QuickHitRecord

That was my thinking as well. 24-135mm on full frame translates to an S35 focal range equivalent of 16-90mm, which is pretty close to that Fujinon Cabrio that everyone wishes they had.
 
There's also a cheaper (and more abundant) Sigma 28-135mm f/3.8-5.6 that is supposed to have a non-rotating filter thread, a non-shifting focus ring, and a manual aperture if you get the Pentax or Nikon mounts, but I don't have that one.

It should be getting in tomorrow. I'll let you know. I have high hopes!
 
Here's what the good folks over at Dyxum had to say about it: http://www.dyxum.com/lenses/Sigma-24-135mm-F2.8-4.5-Aspherical-IF_lens130.html

I've stumbled across something that might be interesting to Full Frame and S35 shooters in particular: the Sigma 24-135 f/2.8-4.5. It's a relatively modern lens (from around 2000) so it will have the benefit of modern coatings. Optically, it seems to be well-regarded, though the lens construction is not supposed to be anything to write home about.
 
What's interesting about it to me is that the front filter does not rotate while zooming or focusing, AND it has a manual aperture (if you get the Nikon or Pentax mount versions) -- this is really unusual. The Pentax version allegedly focuses in the Canon direction too. Declicked and treated as a constant f/4.5, this could be a decent poor man's cine zoom.

@Zach
 
Be brand agnostic. Shoot with every camera you can get your hands on (without buying it) and it will become pretty self-evident what works best for you. Weigh the expense and downtime related with switching cameras against the improvements that you will get. Sometimes it will make sense to upgrade, and other times it is smarter to stick with what you've got for a little longer. No one can answer these questions but you!

@Zach
 
Be brand agnostic. Shoot with every camera you can get your hands on (without buying it) and it will become pretty self-evident what works best for you. Weigh the expense and downtime related with switching cameras against the improvements that you will get. Sometimes it will make sense to upgrade, and other times it is smarter to stick with what you've got for a little longer. No one can answer these questions but you!

It does look pretty good. Better than I would have expected for sure. But at this point in the game, I don't really understand the frustration with the ML workflow and file sizes. Why not just use a program like MLRawViewer to quickly and non-destructively color balance your shots, apply a LUT if desired, and export to ProRes 22 or ProRes LT? Sure, it takes some time to process your files. But at least that way, the massive MLV raw files never even have to touch your hard drive, and you've got a cleaner starting point.
 
Also, media is getting more affordable. I was surprised to see that KomputerBay 256GB 1066x CF cards have come down another $100 and can now be purchased new for $300. 
 
Unfortunately, there is no hack for the lack of an opposable LCD screen on the 5D. In my opinion, that is the most frustrating thing about the 5D3.

Have any other options become available since the last posts? I'm still using my AC7 which is great, but it's huge on my 5D3 and goes through my batteries pretty fast.
 
I can also confirm that there is no anamorphic monitoring on the Ninja Blade. I've emailed them to see if they could include this in the next firmware update.
 
EDIT: Atomos just responded:
 

John,

I don't appreciate content from our private offline conversations being referenced here, and I feel the need to state that I am in no way affiliated with John's Rectilux. We were merely comparing exploratory notes.

Respectfully, I suggest that the moderation of this forum be handled by a neutral party who has no commercial aspirations.

Nick

From one of comments on the Facebook page:
 
 
I'm assuming that the "rings for mounting" are what you are looking for.

Grading footage in raw is always best, but having a color-balanced, exposure-tweaked ProRes 4444 as a starting point is really, really good. That's how I've been doing it. 
 
It's a good program, as the linked article states. The only reason that I haven't been using it extensively is because BMDFilm color space has become a part of my regular workflow. But if you're not using that, then I can't see a reason not to use MLRawViewer. It's free!

I think that this is a good idea, Rich. I'll throw my B&H into the ring if I can get the math right (and the appropriate wide angle adapter).

Incidentally, I just watched an in-depth presentation on camera ergonomics (presented by Sony about a year ago) that is worth a look:
 

 
As a former FS100 owner and frequent C100 user, I think that Sony got it right with the FS7. Not only does the spec sheet check all of the boxes, but the ergonomics looks just about right.

John,
 
It's true. You did make a great discovery (based upon my lesser but prior discovery, it would seem), and I appreciated your sharing it with me. You have created a marketable product which is more than I can say. Now, it seems that we were not the only people charting these waters. But while I applaud the Anamorphic Shop offerings and look forward to trying them out, you seem eager to "take him down a notch", which is exactly what I have experienced in my dealings with you -- and why you haven't been getting any emails from me lately.
 
If you read back on this thread, you have now had several people express concern about your conduct. You can either write us all off as outliers, or you can take a look in the mirror and ask yourself some questions. I know what I would do.
 
Nick

John,

I don't appreciate content from our private offline conversations being referenced here, and I feel the need to state that I am in no way affiliated with John's Rectilux. We were merely comparing exploratory notes.

Respectfully, I suggest that the moderation of this forum be handled by a neutral party who has no commercial aspirations.

Nick

John,

I don't appreciate content from our private offline conversations being referenced here, and I feel the need to state that I am in no way affiliated with John's Rectilux. We were merely comparing exploratory notes.

Respectfully, I suggest that the moderation of this forum be handled by a neutral party who has no commercial aspirations.

Nick

How the heck is he doing this? I can't wait to learn more.

How the heck is he doing this? I can't wait to learn more.

How the heck is he doing this? I can't wait to learn more.

BMCC?
 
This looks great, by the way; both technically and and non-technically. Where did you go for the dunes? Sand and cameras, lots of fun...

After some more experimentation, I have reached the conclusion that this lens is actually capable of producing a nice cinematic image after all. Here's clip that I shot with a Canon FD 50mm f1.8 and a +1 diopter:

For smaller sensors, I'd go with the Olympus Zuiko 35-70mm f3.6. The 55mm front ring does not rotate, and it is parfocal (which is why I bought it).
 
The only downside that I can see is that it extends when focusing OR zooming, so it's best used with 8mm or small 16mm anamorphics only.

With the release of RawMagic 1.1.2 and Davinci Resolve 11 (Beta), the process of shooting, converting, editing and grading raw footage has become much, much simpler. Anyone speculating that the ML raw workflow is difficult needs to take a look at the two apps above.

Here's Steve Huff's review: http://www.stevehuffphoto.com/2014/07/01/the-sony-a7s-digital-camera-review-wow-period/
 
I'm still waiting on a legitimate video capability review, preferably one that's not focused on shooting in pitch black conditions.

Here's Steve Huff's review: http://www.stevehuffphoto.com/2014/07/01/the-sony-a7s-digital-camera-review-wow-period/
 
I'm still waiting on a legitimate video capability review, preferably one that's not focused on shooting in pitch black conditions.

The new RawMagic automatically merges all spanned .R00 files and incorporates vertical stripe correction as it churns out CinemaDNG files, which are automatically linked to their corresponding WAV audio files when opened in Resolve. And now with Resolve 11, you can do your entire edit with your raw CinemaDNGs and then go directly to grading, no proxies necessary. Convert files, then edit, then grade -- this is about five fewer steps than it was a few months ago!