QuickHitRecord

No one has mentioned Nikkor AI and AI-S primes yet. I have a set of five, cine-modded by Duclos, and I have been pleased with them; first on my GH2, then on my FS100, and finally on my 5D3. I've also had them on a RED Scarlet, and they looked great at 4K. They are compact but well-built, and the lens characteristics match closely across the set. The only downside that I can think of is that the focus ring goes the other way, making a reversible follow focus a necessity.  
 
Here's a nice rundown on them by Caleb Pike of DSLRVideoShooter:
 

No one has mentioned Nikkor AI and AI-S primes yet. I have a set of five, cine-modded by Duclos, and I have been pleased with them; first on my GH2, then on my FS100, and finally on my 5D3. I've also had them on a RED Scarlet, and they looked great at 4K. They are compact but well-built, and the lens characteristics match closely across the set. The only downside that I can think of is that the focus ring goes the other way, making a reversible follow focus a necessity.  
 
Here's a nice rundown on them by Caleb Pike of DSLRVideoShooter:
 

NAB is only a month out. I'd wait.

A great film.
 
 
Agreed. The technology is there, and it's accessible. We have already have a slew of affordable ninety-percent imaging solutions out there but so many of us are focusing all of our attention on each new 0.25% improvement rather than putting in the time and effort to master the craft, assemble the crew, recruit the talent, and bridge the gap that imaging technology never will.

No doubt. I'm going through some of my old canon t3i raw files right now and am still impressed how much I can get out of them if I'm smart. (and that sensor is pretty much in line with these)

Reading these forums always leads me to analysis paralysis. If I had to grab something now I'd just get a gh3 and be done with it as it's the best tool for the job right now for me and produces really good looking video. (of course I have a few months to wait and see if anything really cool happens or is released, so, more analysis paralysis)

I haven't tried it, but probably not. But if your main use of 4K is to slightly re-frame your shot and deliver in 1080P, I think that it's fine for that.
 
Also, using the 5D with anamorphic lenses can offer pretty high resolutions. Using the 1600x1200 crop mode with a 2x lens can give you a 3200x1200 image, in raw.
 
I'm not saying that the 5Diii is going to be better for everyone. I think that the GH4 will probably be a really nice camera. But even before production models start rolling out, we already know that it can't match the 5D's 1080P codec. So, if you're mostly interested in really good-looking 1080P, I think that the 5D with Magic Lantern remains a strong contender.

I also have a 5Diii running ML. I'm not going to buy the GH4 because I don't need 4K, and with my 5D I'm getting a full-frame sensor and a better codec without the added bulk and cost of an external recorder. Plus, I get NIGHTLY firmware updates from Magic Lantern. I just downloaded last night's and it's hard to believe all the bells and whistles that have been added in just the past week.
 
In terms of shooting with raw, I use it for the option of matching white balance between shots and tweaking exposure. Then I export them out to 12-bit ProRes 4444 files, and edit and grade as usual.
 
I don't bother with the KomputerBay cards. To me, the piece of mind that I get from the Lexar 1000x cards is worth the extra cost.
 
If you are really keen on 4K, then maybe the GH4 is the camera for you. But otherwise, the 5Diii delivers some of the best 1080P I've seen, and you already own one!

I haven't tried it, but probably not. But if your main use of 4K is to slightly re-frame your shot and deliver in 1080P, I think that it's fine for that.
 
Also, using the 5D with anamorphic lenses can offer pretty high resolutions. Using the 1600x1200 crop mode with a 2x lens can give you a 3200x1200 image, in raw.
 
I'm not saying that the 5Diii is going to be better for everyone. I think that the GH4 will probably be a really nice camera. But even before production models start rolling out, we already know that it can't match the 5D's 1080P codec. So, if you're mostly interested in really good-looking 1080P, I think that the 5D with Magic Lantern remains a strong contender.

For storage, I keep all valuable lenses in sealed zip-lock bags with desiccant. No fungus so far!

I just watched one of my old DVDs this weekend. Not a Blu-Ray, just a plain standard definition DVD on a mid-2000s 720P TV. I got sucked into the movie. Never once noticed the lower resolution. Just saying.

1) Hire an experienced producer.
2) Hire an accountant.
3) Get a Production budget.
4) Talk to camera rental/ sales house.
5) Listen to their recommendations.
6) Get a package deal.

Every anamorphic lover's fantasy...

A handy MLV How-To:
 

http://www.amazon.com/RainbowImaging-Minolta-Adapter-Olympus-Panasonic/dp/B003GRHBEM

$5000 for shipping from Germany to the US seems legit :)
Maybe he plans on hiring Elton John to swim it across the Atlantic wearing a pair of gold Speedos.

http://www.magiclantern.fm/forum/index.php?topic=7122.900
 
Audio recording while shooting in raw (MLV) has now been enabled by g3ggo. It seems like they are still working out some bugs, but it's good news. It has been out for a few days now, but I have not seen anyone else talking about it so I figured that it warranted its own thread.

For storage, I keep all valuable lenses in sealed zip-lock bags with desiccant. No fungus so far!

http://www.magiclantern.fm/forum/index.php?topic=7122.900
 
Audio recording while shooting in raw (MLV) has now been enabled by g3ggo. It seems like they are still working out some bugs, but it's good news. It has been out for a few days now, but I have not seen anyone else talking about it so I figured that it warranted its own thread.

http://www.magiclantern.fm/forum/index.php?topic=7122.900
 
Audio recording while shooting in raw (MLV) has now been enabled by g3ggo. It seems like they are still working out some bugs, but it's good news. It has been out for a few days now, but I have not seen anyone else talking about it so I figured that it warranted its own thread.

http://www.magiclantern.fm/forum/index.php?topic=7122.900
 
Audio recording while shooting in raw (MLV) has now been enabled by g3ggo. It seems like they are still working out some bugs, but it's good news. It has been out for a few days now, but I have not seen anyone else talking about it so I figured that it warranted its own thread.

I had been a projectionist for a long time (now this profession has died), and from 2000 on I had also been a digital projectionist. Until 2011, when automation finally killed the job, I used to compare my own stuff to the DCPs, side by side on the big screens, in the last two years also as DCPs, when easyDCP and openDCP became available. The largest screen was 78 feet x 32 feet (that's for scope, for 16:9 the width then was 58 feet).
 
First thing I noticed is that resolution doesn't influence sharpness to the expected degree. And it also doesn't influence subjective quality very much. In fact, an upscaled SD DVD ( anamorph pixels with scope-crop, really the worst way to treat a video) could be shown to a big audience, and (back then) nobody complained, the class-A hardware scalers made it look good. I know this is hard to believe, but we once had a festival with student films, ranging from DVD, BD to genuine DCP (a Red!), and the one best looking was a masterfully graded HVX200 short, played from SD DVD.
 
On the other hand, there was a way to know instantaneously what was film and what was video: Colors. 

 
I know this comparison is only 8-bit, but I have to find a way to describe aesthetic subtleties here. With a camera like the GH2 ("Musgo"), for example, one would be well advised to fill the frame with detail, textures (resolution, that's the GH2s strength) and not with skies and other big areas of glorious colors.
 
Right now we grade for 8-bit, so 12-bit raw is *just* a bigger palette for grading. Color depth seems to add a new dimension to our video. It's fun to tear the, er, bloom off the images and to dive through the colors. Would it stand against an Alexa? I can't tell, really, but I'm convinced it would do better than many others.
 
I can't wait to see a DCP with the 12-bit preserved in my old cinema.

I think that it looks rather good.
 
To figure out correct aspect ratio, shoot an image of a circle on your monitor or a step ring on your desk. When you import the footage, you'll be able to see pretty quickly what stretch factor to use (many lenses that have a '2x' designation are actually 1.9x, 1.8x, etc.)

There's a seller on eBay (helicoptersean) who prints custom delrin focus gears. Here's one of his listings:
 
http://www.ebay.com/itm/Custom-Focus-Gear-Ring-for-Sigma-50mm-F1-4-Lens-/261286581672
 
He has now made two gears from spec for me that are much wider for use with anamorphic lenses. I've been pleased with the quality and the price (around $30 per custom gear). If you want to contact Sean directly, his email is helicoptersean@gmail.com.

From where I stand, I believe that making a living in this industry comes down to being willing to share credit and to take criticism, having a willingness to learn regardless of your experience level, and going out of your way to make the life of the person that hired you a little easier.
 
Also, punctuality and responsiveness to emails.
 
These are the kinds of people that I want to hire (and be hired by).

From where I stand, I believe that making a living in this industry comes down to being willing to share credit and to take criticism, having a willingness to learn regardless of your experience level, and going out of your way to make the life of the person that hired you a little easier.
 
Also, punctuality and responsiveness to emails.
 
These are the kinds of people that I want to hire (and be hired by).