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Julian Krause

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  1. Yes, and if the F6 is designed properly, the noise of the microphone (regardless if dynamic or condenser) should be higher than the intrinsic noise of the F6. This way your noise performance is limited by the mic itself and not the F6. This is the whole goal of the F6. It should provide a huge dynamic range, so that it captures the whole dynamic range of the mic.
  2. That's not correct. The wrapped wire is a resistive element and because of thermal motion of atoms in the voice coil, a voltage is generated across it. This is called thermal noise. The higher the impedance of a dynamic mic the higher the thermal noise. Even though the thermal noise of dynamic mics is very small, but because these mics need a high amount of amplification (which also amplifies the thermal noise), a dynamic mic can end up having a weaker signal to noise ratio than a condenser mic.
  3. Hey @Mattias Burling, I shot a comprehensive image test with the Canon RP. If you want, I can send you some original footage. I don't have any footage of the 6D MKII to compare it to but I have the feeling it is not going to be much different.
  4. Maybe have a look at LUTCalc. With it you can create your own conversion LUTs. It provides different gammas and gamuts for all famous cameras including Canon and Arri. https://cameramanben.github.io/LUTCalc/LUTCalc/index.html So I think for your example you would select Canon C-Log as Rec Gamma and Canon Cinema Gamut as Rec Gamut. And for Out Gamma it would be Arri Log-C and Out Gamut would be Arri Wide Gamut. Then just hit the create LUT button. If you give it a shot, let me know how well it works..
  5. Hey Steele, the linked video got an aspect ratio of 3.55 (3840x1080px). You get this look when you shoot 16:9 (1.77) natively with your camera and use a 2x anamorphic adapter. Then in post you squeeze down your frame heigth to half the resolution. e.g You shoot 3840x2160 and 2x anmorphic lens. In post you squash your height down to half of 2160 to desqueeze. So you export as 3840x1080. You then got the same aspect ratio as the linked video. Math behind the aspect ratio: 3840 / 1080 = 3.55 You shot in 4096x2160 when you desqueze your footage you´r left with a comp of 4096x1080 which has an aspect ratio of circa 3.8. If this is close enough for you you could leave the video like this. If not, you do have to crop down the frame width to 3840px so that your final comp is 3840x2160. This is exactly 3.55 and identical to the linked video. Hope this isn´t too confusing
  6. Redimp is right, primes work much better with anamophic adapters than zooms. Primes vignette less. New lenses can definetely be used. A thing to consider is the diameter of the front element. Newer lenses tend to have bigger front elements which may or may not physicly attach to your anamorphic adapter. One more reason why many people use old taking lenses is that they add there own character. You can change the lens flare of your anamorphic setup a bit by using different taking lenses. Additionally old lenses are usually cheap. The mentioned Helios 44-2 is a great taking lens because it is 58mm focal lenght. With modern lenses you usually only find 50mm and maybe 55mm. But on many anamophic setups these focal lenght tend to vignette where the 58mm can sometimes be used vignette free. So if you choose a taking lens you first have to find out the minimum focal lenght which does not vignett. After that it is a matter of preference and physical form factor to decide which taking lens you use.
  7. With the de-squeezing method from Gabriel you will get some small image degradation because you are stretching your image horizontally by a factor of 2x. So you are effectively up-sampling horizontally. Vertically you still got the full resolution so no change there. All in all the de-squeezing in this case is hurting the horizontal resolution a bit, but from my experience this will only be a minor if not negligible degradation. I actually did the same thing because my A7s can only record in 16:9 and I got a Rectimascop 48/2x anamorphic adapter.
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