Thanks for commenting man
Higher shutter speeds will give more sharpness to motion. That isn't even that high; its what I try to shoot, minimum. Think of it like Saving Private Ryan, where you can see each piece of dirt. (1/200 about)

I c man, very nice. I'm shooting a short atm and I will see how it fits in. TY for the advise.
Pe@ce

No prob. You'll need to use TV Mode to change it. If its dark, don't make it too high, or it will get noisy because not enough light gets in.

I'm replacing this vid with a brighter version, should be ready in an hour.

Thank you chico. I'd like to say that I've seen your videos before and one of them is in my favs. Its hard to get in my favs.

I'm uploading a brighter version to fix the monitor issue.

Thank you so much. Unfortunately, I can't get any pics up easily, but I will in the future when I get a chance. The Opteka macro is 30$ on amazon and makes a huge diff. You'll need that at 52mm and a step down ring from 52mm to 43mm to attach to the back of the twoneil as well as a step up 43-52 to attach to the cam.
I wanted to show the real potential of the twoneil, without burnout or blurriness.

amazon.com/Opteka-Professional-Pentax-Digital-Cameras/dp/B001A5IB7I/ref=sr_1_1?ie=UTF8&s=electronics&qid=1219174507&sr=8-1

Is that the macro lens you use?
Do you have any url, where I can find the step down ring and the step up ring?
I would really appreciate it if you have :)

Yes, it is indeed.
The rings are:
shop.com/Tiffen_52_43mm_Step_Down_Ring-19651667-26990552-p!.shtml?sourceid=298
and
amazon.com/gp/product/B0002GVX8A
Another option I think is that Twoneil says you can find a 55-57 ring, which can attach a 55mm opteka to the gg holder. Then you would need a 43-55 step up.

Ok, so if I understand you correct, The Opteka 10x Macro lens should be attached to the back of the twoneil adapter? First you have the cam, then step up ring 43-52, then Opteka Macro 10x, then a step down ring 52-43, then the twoneil adapter?
Sorry for making myself sound really stupid, but is that correct?

Yes, or a 43-55 step up, a 55 macro, a 55-57 step up, and then the twoneil with the last ring removed. That is a little more concise.

aah, okej, thxz!

It doesn't flip, and it is a challenge. But its not so bad, you have to teach yourself how to move the cam. Its like a reverse joystick on a game. And with an opteka, its like letus quality, but smaller and extremely cheap.

Thank you for commenting, and you probably saw the bright version. ;) The dark was by mistake not very visible.

Ah, OK! :)

If using a non-flipped adaptor - 'pull' the object/area of interest towards the centre of your LCD - rather than attempt to point the camera towards what it is you want to frame.

This works very well indeed.

Thank you man

Thank you.

Haha, very perceptive of you. EDIT: The HD is vibrating... it has an achromat, which seals it from dust. This is just his normal adapter with an 30$ Opteka macro attached. Essentially, that makes it a Twoneil HD. Twoneil hasn't yet released the HD also.

Thank you greatly. I hope to have a short film up with my new workflow sometime soon.

Thank you kindly, Tynan. The theme was quite dark this time. Colour was Magic Bullet Looks, but, and this is a big but, I just used colour and luma curves to do a custom grade. I did not use any presets. These can be found in any editor, and they are the same in every one. Magic Bullet just has an interface which I feel is easier to use than my editor's.

Cheers for the info.

Thank you Chris.
Its in the image control in the main menu. Just change it to custom and choose 'set'.

Thank you Incubust. This piece was definitely one of my darker ones. The song is Alligators Getting Up by Curve. Their best song, in my opinion..

Thank you again. Yes the whole darkness problem was that this wasn't sinking up with what I saw in my editor. I learned that Vimeo darkens in conversion. This piece is very dark, so hopefully in the future w/ other styles that won't be an issue.

Thank you for the suggestions. And don't worry, I will, should time permit, redo the original file to work with Vimeo. But now, on to stories!

Well the site doesn't list compatibility, but you don't need it. Just use curves
Thank you Mr. Bear

With some monitors, this has been a problem. Others, no. It is a dark piece, as dark as it could go. Certain screens, such as many tvs, use 'enhancements' that will blow out the contrast, and because nothing is very bright in this piece, that means that it gets blown out. If your viewing conditions are optimal, visibility should be fine, like on an overcast day.

Lol, that was hilarious. Thank you man.

Cool, that's a complex question. Right off the bat I'll say that you should look into 35mm adapters and color/luma curves. Those are the 2 biggest things behind this look, but off course it just gets more complex beyond that.
I'll send a message with more later, but refer to HV20.com to learn everything, its really the best community for any cam, ever.

That's a complicated one. You can use 24p for slomo if you have something called Twixtor, or at least Timewarp in Adobe Premiere/AE. The slo mo won't look as good as if you shot in 60i though. For this piece all the live action stuff was shot in 24p, and all the slo mo in 60i. For the 60i, I used each interlaced line group as a frame and the slowed it down 40% so that each of the sixty frames would be used as a 24p frame.
Then for the super slo mo jumps, I used Twixtor to slow the slo mo down another 50%, to bring it down to 20% of the original speed.

"Thank you Incubust. This piece was definitely one of my darker ones. The song is Alligators Getting Up by Curve. Their best song, in my opinion.. "
Of the Trip Hop genre in the 90s. Might want to look into 'Hell Above Water' by Curve. I'll be using another classic trip hop in a future vid.

Thank you Faran.
The items were twoneil with opteka, merkury wide angle, and a 20$ sunpack tripod from ritz camera.
Links have already been posted above, here is the twoneil:
hv20.com/showthread.php?t=2825
And the 52 mm merkury wide angle is on amazon.

That would be Premiere. And I spent a lot of time getting the workflow right so there would be no noise. The original 1080p version of this was perfect, far better than this noisy job. Use standard mpeg2 compression, if there is a setting like that.

Thank you Nowawes.
There is more to come.

Thank you Mike, frankly I am liking it a lot. This was my first test with the setup, and now I'll actually use it to tell stories. The size and weight of this setup as well as the wavy cmos basically makes handheld untenable. So here I tried to do something that anyone in the know will appreciate - maintaining focus while using the tripod as a steadicam.

Actually, that brings up a question of mine. How did you maintain focus while moving? It doesn't look like you did a hand focus otherwise there'd be more shake but you could have steady hands. :)

Thank you. This is the first time someone asked this, as steadicam + non-flipping twoneil was the main technical point of the shoot. How I maintained focus was by moving on the spherical plane perpendicular to the object, and never leaving it forwards or backwards. While keeping the camera the same distance from the object, there is still much movement that can be done on that axis. Also when using the tripod as a steadicam, there will be shake to a focus pull, but it will be smoothed out. I did this in my new thriller film.

Thank you Santi. Everyone is viewing it on different monitors and in different lighting conditions, and sometimes the style makes it hard too see. (I too have experienced this) I would say that the best viewing condition is on a non-matte screen in a dark room. Thank you very much again.

It was Nikon Series E 50mm 1.8.
Its the cheapest, lightest, most inexpensive option.
1.4 would give a better image but is heavier and costly.
I did not use the wide at the same time, but the order was right. A Raynox 6600 would be best, but it is heavy and expensive. Using heavier options will require rail supports.

What do you mean by "I did not use the wide at the same time"?

I used just that on the camera when the adapter wasn't on. Its not high quality enough to use with the adapter. For the camera, its pretty sharp.

Thank you Frederic.

Film framerate is always 24. This means that to get the authentic look, shoot everything but slo mo in 24. Do slo mo in 60. When it comes to shutter, that is a subjective decision. I find that higher is almost always better looking - with 2 exceptions, in rotation around a subject or following a fast subject, the blur can look cool if its not 35mm, and panning fast with high shutter in non-35mm can cause HD stutter.
I'd personally say go as high as possible before gain kicks in (inside or outside), and you know when that is.
Here is an article to help:
hd24.com/dont_shudder_at_the_judder.htm
And here is a 1/2000 video that really shows what i mean by high is pretty:
vimeo.com/953911
vimeo.com/448895
Look at the flying dirt with the dog on that last one.
And just for fun, a great article on faking 35 with zoom:
bluesky-web.com/dofmyth.htm

Alright thank you man this helped a lot. But the reason why I asked about the low light situation is because I heard that 30p is better in low light. But if you recommend 24p, ill use 24p.

You have been the nicest person I've asked questions to since I got the cam. I'm glad you saw my post on hv20.com. Thanks so much. I really appreciate it.

Oh and when I shoot in 60i for slow motion, should I use the highest shutter possible?

The framerate won't make any difference, except for the fact that lower framerates allow lower shutter speed. But its very video like to use any shutter speed less than 1/2 of the framerate, such a 1/24. So framerate should never affect you. Now with 60i, definitely use the highest shutter possible, before gain kicks in.

The way CMYK film process captures color is that it distorts colors slightly as they get to the right color layer. The result is actually a slightly 'warmer' image, kind of like what happens with analog audio. So therefore the brown appearance is definitely a factor. But much more important is the gamma (luma) curve and initial contrast level. The possibility for the subtle brown coloration was made possible by an initial sharp drop in contrast. The richness of filmic contrast was then added back in with luma.
Thank you Luke. The standards of color distortion does not apply to newer films that are enhanced digitally. We may see what we view as filmic changing.

Just a Sunpack 2001UT from the ritz shop. 20$.
Its great for steadicam work. But as a good tripod, Velbon DV-7000 is best. 120$. Though Rodriguez always says to use a dinky tripod so that for most shots you get the camera off it and moving.

At the time I did this, there was no extension. But since then, I got the extension, and it really perfects the image. The edges still showed aberrations before, but now its really clean and sharp. Its also harder to forget to zoom in (like I did in this shoot), because you can clearly see the edges fully zoomed out. I believe it keeps the image in the finest part of the glass, which makes all the difference.

Thank you for that great comment.
The ferns shot is one of my favorites as well.

Thank you Scott. I have seen your videos through HV20.com. You certainly do your research.

The color grading I break down into these general steps, as it is always changes with each image:
TV Mode - gives the base critical sharpness (higher shutter/improved detail) and color/gamma info
Reduce Contrast Sharply - 'wipes the slate clean' to add your own gamma ratios to simulate the ratios of film
Knee Down the Luma Curve - the critical part where you add the 'film lighting'
Play with Color Curves - open ended for the mood, create a mono colored image, or play with color contrast between the light and dark parts of the curves

Other Points - add or subtract brightness before curves and after contrast, and possibly add after the whole process. This can be critical to getting the luma to fall where you want it. Also possibly add a bit of black diffusion to simulate film, especially when without an adapter. Last, try adding different effects to see what happens, its all up to you.

You know, I control both by first choosing my preferred shutter speed (usually 1/100, at least 1/60) and then setting aperture by using the exposure slider and continuously pressing the photo button. Although there is hardly any bokeh, so I usually just set the aperture to full open and choose a higher shutter, which looks pretty. This is some great high shutter work:
vimeo.com/953911

Lol thank you. Its the adapter + opteka.
I tried to advertise how important the opteka is, in a way.
You make reference to Blue Monday!
I liked both the original and the remake.

I apologize for the long wait.
Vivid is bad. Instead, turn down the contrast, color depth, and brightness in custom image settings. It won't look as good right away, but it will give you more to work with in post. TV mode is good. Use 1/60-1/100 shutter. Then use luma curve in your editor (or color correction exposure bars in final cut) to make it look prettier than vivid could ever look.

Yes the gain will still be there. This reflects the fact that you are shooting in very dark conditions. This is why you have to turn on the lights like on a movie set. The same thing happens with film. Not only does it get noisier in the dark, but the image loses a lot of richness.

Thank you Justin.
Yes I do still use the tape, and you need a 43-55 step up ring to connect to the opteka, which needs a 55-57 ring to connect to the nikon extension ring 3, which then connects to the gg holder.
Raynox 6600 wide angle converter would be good enough in front of a lens, or any Nikon wide lens. The wide lens would be best, but either option would put too much strain on the thread and would require rails. These would make the system more stable and pro-feeling, but would be expensive and bulky.
But with just an opteka and my series e 50mm, the adapter is light enough. But it is more stressed with the opteka.

thanks- it has been recommended with an achromat- a cheap support solution (as it's longer than without the opteka is this lens support: bhphotovideo.com/c/product/554350-REG/Bogen_Manfrotto_293_293_Telephoto_Lens_Support.html#specifications

It is better in many ways except the following:
-Smaller, denser sensor (1/3.2) which means less bokeh, and theoretically worse performance
-and a proprietary hotshoe, which isn't too important for a more pro set up where the lights and mic are off camera.
-the hg10 was the only canon with a more pro zoom rocker, and a cool innovative spinning wheel for faster menu and focus adjustments.

The good: it has a higher motion bitrate, full 1080p, more storage, in cam audio monitoring and control, little more battery, and looks sexier.

I'm torn between the two.

But the Red Scarlet will put these handycams and all pro cams to shame in a year. I'm waiting for that like my life depended on it.

For now I'd probably buy an HF100 with a 16gb card. It was a sweet spot. If I had the cash, an HF11. The flash cams are smaller + lighter, more efficient with battery, and speedy.

Thank you.

Thank you baco.

I'm using a Nikon 50mm, series E after the twoneil. Cheap, small, light, and fantastic quality.

Its a static sure enough. I made sure to blow off the dust. Here's the key thing though: I sealed it from more dust by putting an opteka glass on it. It cost 35 on amazon and it made the difference between a great adapter vs a poor one.

Sweet! I bought the adapter and a achromat. So that will keep the dust away more? And no vingetting?