Caleb Genheimer

Yep.

I shot this a couple months ago, and had a blast! It's always changing, but my anamorphic rig is getting more useable. 
 
Kowa 16-H (still amongst the best ana glass.)
SLR Magic Rangefinder (could loose the blue blobs but otherwise does a great job.)
RedStan Clamps (what more needs to be said? They're the best, and they're red. Makes Canon L-glass jealous.)
Konica Hexanon 40mm f1.8 (this lens just works. Really well. Set to f/4 and forget.)
Samsung NX1 (yeah I'm one of those guys. But this thing pays the bills, and will continue to do so for at least one more season.)
 
 
EDIT: yes, the anamorphic is not perfectly aligned. That's actually on purpose to add to the vintage low-fi aesthetic.

That's where it fits. The Tokina ATX is very, very good. But it's a 72mm filter, so it goes on the 72mm Redstan. Then the step up to 77mm, with the rangefinder finally on front. I think the Rangefinder front is something like 82mm, so there would be serious vignetting with the Tokina on front.

This is mine, done with FilmConvert. I always do a curve node before the FC plugin. (Davinci Resolve). I like that FC wrangles the color away from a digital look, and adds some grain when needed. You've still gotta pick which film stock though, and massage the clip with some curves/levels. There's no true magic bullet solution to grading, and no substitute for a careful eye.
 

I shot this a couple months ago, and had a blast! It's always changing, but my anamorphic rig is getting more useable. 
 
Kowa 16-H (still amongst the best ana glass.)
SLR Magic Rangefinder (could loose the blue blobs but otherwise does a great job.)
RedStan Clamps (what more needs to be said? They're the best, and they're red. Makes Canon L-glass jealous.)
Konica Hexanon 40mm f1.8 (this lens just works. Really well. Set to f/4 and forget.)
Samsung NX1 (yeah I'm one of those guys. But this thing pays the bills, and will continue to do so for at least one more season.)
 
 
EDIT: yes, the anamorphic is not perfectly aligned. That's actually on purpose to add to the vintage low-fi aesthetic.

I shot this a couple months ago, and had a blast! It's always changing, but my anamorphic rig is getting more useable. 
 
Kowa 16-H (still amongst the best ana glass.)
SLR Magic Rangefinder (could loose the blue blobs but otherwise does a great job.)
RedStan Clamps (what more needs to be said? They're the best, and they're red. Makes Canon L-glass jealous.)
Konica Hexanon 40mm f1.8 (this lens just works. Really well. Set to f/4 and forget.)
Samsung NX1 (yeah I'm one of those guys. But this thing pays the bills, and will continue to do so for at least one more season.)
 
 
EDIT: yes, the anamorphic is not perfectly aligned. That's actually on purpose to add to the vintage low-fi aesthetic.

I shot this a couple months ago, and had a blast! It's always changing, but my anamorphic rig is getting more useable. 
 
Kowa 16-H (still amongst the best ana glass.)
SLR Magic Rangefinder (could loose the blue blobs but otherwise does a great job.)
RedStan Clamps (what more needs to be said? They're the best, and they're red. Makes Canon L-glass jealous.)
Konica Hexanon 40mm f1.8 (this lens just works. Really well. Set to f/4 and forget.)
Samsung NX1 (yeah I'm one of those guys. But this thing pays the bills, and will continue to do so for at least one more season.)
 
 
EDIT: yes, the anamorphic is not perfectly aligned. That's actually on purpose to add to the vintage low-fi aesthetic.

I shot this a couple months ago, and had a blast! It's always changing, but my anamorphic rig is getting more useable. 
 
Kowa 16-H (still amongst the best ana glass.)
SLR Magic Rangefinder (could loose the blue blobs but otherwise does a great job.)
RedStan Clamps (what more needs to be said? They're the best, and they're red. Makes Canon L-glass jealous.)
Konica Hexanon 40mm f1.8 (this lens just works. Really well. Set to f/4 and forget.)
Samsung NX1 (yeah I'm one of those guys. But this thing pays the bills, and will continue to do so for at least one more season.)
 
 
EDIT: yes, the anamorphic is not perfectly aligned. That's actually on purpose to add to the vintage low-fi aesthetic.

I shot this a couple months ago, and had a blast! It's always changing, but my anamorphic rig is getting more useable. 
 
Kowa 16-H (still amongst the best ana glass.)
SLR Magic Rangefinder (could loose the blue blobs but otherwise does a great job.)
RedStan Clamps (what more needs to be said? They're the best, and they're red. Makes Canon L-glass jealous.)
Konica Hexanon 40mm f1.8 (this lens just works. Really well. Set to f/4 and forget.)
Samsung NX1 (yeah I'm one of those guys. But this thing pays the bills, and will continue to do so for at least one more season.)
 
 
EDIT: yes, the anamorphic is not perfectly aligned. That's actually on purpose to add to the vintage low-fi aesthetic.

I shot this a couple months ago, and had a blast! It's always changing, but my anamorphic rig is getting more useable. 
 
Kowa 16-H (still amongst the best ana glass.)
SLR Magic Rangefinder (could loose the blue blobs but otherwise does a great job.)
RedStan Clamps (what more needs to be said? They're the best, and they're red. Makes Canon L-glass jealous.)
Konica Hexanon 40mm f1.8 (this lens just works. Really well. Set to f/4 and forget.)
Samsung NX1 (yeah I'm one of those guys. But this thing pays the bills, and will continue to do so for at least one more season.)
 
 
EDIT: yes, the anamorphic is not perfectly aligned. That's actually on purpose to add to the vintage low-fi aesthetic.

There's a price bracket/performance sweet-spot where a camera magically disappears into complete irrelevancy for 99% of people. This one hits that sweet-spot. I'm sorry, but $30K (likely more)?! I'm sorry, but that places it squarely as a rental cam in almost every case, and up against ARRI/RED offerings. 
I know what Alexa (and even Amira) can do, and sorry, but a Canon won't come close. Not even ballpark. I feel gross mentioning them in the same sentence. And if ARRI ain't your style, there's a high chance that RED has you covered, and in many cases for well under $30K.
If by chance you're REALLY docu, I'd throw my money at however many Sony FS-5s you need. That new electronic ND should be a complete run -n-gun game changer.
If you're still not covered by those options, you're either Nolan/Tarantino, and only film will do, or you're one of the countless professionals that realize: any of a number of DSLR/mirror less cameras will get you damn near close enough, for 1/10th the cost, in 90% of situations, if you know what you're doing.
I LOVE pouring over gear specs, especially cameras, and mentally crunching the numbers. But almost since the 5DII, Canon have been consistently making cameras that just don't match up in the price/performance categories. I'm not saying they don't make good cameras, they do. But they're either too pricey vs the competition, too late to the party, or too flawed.
At the risk of being "that guy" that brings the Samsung NX1 into every thread, that's what I've shot on since it came out, and I fully expect it to last another 1-2 years as my a-cam. I have ISO mapped to one wheel, Aperture to another, and Shutter Speed to the third. White Balance is a button press away (though quite frankly the AWB produces more pleasing color than the presets 90% of the time), and a variable ND filter fills out the kit alongside that killer 16-50 zoom, which pulls focus like a champ with no hunting. It truly resolves UHD and 1080p. Works for me. There are folks with Sonys, Panasonics, Nikons, Fujis, and even Canons that would say the same. 
At this point I glance at new Canon offerings, and read them in-depth later when I need a good laugh.

There's a price bracket/performance sweet-spot where a camera magically disappears into complete irrelevancy for 99% of people. This one hits that sweet-spot. I'm sorry, but $30K (likely more)?! I'm sorry, but that places it squarely as a rental cam in almost every case, and up against ARRI/RED offerings. 
I know what Alexa (and even Amira) can do, and sorry, but a Canon won't come close. Not even ballpark. I feel gross mentioning them in the same sentence. And if ARRI ain't your style, there's a high chance that RED has you covered, and in many cases for well under $30K.
If by chance you're REALLY docu, I'd throw my money at however many Sony FS-5s you need. That new electronic ND should be a complete run -n-gun game changer.
If you're still not covered by those options, you're either Nolan/Tarantino, and only film will do, or you're one of the countless professionals that realize: any of a number of DSLR/mirror less cameras will get you damn near close enough, for 1/10th the cost, in 90% of situations, if you know what you're doing.
I LOVE pouring over gear specs, especially cameras, and mentally crunching the numbers. But almost since the 5DII, Canon have been consistently making cameras that just don't match up in the price/performance categories. I'm not saying they don't make good cameras, they do. But they're either too pricey vs the competition, too late to the party, or too flawed.
At the risk of being "that guy" that brings the Samsung NX1 into every thread, that's what I've shot on since it came out, and I fully expect it to last another 1-2 years as my a-cam. I have ISO mapped to one wheel, Aperture to another, and Shutter Speed to the third. White Balance is a button press away (though quite frankly the AWB produces more pleasing color than the presets 90% of the time), and a variable ND filter fills out the kit alongside that killer 16-50 zoom, which pulls focus like a champ with no hunting. It truly resolves UHD and 1080p. Works for me. There are folks with Sonys, Panasonics, Nikons, Fujis, and even Canons that would say the same. 
At this point I glance at new Canon offerings, and read them in-depth later when I need a good laugh.

I'm so far done with Canon. Have been for years. Y'all have fun still giving a crap because I sure don't. I've gotta go to work every day with my gear, and as long as you know your gear, you can do good work. Is it nice to have all these features? Sure. But at what price? As long as you know your core camera functions and how they influence exposure/motion/color/texture/etc, most modern cameras will do fine. 
Alas near as I can tell, there are two truly innovative features out in the last few years, both related to single-op use:
DPAF: for all your non-hunting autofocus needs
Electronic Variable ND: Smart Transition Lenses For Your Camera (tm)

Ask the guys from Zacuto and they'll tell you that the C700 has the perfect form factor. It might look a little "ugly" but it is going to balance perfectly on the shoulder.

Hopefully they have enough success with this 4K camera to convince them to include 4K on the rumored medium format mirrorless camera too. I'd rock a 4K MF camera with Fuji color science till the cows come home!

Hopefully they have enough success with this 4K camera to convince them to include 4K on the rumored medium format mirrorless camera too. I'd rock a 4K MF camera with Fuji color science till the cows come home!

Hopefully they have enough success with this 4K camera to convince them to include 4K on the rumored medium format mirrorless camera too. I'd rock a 4K MF camera with Fuji color science till the cows come home!

Hopefully they have enough success with this 4K camera to convince them to include 4K on the rumored medium format mirrorless camera too. I'd rock a 4K MF camera with Fuji color science till the cows come home!

Meanwhile I've been shooting corporate stuff all day long with my Sammy NX1/Ronin M combo. No slow-mo, but the colors and resolution are gorgeous.

Meanwhile I've been shooting corporate stuff all day long with my Sammy NX1/Ronin M combo. No slow-mo, but the colors and resolution are gorgeous.

Meanwhile I've been shooting corporate stuff all day long with my Sammy NX1/Ronin M combo. No slow-mo, but the colors and resolution are gorgeous.

Hmm focus-throughs always seemed sketchy to me. But if it works at f4 and is sharp throughout the range, then go with it!

Get yourself a single-focus unit (Rectilux or Rangefinder), and a monitor that can de-squeeze the image. I personally stick to f4 and think it almost always looks fantastic.