tweak

4 hours ago, rook said:

Are you using ML on a first generation 7D or a 7D MarkII?

My 7D has been sitting on my shelf like an unloved toy I've grown out of. Please tell me ML has cracked the 7D and I can get anamorphic raw out of it!

7D. 7D mkii ML doesn't exist.

http://rbrune.github.io/mlraw/

Sounds like it could be the alignment then, even a few millimetre rotated each direction can ruin a lens.

I think you missed my point... all I'm saying is he should be able to get some kind of image stopped down a bit, obviously I don't use my scope like that .

I have s82x and it will focus almost any distance if you stop down a bit.

11 hours ago, Bioskop.Inc said:

Yeah the focus through thing is one of those myths/lies that circulates - with these 8mm attachments, it's just wishful thinking. The Iscomorphot S8/x2, which is also fixed focus & it doesn't really play well with racking.

But having said that, I've also got the Isco Widescreen 2000 & in order to rack with that you need a diopter +0.5/0.25 (a weak one) and then stop down the taking lens a little - worth a try if you've got the right diopter.

Good luck

True, none of them are really "focus through", but you should be able to get some half decent focus stopped right down (which he says he can't). This I find strange.

Maybe miss-aligned?

17 minutes ago, Evan Burns said:

Does the ML anamorphic desqueeze options cause your screen to flicker/tear at all? We just started shooting anamorphic with our 5D3 and I don't think the on screen preview is usable because of the screen tearing we encounter. Trying to decide whether we should get a monitor to desqueeze or use a different camera.

Honestly I don't really use it, just occasionally but usually it's fine. What other camera would you get? Not really many options. I'd get a monitor with de-squeeze.

This has been on PV for a while.

Good hack none the less.

^ I agree, should have shot it on mini-dv.

Nice one Mark!

It was a 9mm fujinon c-mount.

21 hours ago, Hans Punk said:

Internal Prism design

On 21 July 2016 at 9:09 PM, cantsin said:

I suspect the opposite - and it's already happening in cellphone photography, compact cameras and mirrorless systems like MFT: Fully corrected, high-resolution images are and will continue to be expensive to manufacture. These are simply the laws of optics and physics. The workaround is to design cheaper optics with known optical aberrations, and correct them in software (i.e. through in-firmware photoshopping). More powerful CPUs/SoCs will also mean that more powerful image reconstruction algorithms (like superresolution) can be used. The downside of this is that images look overengineered, artificial, oversharpened etc. So for true optical quality, and high-quality images, you will still hold on to your expensive classic photo/cinema lenses.

I also think this to be true.

I used to do it, try it out for sure. With the crop mode you can record higher resolutions. As said though, croma smoothing makes the footage a bit less detailed. 
Maybe there's some better stuff to do it with now? I had a program called pink dot remover, then use mlrawviewer to convert to prores. 
I think you could do a pretty good 8mm emulation with eosm Raw. I might try it out when I get my eosm back.

That was a test I did a while back, I hardly remember the process now. I do remember I didn't treat the footage that well and you could certainly get a better look and DR than this I think.

If you look on the Vimeo page it has the steps I took.

Would be great if eosm worked better for Raw. Honestly though if you are really keen about Raw you are better off just buying a used 7D for around $400.

Raw would be great without the pink dots. Use the latest ML, TL is pretty old now.

Sorry already gone for 650 a few days ago.

Sorry just sold mine.

4 hours ago, Kris Cantu said:

 

Maybe the Redstan clamps that you can't get at Walmart.  Dick.

Wow, that time of the month again?

For anyone actually interested you can get a custom clamp from Raf made almost exactly the same as a Redstan for far less. You will also get good customer service and a better than 50/50 chance of it turning up. Just email him if you want details (email on website), he's a super helpful guy.

What's very rare here?

8 hours ago, PannySVHS said:

 

Hallo Tweak,

I really like the movement of the fore- and background planes against one another. Is that an effect of the anamorphic lens? Also, does it only do the stretching towards the sides or towards top and bottom as well? I actually start to like the colors I am getting out of Panasonic G6. After a while of grading in Davinci a lot of DPX files are starting to build up a nice library of shortcuts for grading.

On the GH4 would it be a 4:3 crop out of the 16:9 4K crop of the 4:3 sensor? If the crop for 4K is around 2.3, how much is it for the 4:3 mode?

 

cheers

Yes that is one of the effects of Anamorphic, how it renders the OOF areas is a little different to a regular lens and also the distortion adds to this effect.

It stretches the whole image horizontally (in this case 2x), it's supposed to be the same across the image, but due to the nature of an adapter lens I think sometimes it's not 100% uniform across the image (can be a little more at the sides if you shoot super wide like this maybe).

This grading was pretty bad, I didn't really know what I was doing (still don't really).

The 4:3 mode on GH4 actually gives you more sensor height than in the 16:9 mode, it's pretty cool, 1:1 mode gives you even more height again.

That was the very first clip I shot with it. I need to put together some new stuff, I will link when I have.

If I've learnt anything from this situation it's that I think I like Ed.

What the hell is going on here? Don't tell me some people still somehow think he's telling the truth?...

If you check that link I posted it will give you that info. It has the max data rate up the top and the selected data rate below (based on your selections).
I'm pretty sure you can continuous record 1080p on 5Diii in Raw.