Julian

Hey guys thanks "paulraymaekers,Julian,Ebrahim Saadawi,Mattias Burling" so much this helps massively!
and btw "j.f.r." Really off topic and you sound a little rude just throwing facts about how bad the lenses are i bought. as an indie filmmaker i don't have or really wanna spend $700+ on lenses when being honest at a certain point in my style of filmmaking it comes down to how much i can push the image in DR and the range in the camera than the lens. (also i'm using the 35mm t1.5)
For a canon 60D in video mode (it takes very blury video) i think this is pretty good (:
http://cl.ly/image/2W42340g373p
Thx for help guys!

Sony A7S = E mount
Canon = EF mount
Your question is about using Canon EF lenses on the Sony A7S, right?
The focal length does not change. Sharpness and chromatic aberration won't make any difference: unless you use electronic Canon lenses on your Canon camera with automatic lens profile corrections (active on jpg files you shoot with the camera, maybe in video too, not sure about that).
Anyway, your manual video primes should work the same on the A7S as they did on the 60D. The biggest difference is the crop factor of course. The A7S is fullframe, so your 24mm will give you a much bigger field of view. On the A7S it is actually 24mm, instead of 38mm (equivalent) on the 60D (24 x1,6x cropfactor).

​ive been saying this for years and always get weird looks all over the place, but the relationship of Sony and Panasonic is strikingly similar to RED and ARRI. One tries to innovate wherever they can, which always looks great on paper. the other focuses on complete reliability and only uses what works 100%. 
If moire isnt a huge deal on the a7r II there is another benefit opposed to the A7s. native iso at 3200 is annoying as f*ck and while its awesome to have nightvision in our camera, we wont need it more then 2% of the time. Shooting in bright daylight and having to use iso 3200 happens a whole lot more often. using variable NDs with these settings is almost impossible because all of them suck at high ND values. and fixed NDs are just as annoying. native iso at probably 800 is a lot better to deal with if you want use S-Log

By the way, the APS-C mode for stills will result in 18MP files.
The A7R II + FE 28mm f/2 would make a neat travel kit, giving you both fullframe wide angle shots and 42mm equivalent 18MP aps-c-shots.
 

What we need is a more efficient implementation of IPB: one that switches to ALL-I when then encoder can't hit performance targets for IPB (large motion vectors, etc.). This would allow ALL-I spiking to well over 200Mbps (up to the limit of the hardware write speed). Manually switching between ALL-I and IPB shouldn't be required: computers are supposed to make things easier

One of the more underrated and nicest 'organic' lenses, especially for crop frame cameras. very sharp, lovely golden flare.
this Isco type has a min focus of around 1m. Closer focus can be made by fixing diopters to the front. This lens does not have a front filter thread, so I've found that tightly wrapping a step ring to the front with electrical tape can allow for common diopters to be attached and detached easily by screwing into the step ring's filter thread. Or even better solution is to get a proper front filter clamp from Redstan.
As for 'cheap' clamp? - you can find them online, but the Redstan clamps are well worth the money. The others are made from cheap and nasty materials with metal clamp screws that will mark and scratch your Isco every time you tighten. the Redstan clamps use nylon screws that do not damage your lens when clamped.
As for suitable taking lens? - on S35 I've used f2 58mm Helios 44 and on Full frame, 85mm Olympus OM f2 or Jupiter-9 85mm f2 gave me the best results by far...very sharp and filmic images, even wide open.
On GH4 I'd  personally recommend a Helios 44 on speedbooster as taking lens, if you get an older 'zebra' Helios 44 with golden coatings - the flares will match beautifully in your taking and your Isco anamorphot.
 
In short, this lens is great - and well worth saving for proper rear clamp from Redstan and experimenting with vintage lenses to get the nicest look from it IMO.
 
 
 

Having fullframe 4K with moire + pixel perfect S35 4K is nice imo. Use full sensor 4K for shallow DOF shots, moire isn't an issue anyway. S35 for detail/landscape shots.
Even in S35 mode you could put a speed booster on it and have pixel binned fullframe 4K...

​
 
100% False , do a search on some images I've posted. If you understand how to color correct / grade you can push the S-LOG image anywhere you want. Learn the tools before posting false information. Canon DSLR have their color profiles baked in, you can achieve the same exact look with the A7s if you learn to read scopes......

Ebrahim is right. 
But well, who would be unhappy with 43mp, FF, 399AF points, nice small body, internal 4K clean in S35, ... 
It's a hell of a camera for people who need one camera to do it all. 
 
And what did canon ? releasing a 5DS with 5DIII body and 5 years old tech ? seriously ? I mean do you guys realize this ? If someone gets a 5DS now I dont understand. 

Holy fucking shit. 42MP, 5 Axis IS, Internal 4K.
I'm going to sell all my gear and buy this MONSTER.
 

About the high framerates of the smaller cameras: yeah, it is upscaled. Full specs of the 3 cameras are already up in Sony's website.

From the RX10 II page, in the HFR section: http://www.sony.net/Products/di/en-us/products/ht7k/specifications.html?contentsTop=1

"<Sensor Readout Number of effective pixels>
Quality Priority:240fps/250fps (1,824x1,026),　480fps/500fps (1,676x566),　960fps/1000fps (1,136x384)/Shoot Time Priority: 240fps/250fps (1,676x566), 480fps/500fps (1,136x384), 960fps/1000fps (800x270)"

​Poor everyone..
Panasonic, Samsung, Nikon, whatever...
If it doesn't have some major faults this truly is the perfect hybrid for photography/video and miles ahead of everything else. $3200 is damn cheap for what you get.
It even does phase detection AF with (some) third party lenses, 399 phase detection points on sensor...

Holy fucking shit. 42MP, 5 Axis IS, Internal 4K.
I'm going to sell all my gear and buy this MONSTER.
 

A lot of sample video's here: ​https://www.youtube.com/playlist?list=PLL06nPE7_lzMwCmNsXjTJ3T6y8Vh-AmNC
It definitely is not 1080p at those speeds. Maybe it's saved as 1080p but looks upscaled. Still, looks better than Nikon 1 at those crazy speeds.
 

A lot of sample video's here: ​https://www.youtube.com/playlist?list=PLL06nPE7_lzMwCmNsXjTJ3T6y8Vh-AmNC
It definitely is not 1080p at those speeds. Maybe it's saved as 1080p but looks upscaled. Still, looks better than Nikon 1 at those crazy speeds.
 

A7RII
http://***URL removed***/articles/8917769536/sony-alpha-a7r-ii-has-42-4mp-on-full-frame-bsi-cmos-sensor
RX100 IV
http://***URL removed***/articles/7826270294/sony-cyber-shot-dsc-rx100-iv-shoots-4k-uses-a-stacked-sensor
RX10 II
http://***URL removed***/articles/0995267996/sony-announces-rx10-ii
 

​DPreview says 4K at XAVC S format, so must be internal!

WOW WOW WOW, this will slaughter the competition; 
 
BSI FF sensor
5 Axis Stabilization
4K 
Higher ISO
Higher MP
Better focus tracking
Higher DR I'd assume

Holy fucking shit. 42MP, 5 Axis IS, Internal 4K.
I'm going to sell all my gear and buy this MONSTER.
 

Yeah you read right. But in reality you can get it brand new for 7 bucks.
Guess how good it is...

Lens: http://www.ebay.com/itm/231355207354
Adapter: http://www.ebay.com/itm/251654647579
 
 

I really don't understand why anyone would prefer D (in the chewing gum part). It looks absolutely terrible... Digital artefacts all over the place, too dark and it looks like upscaled sd from a VHS tape... 
 

I crowdfunded a feature on Kickstarter a couple years ago. You'd be surprised what happens when your project gains traction. I'd say i personally knew about half our backers before the campaign started, and had met in person even fewer. We even had two backers that gave $5000 each. One was a complete stranger to me that was browsing Kickstarter looking for movies that offered executive producer credits. The other was a screenwriting student of a friend of a friend. 
Our goal was $30,000 and we hit that a week before the deadline. The campaign ended at about $38,000, plus I had raised another $10,000 from people who didn't feel comfortable using Kickstarter and preferred to cut a check.

I wrote this article for Filmmaker Magazine detailing everything I learned about the process.  Hopefully it's useful to you.
http://filmmakermagazine.com/32284-the-microbudget-conversation-down-and-dangerous/

I'm sorry, but that looks terrible. Don't know what he did to the footage, but that is not the fault of the NX1. Before it is slowed down with twixtor there is some sort of weird interpolation going on with a "ghost" of the guy in front of him.

I would say it means Nikon Mount so you can control aperture on the NX1.

Crowdsourcing is not the same as crowdfunding. Nothing wrong with either of them, you are not forcing anyone to pay or participate.
I don't think it's easy to crowdfund a short film though. There is a lot of competition, you'll need to get your project in the spotlights. I think you won't succeed if you can't show anything. You should have a teaser/trailer or some previous work/films at least and it better be damn good...
If the mentioned soundtrack is made by someone like Hans Zimmer you'll probably get away without showing anything. If it's someone nobody really knows, I wouldn't expect people to have much interest in it...
Have a look at Kickstarter Movie projects. Plenty of examples that worked out great or didn't work at all. In most cases it's clear why it did work or didn't work.
It might be easier to crowd source it. Look for a sponsor for your wardrobe, find some student actors / sound guy that want to work on their portfolio. Or 'pay' it yourself by doing some work for them in return.