http://www.bifest.it/en/

Don't know too much about it's specs, but I do know O'Connor fluid heads are legendary!

Pan and tilts fine, has a bit of a squeak when panning. Should be able to fix with some lubing.

Gitzo tripod has a ball head with 3/8" mount. Also works fine, just old.

Pictures show actual item.

$400 OBO.

i'm from Italy, and i accept paypal only thanks Luca luca.lusoli@gmail.com

As per the title, everything in like new condition:

• BMPCC, all original packaging of course, with 8 batteries and 3 chargers (one is double) €749, Paypal included.

• Metabones Speed Booster for Nikon lenses (G/F/Ai/Ai-s) to BMPCC, tried it only once, cost me €565, selling for €499, shipped, Paypal included.

For anyone wanting them as a package, then €1200, shipped, Paypal included.

Thanks for your time.

So Euro 750, you keep your Resolve dongle and we have a deal.

Thank you!

Hey guys =)

If you've seen last Jarmush's film, I've got a couple questions?
In the scenes where vamps are in the car, i.e. in Tanger, when framing lampposts, the light seems to make a halo-flare:

• What lens you reckon produced this?
• Secondly, do you find this "effect" pleasing?

Thank you

PS
Okay, seems camera used was an Arri Alexa Plus with Cooke S4 Lenses.
Still very interested in knowing your take on the flare rendition .-)

At 0'42'' is perfect example of what I was referring

Source: Claudio Miranda

Some time ago I wrote to Ryszard of foto-akcesoria.com.pl asking if he could make up an Eyemo-> M4/3 adapter. He replied:

I think it would be possible to make an adapter for MFT system. I don't know exact technical details of Eyemo cameras so you would have to send me one lens in order to make measurement.

He's in Poland. I'm in Aus and reluctant to post my lenses away. By some chance, does anybody live near have a lens they can show this guy?

BTW, you can get some very good high-end lenses in the Eyemo mount, from older Cookes to modern (ex-NASA) General Scientifics. They're cheaper than some other mounts and I suspect the lack of adapters might be one reason.

See Eyemo lenses on Ebay

-Wooden Camera pocket cage -2 sandisk extreme pro 64gb cards -4 batteries (non-nikon ones) incl charger.

All together I offer then for €250,- excl. shipping.
Individual purchases are negotiable.

Details at:

• http://cpn.canon-europe.com/content/product/cinema_eos/cn_e14mm_t3_1_l_f.do
• http://cpn.canon-europe.com/content/product/cinema_eos/cn_e135mm_t2_2l_f.do

Available at:

• http://www.bhphotovideo.com/c/product/913668-REG/Canon_8325B001_CN_E_14mm_T3_1_L.html
• http://www.bhphotovideo.com/c/product/913669-REG/canon_8326b001_cn_e_135mm_t2_2_l.html

Other

I knocked up a quick, rough and ready Proof of Concept demo video of my project "MagicWand" wireless remote for the BMPCC and it is now available on Vimeo:

The plan is to build an Android App with other platforms to follow if there is sufficient interest.

So far AutoFocus, FocusNear, FocusFar, AutoIris, IrisOpen, IrisClose and Record Start/Stop are function over the wireless link.

Zoom is also planned, I just need a lens to test with. Anyone got a spare of the new Panasonic 14-42mm power zoom?

I can't see why it wont work with the other BMD cameras as well, I just don't have the means to test these yet.

Regards,

Andy.

I haven't seen anything so bad (pretentious, egotriptic, falsely engaging, totally lack of soul, boring, completely shallow, un-cinematic, frozen/stagnated, deprived of humour, etc.) and completely opposed to what I perceive as art, be it of any kind, in a long long time.

As I may be going crazy, does anyone else felt... some sort of something similar?

Specs:

• 35mm
• T1.5, 11-blade aperture
• For full frame cameras
• Minimum focus distance - 45cm
• Focus ring rotation - 300 degrees
• Outer diameter - 115mm
• Length - 101.5mm
• Weight - 2.87 lbs

The Canon CN-E35mm T1.5 L F Cinema prime lens is expected to be available in December 2013 for an estimated retail price of $5,200.

Canon U.S.A., Inc., a leader in digital imaging solutions, has announced today the new CN-E35mm T1.5 L F single-focal-length Cinema prime lens designed for large-format single-sensor digital cinematography cameras employing Super 35mm or full-frame 35mm imagers. Delivering outstanding optical performance in contemporary 4K / 2K / HD motion imaging, the new Canon CN-E35mm T1.5 L F prime lens is the sixth member of Canon's line of compact, precision-matched EF-mount Cinema prime lenses, which also includes 14mm, 24mm, 50mm, 85mm and 135mm EF-mount models.

Collectively, Canon's Cinema prime lens family delivers a wide range of the most important choices in focal lengths to address a myriad of creative digital cinematography choices. All six Canon Cinema prime lenses provide a full-frame 36mm x 24mm image circle for full compatibility with the Canon EOS-1D C, EOS C500, EOS C300 Digital Cinema cameras, the EOS 5D Mark III and EOS-1D X DSLR cameras, the EOS C100 Digital Video Camera and EF-mount cameras made by other manufacturers. The lenses also feature consistent color balance, minimal focus breathing, water-resistant rubber gaskets, and an 11-blade aperture diaphragm to help achieve creative depth-of-field manipulation and pleasing "bokeh" effects. The six Canon Cinema prime lenses are also designed to facilitate production with uniform stepless gear-positioning rings for iris and focus, with an identical 300§ smooth rotation angle on the focus ring. These control rings - switchable from feet to metric labeling - maintain just the right amount of resistance with consistent operating torque. Lens barrels are engraved with easy-to-read scale markings, and consistent 114mm front lens diameters can accommodate screw-on filters and other accessories.

"As with all Canon Cinema prime lenses, the new Canon CN-E35mm T1.5 L F lens has been crafted to meet the creative requirements of the most discerning cinematographers, directors and producers," said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. "Filmmakers indicated a need for this lens in our lineup and with its launch, we now offer six cinema prime lenses covering some of the most important focal lengths."

1- Two Lumix G6 cameras Now.

2- GH3 now

3- Lumix G6 + Better glass

Things to Ponder:

• Numerous shorts, First Feature. Easier is better for me at this point.
• Two G6 cameras will let me shoot scenes a heck of a lot faster.
• I do most of the visual editing, color correction, color grading (I am okay, but far from great.)
• I will be lighting for the look I want
• I will be putting this in a few theaters myself and maybe a couple small festivals.
• I have a pretty good sound guy, so that side is covered.

I am working on bettering my skills between now and October. Every day I am working with footage and studying. Still, I know this will be a challenge. What do you guys think will work best for my needs?

I'm not a professional, just an amateur/enthusiast obsessed with great video quality. I'm primarily looking for something that has a large sensor and can produce sharp, detailed images with minimal noise. I'd like something good for narrative with the bonus of having something I can run and gun with if I want to. I can hold my own with basic color grading, but I'm by no means highly skilled at it, so I feel I wouldn't lose too much if I no longer had RAW.

I've narrowed my options to either selling the BMCC and buying a C100 or FS100, or sucking it up and keeping the BMCC. As for price I feel they are all somewhat similar. If I keep the BMCC I need to still buy ND's, a battery solution, a better rig for handheld, a wider lens, and probably some type of storage array for all this footage I'm amassing. For the FS100 I'd need to add the Speed Booster and ND's to get it up to the C100 configuration.

For the C100, I'd probably pick up an Atomos recorder at some point in the future. For the FS100 I'd be shooting only with the Speed Booster as I have only EF glass.

From what I've read it seems like the C100 should be an easy choice over the FS100, but I feel like the FS100 looks much more cinematic (maybe it's just that I've stumbled upon videos made by FS100 users with better skills than the C100 users? Or maybe it's just because the FS100 has been out longer?). Honestly all of these very cinematic pieces shot with the FS100 are pretty much the only reason it's on my radar as otherwise I believe the C100 to be superior.

Any advice from people who have shot with either camera would be much appreciated. Is the C100 just as good or better than the FS100 when it comes to image quality?

C100 Concerns: -Possibly not as cinematic as the FS100

FS100 Concerns: -Would only be shooting with the Speed Booster (bugs/issues/etc. with this?) -It's a couple year old camera, so I'd probably be disappointed if Sony released a replacement shortly after I bought one -No ND's -Form factor not as much to my liking as the C100

Having had the original Cinema Camera EF for about a year now (since before its public release), I’ve had the opportunity to use the camera in countless situations; jibs, dollies, cranes, sliders, glidecams, various interior/exterior car mounts, and of course, handheld and shoulder mount. The latter has been a little tricky to develop, but with a little ingenuity, a few components, and a drill, I have what I feel is a very capable ENG style rig for the Cinema Camera.

Using this rig I built for shooting our BMW documentary film is incredibly functional. I’m able to combine the powerful image quality the Cinema Camera delivers (12-bit RAW, ProRes HQ, and DNxHD), along with the flexibility an ENG camera provides.

http://www.onerivermedia.com/blog/?p=984

Rokinon is thrilled to announce the release of its 16mm T2.2 Cine lens in September, 2013. The Rokinon 16mm is a wide-angle lens for DSLR and mirrorless cameras in both the APS-C and Micro Four Thirds formats.

This lens allows for an impressive range of depth of field, with its fast T2.2 aperture. With a smooth operating manual focus, the 16mm offers pristine sharpness and clarity. It is ideal for shooting landscapes, architecture and interiors, as well enjoying unique perspectives and close-ups with shallow depth of field.

The 16mm T2.2 Cine lens features de-clicked apertures and follow focus compatibility, which is ideal for video. The lens is constructed with a solid build, using 13 optical elements in 11 groups with 2 aspherical lenses.

Rokinon is proud to provide a wide range of mounts. The 16mm T2.2 lens will be available in Canon, Nikon, Pentax, Sony, Canon M, Fujifilm X, Sony E, Samsung NX, as well as Micro Four Thirds cameras.

Rokinon continues its mission of “Excellence for Less.” See these great lenses at a Rokinon dealer near you or at www.rokinon.com.

We have worked very hard over the last year to be able to build the Blackmagic Cinema Camera at a lower cost so we can reduce the price and allow access to digital filming to a wide range of cinematographers and photographers.

We have done it and from today the Blackmagic Cinema Camera EF and MFT models will be reduced in price to US$1,995. This is very exciting and is one of the proudest moments of my life to be able to do this!

I think people will be able to use the savings to invest in some exciting lenses and rigs to really boost the creative possibilities. The Blackmagic Cinema Camera is a fantastic design that's now well proven. The advantage of the 2.5K sensor is it has enough resolution to eliminate the bayer resolution loss of a HD sensor, but when shooting RAW it produces files that are too not to big to store and work with easily. It's a fantastic solution.

All orders placed that have not yet been filled, can be reduced to the new lower price."

www.dvxuser.com/V6/showthread.php?311263-400w-Metal-Halide-6500k-anyone-tried-it

He talks about this $ 35 bulb http://www.hidhut.com/400w-metal-halide-lamp-6500-kelvin-p-418.html and $ 100 ballast. The bulb is 400 watt 6500 k and 90 cri (to be verified). If this is the case for $ 150 dollars you would get a reflector bulb/ballast socket system that would yield about the power of a 1500/2000 watt tungsten light in little overcast cloudy kelvin (6500k) that can be gelled easily with little power loss to 5600. Hard light that can be shaped much more than any soft light.

I shot it on bmd / gh2 and a variety of lenses... Did all the editing and post. (not perfect, but I learned a lot!)

Sorry for the "youtube grain"; it´s out of my control.

Set Consisting of 25/35/50/85mm T1.5

PL Mount? Maybe other mounts on release?

What do we think these are rehoused from?

http://www.alphatron.tv/2013040367/zunow-news/nab-2013-zunow-imperial-prime-lenses.html?utm_source=dlvr.it&utm_medium=twitter

Phillip Bloom's got one with Voigtlanders and MagicSLR's;

His website review; http://philipbloom.net/2013/03/29/bmdmft/

There are others that received it too, so there will be more videos poping up shortly. Finally :)

70mm Digital Raw.

The camera will feature on-board recording via an SSD, perhaps 1.5Tb

It will feature a Titanium body, and should be a couple of pounds lighter than the Arri Alexa.

It is expected to record DNxHD and ProRes, in RGB and maybe RAW.

The sensor can be windowed down to 42mm and 35mm formats.

They’re keen to allow a wide range of metadata to be captured and recorded onboard, making it “the VFX department’s dream camera“

They are also looking to develop a new open codec format

We’re expecting to see a prototype in the next six months…

It's been around a Year I signed in here for the very first time. So now, after many test shoots, I'm planning to choose GH2 for the next film project.

Film is about 85 minute long documentary. Films shooting style is mainly situation-based documentary (Cinéma Vérité aka Direct Cinema) with some "cinematic scenes". So some of the scenes are classic documentary and some more stylistic - fiction like - with lightning crew, dolly, directed action etc.

These situation-based events I'm going to shoot with GH2 attached to the Steadicam Pilot. And yes, no interviews. This means I don't have very long takes.

I really like Lee's Flow Motion v2 and Nick's Sedna (AQ1-A) or Cluster v6&7. These I've tested quite a lot. What I'm looking for is best combination in detail and in fluid motion (motion rendering - no strobo effect). And of course hacks reliability is a virtue too! =D

So does anyone has any extra pointers about taking a project to Big Screen? Or if You think there is superior Hack for this kind of project - please don't hesitate to speak out.

Thanx and all the Best, MisterJ

I've been quite impressed by the great image detail the all-new 4:4:4 hacks produce, but I still have problems with their RELIABILITY, colors don't look that great for me and I also have to deal with HORIZONTAL WAVES that destroy the image. Unfortunately, I'm also quite new to hacking and don't really know which patch to choose.

Is there anyone who could recommend a patch with a bitrate around 40MBPS and INTENSE COLORS (e. g. similar to Canon 5D Mark III or GoPro Hero Silver Edition) and that could be used BOTH WITH a LUMIX G Vario 14-140MM and a SLR MAGIC HYPERPRIME 12MM?

Thanks in advance. Simon