racer5

I'll get right on that.

But literally hundreds of millions of people watched that video (I think that's about double the amount of people that saw Avatar), and none of the commentors mention it being a gimmick. They just think it looks cool. I guess my point is that there might just be more acceptance out there amongst the unsophisticated public for crazy wide ratios than we think.

Those are all Academy ratios, I'm talking about 3.56:1.

Here is a shot taken with the Rokinon on the NX1: https://flic.kr/p/tmmxuv

I like the lens, a little soft wide open though. Never tried the Opteka.

Would anyone like to buy one? If so make a fair offer over PM. It's a nice little gizmo, but I don't use it much.

Sweet.

I missed that article...have there been any films that are pushing close to 4:1? Not that I've seen.

Ok, I should maybe rephrase, and say why outside of music videos is their an adherence to Academy ratios?

And I would wager a large percentage of the 272 million viewers of this video watched on an iphone and didn't mind the lost real estate one bit...

I ask the question sincerely. 273 million young viewers accept this ratio without question. 

Thanks, Rich - good info. In my case I'm looking to use this on a S35 16/9 HD sensor, which sounds like it unfortunately makes the pricey Isco here my best bet...

In truth, Hawk V-Lites fill the exact niche I'm looking for - but are out of my budget to rent. Really wish there were affordable options as there are in the 2x stretch world. Perhaps as you mention 1.5x is the way to go.

I'm in the market for a 1.33x solution, but I just can't justify $3000. 

Are there any known 1.33x projector lenses that could come close when paired with a diopter (SLR magic/FM/cinelux) ?

Gorgeous. Only thing that jumps out is the moire at 1:10, wonder if that was baked into the ProRes. I'm also curious why it was shot HD and not 4k.

I think this is a great approach to stabilization, and also a perfect, real-world use of 4k. Most of us are using 4k footage on HD timelines for cropping flexibility anyway. 

The skin tones and colors in the first video, really nice. Warm, pleasing and right in the sweet spot. The rolling shutter gives it away otherwise I'd believe it was a high end camera. 

Don't alexas clamp saturation while sonys scale it with luminance? Something like that. I hear what you're saying but the post-f35 sonys have a spot-able look and there is a reason behind it.

Thanks for your workflow on this Ed, and the various helpful tests and shootouts you've posted. I do have to say that the Sony cameras end up looking "lutty" to my eyes. The highlights don't clip but they go into a weird curve-shoulder zone that I don't personally care for. It's a pity as the "f" cameras are becoming very accessible and I want to like their look.

Unlike the GH4 which sends 10bit over HDMI, the NX1 only sends 8bit (in 4:2:2 space). In theory the ProRes from the Assassin will still be a little better than what you record to SD with it. Maybe someone who has had experience using it with an Shogun or Odyssey can speak to that. I'm curious too. 

Boy I sure wish the NX1 sent 10bit over HDMI, would have made a hell of a combo with this puppy.

Thank you for pointing this out as it often gets ignored: if you switch the NX1 to HD res it's almost a global shutter cam.

When Cinema5d compared shutter speeds in the following chart they had the nerve to show the NX in UHD mode only on the far right - indicating it's the clear loser, while the A7R2 is given its HD crop speed, and the Amira winning even though it's only 2k. In HD the NX would be to the left of the chart. There is a lot of bias against this camera out there.

The images in this trailer are without flaw; massive amounts of detail, no clipping anywhere, perfect tonal transitions.

And yet my emotional reaction to it is similar to having just watched a cutting edge video game cinematic. It feels like perfect technology on display. Pixel peeper porn. Someone mentioned HFR, and I get that vibe a bit too. Just my personal reaction; and yes I still understand Chivo is a genius, and this is the best camera ever, etc. 

Comparing it to the other large format event film this year, "The Hateful Eight"; this single frame that Bill Bennet tweeted (of Richardson's work, after a screening) just looks magnificent to me:

​Please post if you have luck with it Marco. I attempted to use a Schneider back after reading the Hobbs paper, but found it very difficult and frustrating to get the exact right sensor distance, by sliding/locking along rails. The step resolution of rail increments seemed too coarse, hence why I determined a proper mount with a set flange distance was needed. Pity, I'd love to have sharp F2! Good luck with your explorations.

​I agree about the Hobbs project, also intrigued. He casually alludes to printing a PL adapter he 3d printed that takes Schneider spherical backs. But how did he come up with the measurements for the adapter, namely flange distance?

You'll be happy with switch. The NX will give you pleasing punchy warm colors out of the box, without the need for a color wheel session to make the footage presentable.

Nope. Also can't lock focus to infinity with a fly by wire NX lens. Old manual lenses are better for this.

Very cool that he used the Schneider spherical backs. But how did he enforce exact flange distance with the printed mount adapter?

Focus related question: when a manual lens is attached I can hit Ok and get magnification and peaking. I'd like to do the exact same thing when a Samsung lens is attached (ie not the timed mag/peak you get with a focus turn). Possible?