your page so I can follow you back!
 
looking forward to hearing your thoughts

A Drop In The Ocean:




Behind The Move:



Kendy Ty shoots with a Canon 550D / T2i and Sigma 30mm F1.4. The results are staggering considering the 'low-fi' performance of the gear. If ever there was a spur to get out and shoot something, this is it...

Read the full article here

Nope. I hear these "video" comments when discussing cameras so often and they're really bizarrely off base. Please show me a camcorder that shoots your home videos at that resolution. Theres nothing "home video" about the GH4. The type of camcorder home videos you're thinking of have less resolution, more in focus, blown out highlights. Not remotely similar. The extra resolution is amazing. Its not a bad thing, not a video thing. You can always tone down detail through a whole array of techniques, however you cannot add resolution where there wasn't any. Where you see people using stock lenses on autofocus, without tripods or steadicams and without careful compositions - that is the shaky ugly home video you're seeing. It has nothing to do with the GH4 at all.
 
The tests to show off resolution show what is possible, they're not meant to be film-like. If you have an aerial shot of dolphins in a clear ocean you want that resolution. If you need to greenscreen, you need that resolution. Too much resolution? You simply soften in post. Its that simple, resolution is awesome and the Gh4 is amazing. The reason a focus on people hasn't been used in these tests is because character shots are normally shot wide open, which doesn't get to emphasize the resolution as well as bricks, trees and scenery does. 
 
Is the GH4 better than the 5D with raw? They're really close. Each have pro's and cons according to your workflow and depend perhaps on which lenses you own. Your 5DMK3 is a powerhouse. Seriously, time to put that bad boy to work. Have you tried ML raw yet? I know you mentioned before that you were hesitant to try it, but its worthwhile knowing if you can handle the extra hassle for the extra DR. At the end of the day editing is a huge part as well. The biggest advantage the 5D has over the GH4 is full frame, thats about it... but to me thats a big one. I direct commercials and do documentary work. If I was to be given a gift of a choice between the 5D and the GH4 - It would be a tough decision. I travel a lot, so a compact kit is important to me... but so is full frame, low light and top end stills. Decisions, decisions. I don't need a new camera immediately so I might wait for the A7s to decide. But if I owned a 5D, I wouldn't be pondering whether I made a good purchase or not.
 
You on the other hand, have mentioned that you're a school teacher and you've just bought the 5D in order to start doing documentary projects and are still new to both cameras and film. Honestly, you need to forget this obsession about which camera to get and the whole ML raw vs GH4 thing. Its really misdirected, as you have more than enough firepower to win an oscar. Rather buy some interesting lenses, a steadicam, follow focus, anamorphics... stuff like that to play around with. And then upload work for people to critique. Please be careful not to get too carried away at these comparisons at the cost of going out and filming.
 

Indeed so let's not say we will pay more than $2000 for it.
 
The sensitivity and XAVC-S is nice and I will definitely sell my A7R for it but the price doubles when you want to make use of the camera's biggest selling point, 4K, whilst that is not the case with the GH4.

I can guarantee that the internal XAVC-S 1080p from the A7S will not look as good as getting 1080p from the 4K output and doing your scaling in post with all that processing power available on your desktop.
 
8bit 4K 4:2:0 = 10bit 1080p 4444 remember. If the maths have complications and gotchas, the image to my eyes does not. The GH4's 4K looks like 10bit when you grade it and when you look at it on a 2K display. Gradations are smooth. Colour is fantastic. Sampling shows no signs of pixilation or jaggedness at 2K. At 1:1 at 4K you do see some aliasing and jaggies from 4:2:0 sampling. They disappear when scaled correctly to 1080p or 2K.