Justin Bacle

I saw it too. It was a pain to find a showtime in 2D and in it's native english form as always in France.

I like it a lot, but I thought exactly the same about the image, it just lacks the 80's aesthetic. Shooting spherical and not going for the glowing neon style was a bit unexpected.

That said, I really enjoyed it and I think it is a very good sequel to the original  

Thank you very much andrew for this great article

I want to know more about that :

1 hour ago, Andrew Reid said:

There are no particular adapters for the Minolta lenses for Canon EOS because of the shorter registry distance of 43.5mm. So I converted the lenses by myself.

Is there a way to have more detail about the conversion process. I own a nice set of minolta lenses but always had not to use them on canon mount cameras. So I'm super excited about knowing the conversion process :D 

If I had to choose one, it would be the Minolta Rokkor MD 50mm f/1.4. Very compact, fast and sharp 50mm

Here you go : 

http://allphotolenses.com/lenses/c_413828.html

I have the super Varexon 28mm f/3.5, I'd say it is "sharp enough". I think the tokinas/vivitar are better cheap options. You may wanna look at the fujinon too is you can find it.

10 hours ago, Mattias Burling said:

I have to do a B&W test next time I happen to have that many cameras in my house.

I'm quite curious to see how different B&W out of camera results are between different sensors and manufacturers. There are just so many ways to transform a color picture to B&W !

I would have chosen B too actually (didn't see you already posted the results when I read the thread), but it doesn't really mean a damn thing as I am colorblind :D
I would suggest having all the pictures fit onto one screen. It's a bit difficult to choose when you have to scroll.
What is funny is that, all the cameras you put in the test are doing quite good. It's just a matter of personal tastes I guess. 

Thank you for this nice comparison

On 17/09/2017 at 7:21 PM, Matt Kieley said:

And my point is, I wish they would design a camera that isn't ergonomically stupid, so we don't HAVE to rig it up just to make it work like a video camera. Of course there are rigs designed to add this type of functionality, but why should we have to buy $1k work of accessories just to make it functional? Or spend $5k+ on an UM4.6k? Yes, the Micro has a mount for a bigger battery on back, but they went with an LP-E6 instead of a camcorder battery, which I think is stupid, because you can get camcorder batteries in different capacities/sizes. If you want to use it as an action camera or on a gimbal/drone, just use one of the slimmer/lower capacity batteries, and if you want to shoot anything else, you can attach a larger battery that will last for more than 1-1.5 hours.

There is a guy that sells Canon LP-E6 to Sony NPF adapters for use on the BMMCC. It'll solve the problem, but I find it quite bulky :s

http://www.starvingartist101.com/ 

2 hours ago, tweak said:

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.

I could not agree more. I think the shaky footage would actually be better than the shaky vignetting :D
Why don't you just crop so that you don't see the vignette ? Looks like you have the extra resolution. Just crop so that the vignette is not visible and export in 2K/FHD  
Also it seems that the stretch factor is a bit off. But maybe it's just me, not sure about this one.

The images are quite good, just hide that shaky vignette and you're good to go again  

I did try it for fun several times, you can see example pictures here : 

Quite a weird out of focus blur but still interesting

You might wanna look at this thread : 

We spoke about many solutions to unscrew the ultrastar anamorphic part from the spherical part

4 hours ago, liamlumiere said:

I recently took the back element off my Möller 32/2x to clean the fungus from the inside and outside. I realised outside surfaces have fine cleaning scratches and would like to find a lens polishing service that could just make it all go away... Does anyone know of such a service in Europe? I was quoted by one source £400 per surface! This included recoating but then again, do anamorphic lenses have a different coating than normal lenses? My previous version had amazing blue flares, will this affect the lens having a different coating? How will they know what type of coating goes to this model. I'm guessing it has just one coating, not multicoating.

Also, on replacing the back element, being anamorphic do elements front and back need to be 90 degrees to one another ie. back: ⊂⊃  front ? ? According to my kowa, they do. How to align properly, will it distort image if I'm off slightly?

Thanks

I recently searched for such a service. I couldn't find a single company that wanted to polish and recoat my anamorphic glass. Please share your results if you find a company willing to do it

For usual purpose, you'll want to stay as close as possible to a shutter of 180° (1/50 for 25fps) as it is the standard in film movies.
Shutter higher (like 270°) can be used if you want increased movement blur and/or 1/2 stop more light.
Shuters lower (like 90°) can be used to reduce movement blur and can help simplify the VFX workflow.

You can use 1/60 and 1/80 if you want/need it. You just need to know what to expect with these shutter speeds. Go on and shoot test shots

On 9/8/2017 at 6:42 PM, 7 Lakes said:

So then you can just not to use internal ND filters?

The mechanics of the ND filter holders might be a problem too :s

1 hour ago, tweak said:

There's a few threads on ML forums where 8-bit Raw is discussed, mostly coming to the conclusion that it isn't a very good idea.

That's because we still cannot encode the image in a log space. 8bit linear encoding is very poor as it limits your maximum theoretical dynamic range and will be affected a lot by shadow noise. When a proper way to encode from linear to "log-ish" before writing to the card with not much impact on the cpu, then we might wanna start talking 8bit-10bit :D

I did try 10bit raw mode too, I found it a bit noisy, and preferred 12 and 14 bits files. 10bit log should be better though

1 hour ago, 7 Lakes said:

Hm, but interchangeable lens mount and ND filter should have no influence at all!? The lens mount is the same EF and ND filter does not interfere too, I guess?

The internal ND filters may be quite close to the mount thus interfering with the optics of the focal reducer

I didn't find Resolve 14 Beta to be that stable, as I had many crashes.
Now that I've updated to Resolve 14, I'll see if that improves  
I'm still using both resolve and premiere depending on the project. Dynamic Link is a huge benefit of the adobe suite to me.

I did clean my Sankor 16D when I got it. I bought it for cheap as the lenses were 'dirty' on the ebay pictures.
What happened is that the coatings had gone bad. I was able to remove the coatings with acetone and put everything back together.
I now have an uncoated sankor 16D, that I paid 60€ for

Follow @Tito Ferradans 's video on aligning the Kowa B&H. The first steps for taking it appart are very similar  

Here is what I use : 

Fuji X-T1 : when I want to use legacy lenses with the awesome colors and ease of use only fuji knows how to do on a Digital Still camera
Minolta XD7 : when I want to shoot film  Plus I love the minolta Rokkor lenses. 
Canon 50D : when I want to shoot anamorphic video (thanks Magic lantern !)
Panasonic AF100 : For everything else video related !

I am currently looking to buy a BMPCC, as I'd like a smaller video camera setup for everyday shoot. 

I use two adapter too to mount my M42 lenses on my m4/3 camera.

I just use a MD to M43 Lens Turbo II and then a Dumb M42 to Minolta MD adapter.

It allows to save a bit by only using one speedbooster

That's weird as the pink dot issue has been resolved since April 2016 in MLVFS :s
You should have better luck on magic lantern's forum

You have to update MLVFS to the latest version for it to be able to remove the pink dots
I'm using an old version myself on windows since I only use my 50D. But you have to upgrade if you want to use newer models.

See : 

http://www.magiclantern.fm/forum/index.php?topic=13152.0

and

https://bitbucket.org/dmilligan/mlvfs

2 minutes ago, dreamplayhouse said:

Second Issue : Update your MLV to DNG workflow in order to have the updates that can process images with the focussing pixels

What software are you using for converting MLV files to DNGs ? 

I'd like to buy one myself and have been hunting for the rare bargain for months ! If you want to use 16mm/super16mm glass. There is not that many options : BMPCC, BMMCC or Bolex D16 !

On 8/15/2017 at 5:15 PM, dreamplayhouse said:

When shooting ML RAW with a 7D I can see the crop marks for the cinescope (2:35.1) view but as soon as I start recording, they disappear so I can't tell where the cut off is to have the black bars top and bottom. I checked all the settings compared to my 100d/SL1 and they seem all the same.

Second issue, when I convert my SL1 files to DNG's, I can drag the first DNG onto the Adobe Premiere timeline and it automatically creates a full video clip, although I get the red focus dots :(. If I do the same with the 7d dngs, it just imports the first dng. I tried them all at once and it imports them all separately in to the project window in Premiere. Not sure why this is happening as it's just a dng just like when using my 100d/SL1.

First issue : In raw setting -> Allow Global Draw -> On
Second Issue : Update your MLV to DNG workflow in order to have the updates that can process images with the focussing pixels

20 hours ago, dreamplayhouse said:

30 views and no tips?

I don't think that's the way you should react to people not helping within 24 hours. Just my point of view :o 

7 hours ago, IronFilm said:

http://www.altasens.com/images/AL41410C-PF0476-10.pdf

Fun fact, the sensor in the LS300 is capable to do up to 4K DCI 72fs 12bit!! :-o 

That is true only if your are cropping to an ROI of 4096 x 2160 on the sensor.

If you're using the full sensor and have to downsample, you're limited to 50 fps I think.