tweak

Who said anything about sharpness. And if we where talking sharpness its subjective anyway. And btw, ive used way sharper lenses than that sigma.
But it doesn't matter. People can believe and buy whatever they like.
Im not gonna debate some marketing bogus saying that my Tamron works on 40mp but not 41mp because it doesn't have the extra resolving power.. give me a break. They just want to sell lenses.

true that, but to me anamorphic is not about convenience, it is about the look:)

I have posted PDF twice by mistake. Here's a video with features 

 

Yep, could still shoot a good film with a 100dollar purchase.

I decided a while ago that for short narrative films, there isn’t a better option, unless you want to go the BlackMagic Pocket/Micro route, but even then the FF sensor of the 5D3 and the native lenses with OIS wins, IMO. 
With that being said, I’d hate to discourage younger, newer filmmakers from going out and making a movie if they want to but cannot afford a 5D3. For me the best option is the 5D3. If you have a smaller budget, then there are a lot of options.
The idea that you need Raw or 4K to shoot a good narrative short film is pushed by people that lack creativity. The best advice is to buy the best camera you can afford, learn how to use it and make the best film you can with the resources you have.

I think the 60p raw slowmo is good enough and actually pretty tasty.

brb robust and strong body with great ergonomic made for pros, not like sony toys
brb 14 bits 4:4:4 RAW video with motion cadence of gods - AESTHETICS OVERLOAD
brb easy RAW workflow, SSD > MLFS> resolve> ??? > profit (how is that any problem lol)
brb COLORS! I mean lets face it, NOTHING comes close (apart of almighty Leica) 
brb 3,5k RAW video and probably more to come - tour over  
Sony and panny cameras come and go, yet big Mark remains a modern classic, in 20years I will be still producing jooouicy stuff with my Mark while all the sonys a7 mk8 will just paper specs monsters but obsolete.
discuss!
Pic of my battered mk3 with most zeissy glass -contax zeiss (the best there is)
 
CTB APPROVED

I filmed this last year with a Sony A7sii + 28mm F2 and a 50mm f1.4 + Phantom 4. Let me know if you have any questions!
 
 

"I've come to realize the public at large does not have my educational attainment"
The internet never fails to entertain me for all the wrong reasons.

Hey all
New firmware update, 10th October 2017:
Following bugs were found after updating the firmware to Ver.2.0 but now they have been fixed.
[Power Save LVF Shooting] was automatically set to [1 sec].
(This makes the camera go into sleep mode in 1 sec in a standby mode.)
* [Power Save LVF Shooting] will be set to [OFF] when the firmware Ver.2.0 is updated to Ver.2.1.
If you would like to enable [Power Save LVF Shooting], please set it on manually by selecting a designated time.
The parameters of picture quality adjustment in Photo Style were all set to -5 when setting the recording mode to [MP4 HEVC(AAC)]. This bug has been fixed.
* The parameters of picture quality adjustment in Photo Style will be reset to ±0 when the firmware Ver.2.0 is updated to Ver.2.1.
If you would like to adjust the picture quality in Photo Style, please adjust them manually.
There were cases where [V-LogL View Assist] did not work, This bug has been fixed.
There were cases where motion pictures recorded in [AVCHD] cannot be divided. This bug has been fixed.
---------------------------
http://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/index2.html
Cheers
Chris
 
 

i once shipped a box of iscorama parts a  rare zeiss baby focus iscorama the first ever iscorama and 2 baby moller 1.5 optics to super 16
5 optics all the metalwork mixed up the glass protected it had been sitting on a shelf for 2 years at one of the demon money grabber repair places.
 i stuffed a note for bernie that simply said sorry about this can you see if you can rebuild parts maybe missing 2 weeks later an email saying ready for shipping
no moaning no huffing and puffing he just did  the best he could
  i wish i had yaken a picture of that dustry old pile of germanic junk  before the bern and after.

do not give it 2 van demon  the logo speaks for vandiemen
a little forked devil check it out a devil with a big smile
 
the greatest company in the world for lens works is truelens uk same town as cooke expensive in the movie lens world repair biz you have panavision la then true lens
then p&s technique germany slow   and van demonics slower uk
 
truelens has many folks that have worked at cooke so that small town has some mighty talented lens repair guys probably the lead in the water.
repairing rehousing spherical and anamorphics
 
 
i was the clown that first used that company with the devil logo they solved some problems on an iscorama rebuild project that i started.
they then started  offering an iscorama  rehouse before even finishing my prototypes.
very dubious i could say more but i will not
 
bernie o is a great man the problem is in bernies day he could leave a lens soaking for months today the pressure is on turn around .
the old cooke speed panchro from ww2 often got seized up in the brass housings sometimes the raf would paint the metal again causing problems years later.
sometimes you would have too put the lens aside and go back try again weeks later.
bernie is indeed an old gent i am sure it was frustrating for him as hans says if it is know open  and you feel he owes you a favour email him.
 
john at focal point lens repair is another great old geezer based  in the usa  east coast like bernie also maybe able too repair optics i have done jobs using bernie and focal point working on the same lens in the past.
focal point is great with optical decay bernie breakdown service rebuild..
 
failing that an iscorama is still worth good money for spare parts no matter what the condition  optics and mechanical.

Sorry yeah, I meant South coast NSW. I live in NSW.

Hi Jonpais, i also noticed this, so I did a comparison in photo mode using a 25mm prime from panasonic. First I took a shot in 4:3 mode en the exif says 25mm is 50mm in the 35mm equivalent then I took a shot in 16:9 mode and now the exif says 25mm is 54mm in the 35mm equivalent this is the same crop as in movie mode.  So this confirms tweaks answer and is not a bug.
Regards,
Jan
 
 

I dunno, I think you guys should give him a chance, he might be telling the truth.
 

It would appear the primary factor in motion cadence would be the clock / sampling interval. If the sampling interval is perfect, e.g. each frame sampled at very close to 1s/23.976, that will have different a perception vs. a system with temporal jitter. It would seem film would have some temporal jitter, vs. a digital system would could be a lot more precise. The question is what 'looks better' and if temporal jitter is helpful, how would a digital camera implement it? (statistical sampling: average interval, variance, magnitude etc.). Likewise, if temporal jitter is pleasing, why aren't there post tools which specifically address this? (I've seen film effects which 'damage' footage, however nothing so far that subtly creates temporal jitter based on specific camera systems in the same way e.g. Film Convert works for color/grain).
With a precise motion pattern, cameras could be measured for temporal jitter / motion cadence (it would appear that cameras with genlocks could be jittered live).

Vignette is ok, but if it's moving around like that it looks horrid imo. Better to use a longer taking lens if you want to stabilise. Where are these shots taken? Looks like south coast AUS.

Not sure if I shoot "films" I'd call them more video clips (easier to do alone I guess). I shot and edited this one all by myself. It may not seem like much, but the conditions I worked in for 5 weeks  was pretty exhausting. Standing mostly in chest high water with a tripod and a 5/4 wetsuit, having to make sure every clip you film is spot on because it could be the only time the person lands one of these tricks makes for a  pretty tense working environment (there's no "oh can you just do that again?" type scenario).
 
 

There is no absolute image circle size for a C-mount, nor is there an absolute image circle size for the various focal lengths with a C-mount.
 
Furthermore, one can use an adapter to mount APS-C and full frame lenses to C-mount cameras.
 
You just have to determine the image circle of each lens on an individual basis.

While I ultimately agree with you i think it should be pointed that the surface are of the sensor in the iPhone is over 50 times smaller than a full frame Canon making it much easier to cool.

A smartphone cannot "kill" an action camera. Totally different tools. I dear you to use is with a clip-on fisheye and strap it on any helmet. /thread

I covered the European Championships in horse racing, jumping, dressage, etc. A full week.
Among the pro shooters there where 1 using mirrorless. Me.

All others had Canon. I walked around the whole arena and spotted maybe 5 Nikon. The rest was Canon.
0 Sony. 0 Panasonic.



Among the friends and family of the riders, their coaches, etc there where some others. 1 Olympus, 3-4 Panasonic.
And surprisingly at least 5 DJI Osimo or what ever its called..
And I understand them 100%. My Fuji X-Pro2 and X-T20 worked perfectly to capture the action. But that is because I know where the horses will be. Where they will turn, jump and so on.


But these guys and gals (lots of women pro photographers among horses) might have to capture a soccer game tomorrow. And then the tracking of my Fuji wouldn't cut it. I worked covering the veterinarians and have not need for fast action.

If, like me you have ever wanted to use the OLED screen of your lovely thin and light smartphone as an HDMI monitor for your camera, you are now officially in luck.
The LukiLink will give you that long-awaited HDMI input.
Read the full article

Exactly.

You can record external to hdmi at 1080p.  I do this with an atomos ninja blade.
You can even let it trigger the external recorder to record of you enable the in camera h264 proxy recording.
This will give you RAW files in the compact flash card in camera, H264 .mov files on the SD card in camera, And the external recording on the monitor.
There is an app called switch in the magic lantern forum, that can cut out the extra black frames that this workflow gives to the proxies. 
This way you can edit with the proxy files in and later sync up the raw files for grading.
I only tested normal 25 fps with this workflow,  48 may behave differently