tweak

I think the guy that designed the Atari 2600 designed this.

Ballsy to buy from a brand new user!

Just stop. You're all arguing pointlessly about nothing, lets not let this forum dip to such lows. This thread should go in the bin.

Shouldnt this thread be closed?

I KNOW they will not  :)))

uh oh

hahahaha is that you Ebrahim Saadawi???

@Matthew Hartman No thank you! For keeping this forum entertained  .

hahahaha is that you Ebrahim Saadawi???

hahahaha is that you Ebrahim Saadawi???

I don't really think "Clean" & "Anamorphic" are really terms that should be uttered in the same breath - unless you've got one of those multi-coloured sterile projection lenses, which you don't have. This is because x2 stretch anamorphics can produce all sorts of strangeness, which is normally down to the focal length of the taking lens - a 35mm can, and normally does, give you a curving effect at the edges (see Blade Runner, it's everywhere), whereas 135mm will not produce this effect (longer focal lengths will give you a better image). Also, the aperture plays a part & I've found the ideal stop is around f4-5.6 - wide open is when you get the really crazy weird shit going down.
A good rule of thumb is that anamorphic adapters play better with simple recipe lenses, which is why the Russian lenses go so well with them - Helios 44-2, Jupiter 9 & Tair 11a (58mm, 85mm, 135mm). They are all pre-set apertures (or fluid apertures, not click stops) & are the classic taking lens set for these adapters - cheap as well.
The Nikon Ai-S lenses produce a great image, as do the Super Takumars (these are single-coated & better for flares, as opposed to the SMC versions). I've seen some good things done with the older Voitglander lenses (not the new ones) & I can't remember if the Contax Zeiss were a good match with the Kowa B&H (I had a set & sold them, but think that was a money thing).
As far as getting the best flares are concerned, the taking lenses to use are those that have a Golden coating. Also, beware if you don't want internal lens flares & especially the white vignetting, then you'll need to use a matte box & even then you might get some strange things going on. Also the light source can change the colour of the flares - under normal conditions the Kowa's flares should be Green & Magenta.
There's loads of video tests out there with the Kowa B&H, so go out there & see what you like.

I hope he does a part two that isn't more slowmo. Everything looks cinematic in  slowmo... even a smartphone. What I want to see is how this thing looks at 24p for narrative work.

Why not get the fujinon 1.4x c-mount extender?

Basically only Netflix mandates 4K, and even then ONLY for their commissioned productions (which is but a teeny tiny part of their entire library).

The odds of multiple major buyers mandating high than 4K resolution in the near future? Next to nil!

Thus is FUD and scaremongering to suggest otherwise.

But if a person is really feeling that paranoid, then just get the Kinefinity 6K instead. 

Not just there, everyone is hyping it up. The coverage is misleading as the specs on the box are. Class action lawsuit level misleading for the average customer.
The whole thing is an utter disgrace.
You honestly have to ask about the love affair the online press have with Canon.
NewsShooter today did their A7 III piece in a cynical tone moaning about the Japanese presentation and lack of 10bit, when it's basically an A9 for half price with SLOG and HDR!!? 6K full pixel readout?! $1899 for full frame 4K?! Are you kidding me - what's not to like about that?! Yet the M50... Glorious write up and as usual the glaring flaws simply glossed over.

nice looking stuff
i'm no longer shooting on 5d RAW, but my workflow was rather easy:
1. Mount the MLV files in MLVFS (this mounts a new virtual hard drive where all of your files miraculously transferm into cinemadng in real time)
2. Import the files from the virtual drive into Davinci Resolve. Transform the RAW into linear, then linear to Arri LogC.
3. Cut and grade at leisure.
4. Export as dxnhd or your preferred codec

Here is my first test and time shooting with Canon ENG B4 parfocal zoom with Kowa Inflight 1.75x. I even got creative with it's limitations. Most of the focal range does not vignette. The good news is you don't need a variable diopter, the bad news is that you need a large scope and it's duel focus. The Inflight has a 54mm rear. Having a larger scope you could use the whole focal range. GH4 - Cine V. More to come.

Over the course of several years that I've been following Kinefinity and owning the KineMini I've found that there is a certain group that has a negative bias towards the company and try to pick apart every little detail that they don't do right. It's like Trump supporters still moaning about Hillary's emails.
Yes, I've been critical of many of their choices and many times I considered moving to a different brand. Now I have a Terra 4K being delivered any day. Why? Because it is perfect for ME and MY line of work.
But whatever. If you don't want it, don't buy it. 
 
 
 

No, the Canon doesn't "win". 

Kinefinity with eND for the win:
http://www.kinefinity.com/product-category/kine_acc-en/previous-accessories/mount-adapters/?lang=en
 
Exactly. The market budget alone of Canon is I bet massively bigger then Kinefinity's budget for everything.

Your right. They are just the largest and most successful manufacturer of both mirrorless and DSLRs with huge profits. But this announcement must appeal to a OliKMIA or they are done. Because they are one single customer short of bankruptcy.

I didn't. I'm very happy with EVA1. so happy i bought a 3 year warranty and am selling off my other cameras.

GH5 is killer for the price, Panny will sell tons of them.

EVA1 is winner here with more modern codec, lowlight with much less chroma noise and artefacts, higher resolution, fatter additional 400mbps codec and Varicam color science. It´s a true indy cinema camera whereas FS7 is an ENG workhorse. The test above is not showing significant footage, it´s like the cat shooting game from the DSLR days, not revealing anything about the quality of the camera. It´s wordy but not showing its assumptions. FS5 codec is has been proved to be crappy a lot of times. FS7 240mbit codec is old and full of artefacts in lowlight. IT´s still the top choice for every day ENG work, because for that it offer great ergos, approaved broadcast quality and most of all workflow.
For indy cinema EVA is an awesome choice for the reasons I gave above about cinematic image with Varicam colors and filmic noise structure and high resultion with superior codecs.
The GH5 is such a hit, that zillions of beginners shooting with this powerhouse. It´s been so popular for every videoshooter, so many beginners shooting with it. Thatfore vimeo gives us dozens and zillions of beginner level footage. Believe me, GH5 in 8bit HD REC709 is already giving cinema experience quality color within three nodes of a quick grade. That´s why it´s a megaseller, because of it´s potential and technical prowess. Buyers just don´t know how to take advantage of it and shoot everyting in LOG without having an idea about the workflow. You guys know what I mean
Footage please Why did you sell it?

It will probably become clear when he tries to sell another SLRMagic Rangefinder??

Highly recommended. Honestly using MLVFS with 5Diii/resolve is easier than shooting/editing 6K on my GH5.