Dan Wake

*UPDATE*
My Zhiyun now works with every lens, and it's like a magic wand. For all those who experience the same problems (like Alex Uzan), I have a slightly different description how to balance the Crane. The first step in many tutorials is adjusting the yaw/tilt axis with the thumbscrew. From the Zhiyun instruction PDF:
Whereas this isn't exactly wrong, it was misleading for me. The second step (also in the above manual) is to move the camera forward or backward on the mounting plate:
For light camera/lens combos (< 800g) proceed as follows:
1. Set the yaw/tilt axis to 10mm:

2. Mount the camera roughly in the middle of the mounting plate. Let go. The lens will face straight upwards (all descriptions say: let it first fall down).
3. Alternately push the camera forward ever so slightly and then shorten the yaw-axis step by step: 9mm, 8mm asf. - until the lens starts to point down a bit.
4. Fix the thumbscrew! With my total payload of ~ 600g this happens at 4mm. The camera is also some 4mm away from the edge of the mouting plate.
5. Push the camera backwards on the mounting plate very slightly & check if the lens points directly forward and turns back to this position through gravity. Fine-adust.
6. Tighten the camera screw.
The rest of he balancing descriptions worked for me. You may laugh at me. If you try to let a very low payload face down first and start by loosening the tilt-thumbscrew, this axis is out of range immediately. It's better to start from the other end.

Thanks for the imput. I'll try to go this way.
 

I did it in lightroom with a gradual filter (lowered exposure and added warm). then some lut on the main photo. maybe you could try to export in tiff, grade in lightroom and make a new video in after effects.

 

Good points. I will try that. 
This wasn't shown to fix, even though I'm sure it could use some work... I did each in about 3 minutes. It was just a way to show different types of stylized grades as opposed to the more natural style that most people on the board (myself included) prefer. 

I know most people enjoy more natural grades, but I thought it could be fun to see some stylized grades from different cameras.
Here are two versions of a shot I did with the RX10ii in Cine2.
The first version I did with FilmConvert...

And this one I used Mojo ii. There's a little too much magenta in the sky, but I am having some problems with what I am seeing on my monitor in FCPX, compared to the exported version on my phone...
 

Premiere Pro doesn't have the built-in color tools necessary for working in a log space.  That's something I might be able to correct in the future.  I know a lot of people use Premiere.

Yes. Then he should better have shot at the project framerate in the first place.
Or shouldn't he ???
Because 30p wouldn't spontaneously be perceived as slow motion, but as "movie-time". Gravity, importance. It's an editing tool also. If someone backswings to build up momentum for a strike, it's better to accentuate the movement (a tiny, not too obvious time ramp) or else the whole action may look lame and speeded-up (or is it sped-up?). Also, for smooth camera movements, pans, slider- or gimbal shots, 30p can be appropriate. Watch this:
 
Thanks a lot. Framerate conforming works differently in FCP X (you select the clips in the timeline, then you apply Automatic Speed from the retiming dialog, FCP X adjusts the audio's pitch per default). To render all frame rate changes with optical flow on export, you have to edit (click the said boxes) and save the export module in Compressor. I didn't know.

The guy in your video knows nothing. Here is how you interpret 30p "as" 24p (or whatever your timeline is set to), and every frame will be played back without stuttering.

Using a jib is a very common technique from soap operasm sports, to films. It is almost impossible to achieve great Hollywood movement, they are not using just a "jib", it takes really specialized equipment and people, and recently a lot of technology; of course you are open to experiment and achieve some things that will make you really happy, depending the project.
You can study movement in all the great directors, you can start from here 
 

which portable Jib Arm Crane should I buy for about 150 euro? my actual tripod is this I will mount it on top of it: https://www.amazon.com/Manfrotto-501HDV-546GBK-Video-Tripod/dp/B003FGWKJU
my camera is 7D mk1 (I will use 50mm1.8). I wish to move/control the arm from the top, probably adding a second fluid head in the future.
1) https://www.amazon.it/Movofilms-shooting-portable-mounting-MF-FLT-4/dp/B012WJBNQQ/ref=cm_cr_arp_d_product_top?ie=UTF8#Ask
2) https://www.amazon.it/gp/product/B00PGDMVGW/ref=ox_sc_sfl_title_20?ie=UTF8&psc=1&smid=AZJLXBECRH82E
3) https://www.amazon.it/gp/product/B01IR6JTIC/ref=ox_sc_sfl_title_23?ie=UTF8&psc=1&smid=A1OFOAOTB9DRPX
I saw those ones may you help me to choose the best please?
do you have better options/models? may you give me some advice please? I wish to use it for short movies, indoor a lot for orizontal movements. I hope it is not noisy, this is crucial because I need to rec clean audio from the actors.
I'm going to buy this system because I can not afford motorized gimbals and my camera have not auto focus for video mode (cant afford a new one).
thanks!
 
 

No. I was talking about this kind os stabilizer. Sorry.

I think it's not a good idea.
When everything is balanced, you must hold the gimbals handle with one hand and other hand for guide/turn the central bar (usually 2 fingers only).
Look at youtube videos of Devin Graham (devinsupertramp) who is a "Glidecam Pro", that began with HD4000 and 5D mk3
 

I would hold of on buying the Crane for one month and four days.
Not saying a better one is on the horizon, but there could be...

Well Tiff is a larger file than Raw, but Tiff on average is only a 8bit file, and looses information, ergo quality, every time to use it compared to Raw nthat on paper never looses data, info. Tiff is a older format that was used mostly years ago. I would stick to Raw. It saves spase because a lot of info is backed into the camera about locations, compression, size, etc.
But some raw files are not looseless so not as good as one might think data wise. The A7rII was a camera that raised a stink about being compressed. Now it is not.
Tiff files are huge, so I would pass on using them. But no expert on the subject. It was a big deal when the first digital cameras came out. Now not so much, I had some of the first ones that came out. GAS even then for not so much of a old turd like I am now. 

16bit tiff can hold all color information of a raw file since that is either a 12 or a 14 bit file. The camera info that comes tagged with a raw file will not be saved to a tiff file as far as I know. 

Evidently, the TIFF format has metadata designations that include camera make, model, color profile, orientation, exposure, etc. (see the linked exif file below).
 
 
The highest quality still file that your camera produces will give the best image quality.  However, it can be unwieldy or visually detrimental to directly edit raw camera files.
 
Some still photographers first run their raw camera files through a raw image "processor/developing" program (such as Lightroom), before retouching them in an editing program such as Photoshop.  I use the open source Darktable as my processing program and GIMP as my photo editor.
 
I just checked the exif info in a tiff that I converted from a raw file using Darktable and the metadata is extensive:  tif_exif_info.txt  (Note that I was using a manual lens on a Canon EOSM, so there is no lens/f-stop info).

Every raw file "development" program that I have used initially defaults to the camera's settings.  Of course, one can usually change from the default settings to adjust white balance, exposure, camera profile, etc., but it probably depends on which program that you are using to convert from raw to .tiff.

Just bumping this post up - any help would be greatly appreciated. Thanks in advance!

The one on the right.
no wait, it's the one on the left.
no no wait, it's definitely the one on the... left.

Ask, they should have standards.  Typically it is -6db and I certainly would not go over -3db.
Also important is the loudness, you should run a loudness detector to see if you are within broadcast standards.
 

Hey Dan the dark edges on the hair are probably from the green screen keyer (Ultra in PP CC). Will look into that issue for future shoots. Thanks for pointing it out.
Thanks FilmMan. C300 II is set up with 'Alexa' settings, using an Alexa LUT in Lumetri, and various quick tweaks with shadows, highlights, and saturation. Sound- one channel is the Schoeps CMC6 MK41 and the other is the Audix SCX-1 HC, both straight into the camera (with limiter enabled). These mics sound very similar despite the difference in cost. While the limiters and AD converters in Sound Devices recorders are better, the C300 II does a pretty good job.

This might work:
Upload video to youtube » your translator easily adds captions via the online editor » download the captions from youtube » load into premiere like that » you're ready to cut.

lol
http://nofilmschool.com/2016/12/can-you-tell-which-video-was-shot-50k-red-weapon-and-iphone-7-plus

Yes that would be good especially in 4K. It seems that moire and vertical stairstepping is showing up on G8, GX85 and G7 4K footage. Dr Dave has bought it to attention on some other sites. Seems that the G7 is the lesser of the culprits. This footage by Dr Dave is a good example of it showing up on musical instruments and architecture. 
 

The fact that you have 100k$ and dont know where to spend, makes me believe this money is going to be spent very very badly.
Maybe join forces with a director? Someone who would have any idea on the technical side of things, that could bring your vision to life?