Sebv

Install the miraizon codec to sony vegas and you can render every prores format, uncompress, hq, 422, lt, proxy.

I never write scripts i let them do it or explain it to me, than i ask lots of question on (locations, extras, props, transportation,budget ect..)
that way i can find the weak spots, and offer alternative so that everything goes smooth.  
 
 

I would probably be the bigger man here and just let them have the footage, with a written contract stating that you are allowed to release an edited version, for use in your portfolio/showreel.
It's a live and learn situation... You may as well come out of it with something to show for your hard work, even if the band release something you do not want your name associated with.

He has no rights to that footage whatsoever, you own full rights.  If they disagree with that, tell them to talk to a solicitor. You dont have to do anything. Will he see a solicitor? will he fuck.  And if he does he will be humbled by what they tell him.
Very simple solution: Sell the raw files to him. (with written confirmation that you have full rights over your edit)   He obviously wants them, so charge him what you think he will be willing to pay.  Dont be stingy on yourself. ask for $500, $1000 or even more if they are rich. Alow them to bargain down.  In the long run, you aren't going to need raw files of a shitty rock band so why not.

OK folks - here's the complete product link list from the video.

Lord have mercy - that is one tedious process. The dang sellers had better NEVER change those links or I'm crackin' skulls! 


Products discussed in my Video in the original post:

 
"One size fits all" Cage - $149
Movcam BMPCC Cage  - $323
Fotga Follow Focus - $170
Follow Focus Speed Crank - $13
Giottos Quick Release Adapter - $38
Offset Riser Clamp - $18
Cavision Matte Box - $99

Cavision Matte Box Rail Mount Clamp - $28

Cavision Matte Box Riser Bracket - $15

XT Power Battery - ~$60 (On today's date - Feb. 24th it's out of stock like I mentioned might happen)
Fotasy Rods - $15
Fotasy Rod Connectors - $5
Neewer Handles - $30
Fotga Shoulder Pad - $15
Flashpoint Counter Weight - $30
Glide Gear Portable 4" Jib - $159

Davis & Sanford Bowl Mount Tripod - $159
Davis & Sanford "Airlift" Tripod (The taller one) - $149
Carry Cases - Stanley "FAT MAX" Tool Box - $35 online price. (Will almost always be only $25 if you can find them locally.)
 

Did some tests with the beholder ds1 and a lighter setup than the 5d, tried it with the sony rx10 II i used the step up plate and the lighter profile
took me 5 minutes and was good to go
 

Did some tests with the beholder ds1 and a lighter setup than the 5d, tried it with the sony rx10 II i used the step up plate and the lighter profile
took me 5 minutes and was good to go
 

Did some tests with the beholder ds1 and a lighter setup than the 5d, tried it with the sony rx10 II i used the step up plate and the lighter profile
took me 5 minutes and was good to go
 

I generally prefer a flat day rate for anything under 12 hours. For me, there's not a whole lot of difference between a 3 hour or 8 hour shoot, since my day is already booked and I can't take other gigs. When clients are watching the clock trying to save a few dollars, the shoots tend to get rushed, which usually means more time in the edit trying to fix problems that could have been solved on set by taking your time. With clients that really want an hourly rate, I'll charge a fee just for showing up, then bill hourly.

Just got the camera and yes all those tweaks are in there

At least you got out in one piece, 
many get wind up in bad situations, panic attacks, drugs , loses girlfriend to the city, anything can happen ,
i am a city guy and still i liked your video,
big cities are meant to be used and thats what you just did, bravo
 

Not sure what the confusion is.  mm's is mm's.  What camera you put a 24mm on matters for FOV, but mm is a measurement.  millimeter.  People that use s35 sensors/filmstock don't have a different metric system than someone shooting with a full frame, 4x5" film, or a m43 sensor.
Forget the cameras anyway.  That's actually irrelevant.  You're talking about a lens.  On your glass it's the distance from the point where light rays converge to the point where they form a sharp image onto the focal plane. 50mm is 1 millimeters plus 49 other millimeters.  
If you're arguing otherwise you've been misinformed.  The idea that film shooters have special math that is unique for them is ... well, not right.
This issue really gets convoluted because folks new to all this stuff (and even some pro's apparently) tend to overthink it and conflate various camera terminology.  But if you just consider the lens, ultimately it's pretty simple.
Which is why, if I was shooting a low budget action film with an ASP-C sensor, I'd tend towards the 40mm lens, as it would be a nice "standard" FOV.  Not too wide, not too tight.  But nothing wrong with a lens with a bit longer FOV either, you just adapt to what you got and go.  
I wouldn't burn time worrying about 10mm.  
I'd worry more about other aspects of film making.  Actor and camera blocking, sets, design, stunts, lighting, acting, EDITING.  Holy crap, that's the stuff that matters more.  Try not to get wrapped up in gear-centric-fetishism on the low end of film making.  If all that other stuff is half-assed I don't care what FOV you have, whatever film you're trying to make is going to suck.  Make the most of what you have and be creative around your limitations. 

​Just look at the second video Ed posted on the first page of this thread, there it is very obvious. For Ed this was just blooming and "normal" but it isn't, the camera is compensating, just like in Agolex example. I didn't even need to see another example to know this wasn't normal behavior of a camera in full manual mode.

neatvideo is a usefull tool and easy put it on auto profile it normaly does a good job
and helps the grading after  

If people attempt to color grade then that's a step above the multitude of people who don't even bother, or even understand the importance of post work on color, contrast and exposure adjustments. There are plenty of videos and feature films with horrible colors already, I don't think the access to raw changes anything, if the short film has terrible colors then so be it, there will be people that pay attention and care, and others that honestly wouldn't even notice. It's difficult enough to match the palette for each shot in a sequence, especially when one can't afford all the right lights and color matched lenses.

Raw is the 'raw data' from the sensor. The sensor captures light, translates it into analogue data then to digital. In order to create an image that digital data must be debayered and processed. Usually this would be done on the camera, but DSLRs don't have as powerful processors as a desktop computer, and need to process the data in real-time at 24fps or even 60fps.
 
Also when raw image data is compressed into a video file, or a JPEG still, it gets baked. It is like cooking a stake. It isn't raw any more :)
 
With raw video you do your cooking later, with all the flexibility to cook the original image in post. You can change and grade the image far more than you can when the camera has already cooked it for you in-camera, and served up a much less tasty dish.
 
The camera is a bad chef.

Re-uploaded, totally new video
 

 
Some wide shots in there as well (24mm)
 
I'm blown away by this thing.

My eyes have been glued to EOSHD and the Magic Lantern forums all day. So damn excited. Looking forward to seeing Andrew's findings.

This is unfortunately the case around here too. If you're shooting your own projects and short films it really doesn't matter. But if you're doing freelance, a lot of people expect (even if they're clueless) a 5D, or c300, etc. 

Too bad, in the end it just ends up costing everyone involved more money.  I could tell my clients I'm shooting on an Alexa and they wouldn't know the difference.  It all looks pretty much the same on TV anyway if you know what you're doing.  It's unfortunate more clients don't get that.

BMD are doing it for way more than 10 seconds at 4k with a camera that costs not much more, so obviously it wouldn't be impossible, would it?

At this day and age I don't see why a 7D2 couldn't shoot 2k raw for constant video if that's what Canon decided to, not just 10 seconds, hell the BMD pocket camera does it for half the price, so why the skepticism?

Asking for a 1 second raw burst, or even a 10 second raw burst, is thinking extremely small, if you're gonna wish, wish big, we don't want canon or anyone else thinking that's all we wish for, do we?

[media]http://vimeo.com/65260452[/media]

These past days I have been trying to make myself useful to Alex at Magic Lantern and testing the DNG raw video recording on the 5D Mark III with a nightly build of Magic Lantern. Here's what the video quality looks like in the DNG video modes at 30fps.

Click the image below to expand...

[url=http://www.eoshd.com/content/10294/3-5k-canon-5d-mark-iii-raw-video-with-magic-lantern-and-latest-updates]Read the full article here[/url]

Just found this green screen test http://www.youtube.com/watch?v=zr8rICBYII0

Canon are pricey but one thing for sure they can stand a beating
and you can put fast cheap and light primes on a 5d
 
if only they could have put a swivel screen on them.....