All in excellent condition and fully functional focus and aperture rings. I have all the front lens caps but do not have all the back caps, I have two but i would fit an MFT adaptor and cap to the last one sold. Blades operate smoothly and IQ on the primes is excellent. The Hoya is not a sharp lens but has an unusual look to it.

Can be sold with FD to MFT mounts (2 x)

Canon FD 50mm f/1.4 = £40 Canon FD 135mm f/2.8 = £50 Hoya FD 35-105mm f/3.5 = £25

All three for £105 with free P&P

PM for more details

Anyone out there happen to have any dealings with them recently? Or possibly know of another place one could send a lens mount like this to get repaired?

Thanks guys!

First try shooting FMX, not very easy ... Happy by the way, a nice afternoon in my big friend Julien's backyard. Goog vibes and atomic riding from a passionate guy. Go on dude, you're on the right way ;-)

Shot & Edit: Julien Miscischia Camera: Panasonic GH3 Codec: MOV 50mbps IPB 1080@50 PAL Lenses: Olympus 45mm 1.8, Panasonic 14-42mm OIS kit lens, Canon FD 35-105mm 3.5, Helios 135mm 2.8 with Fader ND Profile: Natrual -5,-5, 0, -5 Edit and grade: Premiere Pro CS6, After Effect CS6, FilmConvert

Music: Sleepless (Fakear remix) soundcloud.com/fakear/sleepless-fakear-remix soundcloud.com/fakear

Comments are welcome

After shooting mostly with Panasonic cameras, and so use to a super sharp image, I'm not sure what people think about the 5d2 these days for web delivery? A few years back, it seems like everyone was requesting the 5d2, but things have changed, is it still an acceptable image today? Should I shoot a test for the client, or am I overly critical of the softer image compared to the gh2? I can drive myself crazy with this shit. Just looking for opinions and advice from my peers thanks

I just answered a question I got a few days ago in this video. It's about using a flat profile picture style as well as setting up some of the settings in your camera to make it as flat as possible, and why you should leave some settings although everyone says you shouldn't.

Let me know what you think of these thoughts!

• Safe Option 1: Buy Metabones Speed Booster in Contax/Yashica -> Micro Four Thirds mount. Connect C/Y Zeiss glass. Profit.

• Theoretical Option 2: Buy Metabones Speed Booster in Canon EF -> Micro Four Thirds Mount. Adapt Zeiss C/Y glass to Canon EF mount. This allows me to share lenses with Canon bodies if necessary and also mount standard Canon EF glass to the Speed Booster as well. With the limited range of wide angle Zeiss C/Y glass available this also could make things easier. It saves me buying multiple $400 Speed Boosters.

Question is: Is there any reason NOT to do option 2? I know it will allow a greater chance of error in the adaptors, but will the C/Y -> Canon EF even mount to a Canon EF -> MFT Speed Booster? Is this entire idea completely stupid or have I stumbled on accidental brilliance?

THANKS!

Canon 24-105L Canon 70-200L Rokinon 14mm

No gear except camera tripod and lenses. Hope to do some more creative uses coming up.

Color graded and edited in Davinci Resolve Lite using a mix of Cinelog LUTs, and Vision Color LUTs. Very light noise reduction on the early shots applied with neat video, and a small level of grain added throughout the video to give it a a little filmish kick. Download original to get a much better idea of grain appeal. I myself have come from GH2 land and so the raw experience has been a joy. I personally enjoy the color grading process so it is very nice to have all the latitude and detail to work with.

Any comments or questions, don't hesitate to ask.

Enjoy.

The cost is £60!

I'm living in London, pick up is preferred, but I can also send the camera, within European borders.

http://www.gumtree.com/p/for-sale/8-lcd-monitor-for-canon-cameras-5d-7d/1058609008 I FORGOT TO PUT IN THE PICTURES THE REMOTE CONTROL, It will come with the screen..

What you going to get: -8" LCD Monitor -Canon LP-E6 Charger -Power cable -Sun Shade -Accessory Shoe Mounting Adapter -Remote Control -360 degree swivel mount

Features • Ultra Bright 450cd/㎡ High-Definition Display • Supports Composite Video RCA Input • Display Resolution up to 800*480 Pixels • 16:9 or 4:3 Adjustable Display Ratio • Designed for FPV Application • Application to FPV or Wireless Composite Video Camera in making Movies.

Specifications Panel Size: 8" widescreen Brightness: 450 cd/㎡ LCD Type: TFT LCD Resolution: 800 x 480 Aspect Ratio: 16:9 & 4:3 Contrast Ratio: 500:1 Light Source: LED Backlight Surface Treatment: Anti-Glare Viewing Angle: 70°/70°,50°/70° (L/R,U/D) Inputs: Compostie 1 Video RCA Input, 1 Audio RCA Input Input Voltage: DC 6-12V Input Current: DC 0.5A-1.5A Power Consumption: ≤8W Watts Speaker: Built in, 1 Watt Mount: "1/4"-20 Thread and VESA mounting socket(75mm) Storage Temperature: -20°C to 70°C Operating Temperature: -10°C to 60°C Size: 208 (L) × 146(W) × 32(H) mm Weight: 515g

http://songwriter.revimage.com/channels/JoannaStClaire

If the music video wins for Joanna, it means a chance to work with Don Was (one of the most prolific and acclaimed producers out there) and money to help create additional music. She spent years on the album this video comes from and is an incredibly warm and talented person, so your help would be really appreciated by both of us.

Now here's some more text for everyone else about a project I worked on at various points from 2007 to last week. :)

Quick intro: I'm Per Lichtman, the guy that found the audio settings values now used in the majority of modern GH2 hacked settings, thanks to @Vitaliy_Kiselev making it possible to test and modify them. I've also participated in a lot settings comparison tests and talked way too much over the years. :)

Last year I directed a music video for a song I also worked heavily on the music side with. It was called "Listen to the Sound" by Joanna St. Claire and it finally got put up at http://songwriter.revimage.com/channels/JoannaStClaire in conjunction with a contest Joanna St. Claire recently entered. I wanted to help her out in the contest and share some of my experiences with the GH2 community at the same time.

The video is shot using a mixture of GH2 with the Driftwood Canis Majoris Night settings, as well as a RED Scarlet and Cooke lens courtesy of OnTheMarkMedia.net. There are also one or two shots with a Canon HV30.

The grading was done by Dimitrios Papagiannis ( @Bueller) in DaVinci Resolve using the Cineform codec as a digital intermediate. Ashley Nunn and Karla Usagi provided additional support carrying things as well as behind the scenes photography for one or two of the days. In other words, shooting often consisted of just me and the artist.

The shoot was done entirely using natural light, without reflectors or any other aids, on an extremely tight schedule and filmed almost entirely around sunset over the course of multiple days. The shots featuring water were done in a region where there is not normally a body of water: it was there for the first time in about a decade due to unusually high level of precipitation. The lake evaporated in a matter of weeks.

The lenses used on the GH2 were a Rokkor Minolta-mount 58mm f/1.4 and a Tokina 28mm Minolta-mount f/2.8. Various Tiffen contrast filters were used at certain point on the GH2. To the best of my memory, no filters were used on the Cooke lens for the Scarlet.

I will be posting more information (such as which shots are which) depending on what the interest level warrants.

The re-mastered album that the video goes with is "Stream HD Master", which we recently released in full-fidelity 96 KHz at 24-bit depth dynamic range. You can find it at https://joannastclaire.bandcamp.com/

It's been one of my favorite musical experiences so far. It also one of the ones were I've worn the most hats (recording engineer, mixing engineer, mastering engineer, creative consultant, album cover photographer, music video director, editor, etc.) that I can think of so far. :)

Principal photography to start in summer 2014

like our Facebook page to stay tuned: https://www.facebook.com/sangdenavetlefilm

Cheers & keep shooting.

I just post a few workflow ideas for Avid and also Edius to get around some common problems.

Some cameras (eg GH2) wrap the 1080/25p in a 50i (25fps) container or do other weird stuff like show you a very strange framerate.

Workflow Avid MC6 or higher:

• create a 1080/25p project
• AMA link your card (don't rename your files otherwise your AMA Link doesn't work)
• In your bin enable the "field motion" column/heading and with a click on the line(s) Avid interprets the file(s) as progressive or progressive strobe.
• Transcode to Avid DNX and hope for the best because Avid struggles a lot with GH2 files (Avid is king with pro files but h.264 isn't pro for him).
• When you run into transcode troubles you have to transcode the files that didn't work with a 3rd party program like usually Squared5 (doesn't like my GH2 files too), so like Adobe media encoder.

if you have files with weird frame rates

• Open the Console (Under Tools) and type eg. "SetAMAQTForcedFrameRate true 25.00" and hit enter
• some message appears and your linked AMA's are now 25fps (or whatever you typed in)
• you have to type in the commando every time you start your Avid (doesn't remember it)
• to stop type "SetAMAQTForcedFrameRate false 0"

If you have different framerates / resolutions you can mix and match them in Avid

• work in another project on a different framerate / resolution
• open your main project
• import the bin(s) from the other project(s)
• Avid will handle everything

And because I'm on field in the middle of nowhere with a small laptop I take this approach to check my files, make a rough cut or transcribe an interview.

Workflow Edius: Basically you don't have to think about anything

• drag in whatever you like
• change some files to another field motion
• mix other framerates/formats,...

I don't love Edius, but you have to love some features of it like working with everything native on a small laptop or ...

hope this helps ciao, Hans-Peter

CANON nFD 35-103 f 3.5 - Excellent workhorse, parfocal-ish - 100 USD

CHINON 55mm f1.7 - As new - 90 USD

COMPUTAR 8mm f1.3 - As new, rare C-mount lens with good manual controls. Covers super 16 sensor, perfect for BMPCC - 200 USD

COMPUTAR 12.5mm f1.3 - As new, covers super 16, needs some adjustment to reach infinity (might be my c-mount adapter?)- 150 USD

VIVITAR FD 28-90mm f2.8-3.5 - Excellent but aperture is stuck at 2.8. Needs cleaning of apertureblades. - 30 USD

YASHICA 50mm f1.7 - Good with some wear to the lens body, excellent glass - 50 USD

M42-m43 tiltshift(!) adapter - 20 USD

CHINON-m43 adapter - 10 USD

Prices excl. shipping from sweden

• Minimum focusing distance 0.39m.
• IS features about four stops advantage, oriented to video recording.
• Circular aperture EMD (Electronic drive aperture)
• STM (Stepping Motor) AF, dramatically reduced noise and offers smooth movement.
• Designed for cameras equipped with a hybrid AF.

Only camera that can have all advantage from STM is EOS 650D.

MTF

Press releases:

• http://www.dpreview.com/news/2012/06/08/Canon-creates-EF-S-18-135mm-F3-5-5-6-IS-STM-EF-40mm-F2-8-STM

Previews and reviews:

• http://www.photoreview.com.au/news/canon-unveils-two-new-lenses
• http://www.dpreview.com/news/2012/06/08/Canon-creates-EF-S-18-135mm-F3-5-5-6-IS-STM-EF-40mm-F2-8-STM
• http://dc.watch.impress.co.jp/docs/news/20120608_538793.html

Preorders

• http://www.adorama.com/CA18135ISR.html

everything is as good as new. everything together: 6.000 euro

Perfer to sell to persons in Denmark, Sweden og Germany - as I would perfer to present the equipment in person if possible.

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

Links:

• http://www.usa.canon.com/cusa/consumer/products/camcorders/consumer_camcorders/vixia_hf_g20

Other new models:

It is interesting that lower models only are actually upgraded getting 1080p60 and 35MBit.

• http://www.usa.canon.com/cusa/consumer/products/camcorders/consumer_camcorders/vixia_hf_r40
• http://www.usa.canon.com/cusa/consumer/products/camcorders/consumer_camcorders/vixia_hf_r42
• http://www.usa.canon.com/cusa/consumer/products/camcorders/consumer_camcorders/vixia_hf_r400

Preorder and spec links:

• http://www.bhphotovideo.com/c/product/909790-REG/Canon_8153b001_8GB_VIXIA_HF_R40.html
• http://www.bhphotovideo.com/c/product/909789-REG/Canon_8152b005_32GB_VIXIA_HF_R42.html
• http://www.bhphotovideo.com/c/product/909788-REG/Canon_8155b004_VIXIA_HF_R400_Full.html
• http://www.bhphotovideo.com/c/product/909792-REG/Canon_8063b002_32GB_VIXIA_HF_G20.html

Since the introduction of Digital Cameras it became easy to film and to learn making indie films, you just grab your camera and experiment with it. However the look of the digital footage(even color corrected and graded) still leaves amateur and domestic camera impression, the digital footage doesn't look as good as straight out of the film camera.

What is it about film that people like so much? Simple - it's color. Maybe some will say dynamic range, some will say the motion and flares. But the best feel about the film is that it looks unique and cinematic. People say that film has a unique color processing that can never be achieved by a digital camera. I take a more scientific approach and after many researches I found some breaking points in simple After Effects effects profiles and LUT usabilities and achieved unique fake color caps which gives that beloved film feel. The limited color brightness is one of the most important things when trying to emulate film look.

The hardest part in grading Digital footage is that it needs to be RAW or LOG, that means a flat footage taken out of expensive cameras. Then it is graded digitally by shifting colors of keyed parts, adding tints and editing curves. Amateur and Indie filmmakers sometimes doesn't have all those REDs and Black Magics and ARRIs and other beautifully named machines and anyway they want to look pro, so what we all indie filmmakers do is not called grading we just do the color correction - just create some interesting looks by shifting and tinting video. But there is certain points and colors that will leave that digital and domestic feel in the DSLR video even when it is color corrected. The colors overbright, and oversaturated areas doesn't change with color correction. Many of indie filmmakers lowers the saturation, but what happens is that they desaturate all areas of the footage so colors in shadows becomes undersaturated. I tried to fix it by collecting some unique braking points of Adobe After Effects CS6 as known as ColorGhear techniques but instead of doing it manually I tried to automate the process. The process is not grading nor color correction - it's something very different and unique and is used as a simple preset for After Effects CS6, which will be available soon for just a few dollars ($5-$10).

So I made some tests. At first I didn’t even think that I would come up with something interesting but now I actually need your opinion, it is usable? Does it really make a difference and most important – does it make the footage look like FILM (kodak). It does certain things to a simple footage: adds color bright limit, adds saturation limit ONLY to oversaturated areas, increases saturation to undersaturated areas, makes overbright colors(not whites) more visible and appealing on screen (for human eye).

There was a guy who tried to create and then disappeared his plug-in known as "Filmvision plug-in" I think he used similar techniques.

What do you think ?

Also I will make a video with just original color limiting process because the current video also affects the overall saturation and makes it more blockbuster Blue Orange type of thing.

Also, do these point and shoot cams also have an F-stop sweet spot like my Lumix 100-300 lens where between f5 or f8 is its sharpest. Is that the same for point and shoots?

Harold House

http://www.ebay.com/itm/Focal-Reducer-Speed-Booster-adapter-Canon-EF-mount-Lens-to-Micro-4-3-M4-3-Camera-/201016438691?pt=US_Lens_Adapters_Mounts_Tubes&hash=item2ecd836fa3

Try your luck gents.

EDIT: I swear I did a search and didn't find the RJ topic. Here's the link to that: http://www.personal-view.com/talks/discussion/9086/rj-lens-turbo-m43-adapters/p1

This new release is a 68 minute film going deeper into the background and current situation.

Filmed on GH1 with hack, Canon FD, CCTV C Mount and panasonic stock zoom lenses.

Audio recorded via Tascam digital recorder and cheap shotgun mic :)

Edited and onlined in Adobe Premiere 6.

All questions welcome, on film making, politics, whatever

Enjoy

When using the HD-SDI output on the Canon XA25 to record to something like the "Blackmagic Hyperdeck Shuttle" or the "Atmos Samurai"

Do you get footage in 10bit / 4:2:2 color spaces as both of these recorders promise?

Thanks,