QuickHitRecord

@scotchtape Any luck with the fan replacement? And would you mind sharing the stock fan make/model?

Just did a quick recording test. 
At 6ft away using C300D II as baseline, hyper cardiod mic pointed directly at front of fan. Gain to my voice set at -12dB (standing next to light). In post raised levels by 30dB and used Audition's average RMS reading for the scanned selections and noted the difference. Also tested at 1ft. Of course the closer in you are, the larger the difference will be.
6ft /1ft FS300 Stock ~ +12dB/13.6dB
6ft/1ft FS300 Noctua 1300rpm ~ + 1.2dB/3.6dB
So in real life, with your light anywhere from 3-9ft away, with the mic pointed away from it and much closer to subject, you probably won't add too much noise using the Noctua 1300 rpm fan (guessing less than 1dB). If you put the mic right next to the lights and closeup, then the F300 with the noctua is like 4dB louder.
Gotta love the marketing for the FS300 "A real asset in sound-sensitive environments, the FS-300 employs fan cooling for quiet performance." ... 12dB louder than C300D II...

I shot a short film with a BMMCC and three Kern Switar primes in 2019. This was when the cards needed to record raw were simply not available, so we shot in ProRes. I enjoyed working with the camera and generally like the soft, retro look we were able to achieve. Some shots looked better than others. I ultimately decided to sell it and put the money towards a Red One MX, which I think is much more in line with my personal aesthetic. But I do sometimes miss the small size and softness of the BMMCC. Hoping to get back to short films once the pandemic has eased up a little more.
I can't share the whole film yet because it's still in its festival run, but here's a teaser.
 

I shot a short film with a BMMCC and three Kern Switar primes in 2019. This was when the cards needed to record raw were simply not available, so we shot in ProRes. I enjoyed working with the camera and generally like the soft, retro look we were able to achieve. Some shots looked better than others. I ultimately decided to sell it and put the money towards a Red One MX, which I think is much more in line with my personal aesthetic. But I do sometimes miss the small size and softness of the BMMCC. Hoping to get back to short films once the pandemic has eased up a little more.
I can't share the whole film yet because it's still in its festival run, but here's a teaser.
 

A great read, Kye. Way to roll with the punches. It's neat to have what is probably the only instance of this lens in use with this camera in the world. I look forward to seeing your footage with this setup.

Good news for me, bad news for my camera cabinet. Looking forward to this.

This is super intriguing and it's great to know about this inexpensive action cam for lens experiments. Thanks for sharing the detailed notes. Hope we can see some video soon.

I loved the idea of this competition. Wish I'd been able to participate but I was in the process of buying a home. I hope there's another one soon.
In a similar vein, I've just launched a new group on Facebook called Junk Camera Cinematography with the following thesis:
I'm hoping that this group can be the antidote for those that feel like there's too much emphasis on new and better gear. It would be great to see some of you in there.

Since I have all three at the moment, I decided to make a test for my fellow anamorphic enthusiasts: 
 
http://vimeo.com/60401188
 
Not exactly scientific, but I tried to be methodical. The Iscorama is sharp wide open, but my Iscomorphot 2x has to be closed down to f/2.8 or smaller, and the Iscomorphot 1.5x really isn't too useful before f/5.6.
 
They each have their own unique character. Which image do you prefer?

There's a thread over on DVXuser: http://www.dvxuser.com/V6/showthread.php?356042-The-Hunt-(F3-still-delivering-the-goods)

There's a thread over on DVXuser: http://www.dvxuser.com/V6/showthread.php?356042-The-Hunt-(F3-still-delivering-the-goods)

There's a thread over on DVXuser: http://www.dvxuser.com/V6/showthread.php?356042-The-Hunt-(F3-still-delivering-the-goods)

Pretty sure I fall into this category.

The footage from this old sensor just looks better to me than anything else that's out there, including the new cameras or the really high end cameras. That's just my personal aesthetic.

Pretty sure I fall into this category.

The footage from this old sensor just looks better to me than anything else that's out there, including the new cameras or the really high end cameras. That's just my personal aesthetic.

Pretty sure I fall into this category.

The footage from this old sensor just looks better to me than anything else that's out there, including the new cameras or the really high end cameras. That's just my personal aesthetic.

Pretty sure I fall into this category.

The footage from this old sensor just looks better to me than anything else that's out there, including the new cameras or the really high end cameras. That's just my personal aesthetic.

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Had it at one point and it was good, but ultimately replaced it with the Olympus 35-70mm f/3.6, which may be sharper and doesn't rotate when focused.

I post this in another thread, but it might be interesting to those reading this one as well:
 

My friend dropped by this afternoon with his new a7Rii, so we did a quick test against my 5Diii (Magic Lantern Raw) which seems relevant to this discussion:
PW: shootout
Just as when the a7S came out, I am still happy with the image (and pleasing skintones) that I can get from my 5D3.
For those of you who take issue with my methodology, please feel free to post your own tests.

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I'm not sure about the Mark II, but I always use Data Import Utility to import files from my Mark I. If I don't, sometimes I will have a small interruption between longer clips that span multiple files. Data Import Utility combines these spanned clips into single files. This may have been corrected in later versions of Premiere but I still do it out of habit, and I try to avoid working with spanned files whenever possible.