andrgl

Mr. Lee is a great director but he's so wrong, on so many levels on this one, I don't know where to start.  I think by now its been proven that audiences don't like High Frame Rates... They don't even like 30FPS, let alone 120 FPS.
Lets first take 3D. It has come and gone at least three times already in the history of film and the reason is clear.  It will never be the generally accepted format until they can do 2 things.
#1. (As someone already pointed out) It needs to be projected in a hemispheric format with no frame because a frame destroys the illusion. 
#2 (and perhaps more significantly) It will NEVER be THE format until you can get rid of the glasses.  Audiences don't like the grimy glasses and the headaches they create.   In a film-making sense, there are things that just don't work in really good 3D.  Close-Ups for instance,  They don't look like close-ups anymore, they look like giant things,  If you've ever gone to an Imax screening and see a close up... it's weird.
RE: High Frame Rates  - I don't think anyone wants the 6 O'Clock news look for motion pictures.  High frame rates get rid of blurs.  Blurs are your friend. (Learn it, know it, live it (Judge Reinhold -Fast Times at Ridgemont High")  Blurs ad smoothness to the image.  The higher the frame rate the closer to reality.  Motion pictures are not, and have never been,  about reality but are about varying states of dreams.  The best motion pictures carry you away from reality and imbed you in that dream.  24FPS is magic..... Don't destroy the magic.... 

So I've played around with them for a bit won't have time to upload a video until later this weekend but here are my impressions after using them for an hour.
- Great Build quality. I enjoy the weight, not overly heavy.
- Manual focus great for AF glass. Smooth. 120 degree throw on  85mm, 180 throw on the 35mm
- Both lenses breath, but not very badly.
- VR is like Nick says above, it's not aggressive at all, just seems to smooth out the "shakies" from handholding. Works really well and doesn't jump at all when panning. Enjoy it so far, thought it is not on the same level as the Samsung S lenses. But the samsung glass can jump on fast pans.
- Both lenses are very neutral in their color. I think I will like it for post, but not for straight out of camera looks.
- Both are very very sharp.
- Electronic aperture mechanisms means you need electronic aperture adapters to use the glass, otherwise you are stuck at f22. No way to shoot with these on the NX1  

I like the red one mx a lot more now.  I really finally appreciate a nice high-resolution sensor, thanks to now having the Sony F65.  Seeing the difference.
I still like the sony f35, but I think I was overdoing it on the kool aid over at dvxuser.
If anyone wants to buy my last, f35, let me know.  Will get you a really good deal.  It works great.

Just the video then:
 

He also posted single DNG frames for either camera: https://www.dropbox.com/s/8mbqjt2g107fyfu/UrsaMini46k_vs_Kinemax%2BLUTs.rar?dl=0
There's color noise in the shadows of the Kine whereas I can't seem to find any in the Ursa. Highlight roll off appears smoother with the Ursa. Kine is crazy sharp. Could be down to focus, lens, whatever; but the Kine is almost unpleasantly sharp.

He also posted single DNG frames for either camera: https://www.dropbox.com/s/8mbqjt2g107fyfu/UrsaMini46k_vs_Kinemax%2BLUTs.rar?dl=0
There's color noise in the shadows of the Kine whereas I can't seem to find any in the Ursa. Highlight roll off appears smoother with the Ursa. Kine is crazy sharp. Could be down to focus, lens, whatever; but the Kine is almost unpleasantly sharp.

I saw this on YouTube. Kinemax 6K compared with the Ursa Mini 4.6K.
 

One lens for me would be a standard zoom, 24-70/2.8, the Nikon Bourne f/2.8 zoom, or a good copy of the 24-105L on FF - or the equivalent on smaller sensor. 
If you're talking one FL, it'd be a 35/1.4 for me. 

Damn it, I'm almost out of chinese viagra...

What this can't do is replicate the movement when you have objects in the foreground because the lens is stationary, so no sliding out from behind objects and such. I think that's what Phil was talking about. 
With IBIS you can do slider like movements and take advantage of the parallax effect and stay in 4k. I don't think I'd ever use the in cam feature, I'd just go handheld for the better visual or do it in post. 
Just my opinion. 

the pix e5   may be a good recorder but the media they use is not much better then SD cards.
you get 2.5" SSDs anywhere and can use HDDs for fullhd but where do you get enough m.2 for a long night of shooting?

This trailer is for a feature documentary (80 minutes) I shot that was projected at three different theaters for festivals. I screened on Blu-Ray for the festivals because DCP wasn't an option for one reason or another. To qualify what I write, I made tests of DCP vs Blu Ray for another film at a theater and found that Blu Ray washes out color without losing much in resolution. I have also projected two different films at festivals occasionally on Blu Ray, one shot on 35mm and another on the Alexa.
In my experience, 5D Raw has noticeably less resolution than the Alexa and 35mm (with 2K DI). It looks great on my large computer screen but the lower resolution was surprising for me once it played on the big screen. For me, it didn't seem good enough (with all due respect to what others have said), but this is very subjective. I haven't had a chance to compare it to the C300 or any lower end cameras. I still use my 5D for casual shooting, but in the future, I would try to film on the C300 for any documentaries. The C300 seem to be fine on large screens, and the ergonomics and workflow are so much better for documentary filming. The price for these cameras used are so cheap now, and they are not huge cameras.
If you do go ahead with the 5D, I noticed that anything I filmed 400ASA and under held up much better. And on the positive side, you save a ton of money if you already own the camera, and the film will look great on smaller screens. No one at the festival screenings seemed to be bothered by the cinematography in our doc, and we received many compliments on it.

5D RAW is good enough for projection on a big screen. Made it several times with always good results. DCP in jpeg2k and you're done. Just have to upscale your size from the native 1920x1080 to 2K. Projectors accept only DCI standards and no 1080...
 
Concerning the project : a doc. For documentary for sure i'd go with an A7SII and not a 5D RAW... By far. I've got the two bodies at home and as jcs said, the only major drawback of the A7SII is the jello effect from the Rolling shutter technology... Too bad really. Annoying even on tripod with micro jitters. But when you know it you do with it. The A7SII has by far more little files, has better dynamic, and better low light abilities... Everything i would go with for a documentary. Get a power bank like an Anker astro E7 26800 mAh and you have more than 2 days of shooting with you.
 
After using the A7SII, i never use anymore my 5D for video... I only use it for pictures, where it shines a lot compared to the A7SII.

Hey guys - I haven't been here for a while so I'm not sure if the new Sigma APSC Art zoom has been discussed much yet, but I just got one yesterday and thought I'd share my first impressions.
I haven't done any technical tests but I'll start by saying my first impressions are it's a superb piece of glass with the superb sharpness (even wide open), character and build quality that you've come to expect from the Art line. 
However there are a few things those of you interested in adding it to your kit might like to be aware of - especially if you're thinking of it as a companion to the now classic 18-35mm 1.8.
1. It's HEAVY, and pretty big. The 18-35mm feels like a modest MFT lens next to it! It's not exceptionally long but it's got a lot more heft to it and is quite front heavy, meaning it's probably a bit unweildy on a hybrid camera. On my C100 Mark II it's OK to hand hold, but only just.
2. Focus breathing is EXTREME. Personally this isn't a big problem for me but it does impose a certain style on your focus pulls, so if you don't like that look take note. It's going to take a bit of getting used to for me.
3. While the 18-35mm has minimal focus breathing it is not parfocal, which can be annoying at times. The 50-100mm however appears to be parfocal (or at least very close to it). I don't know if trading breathing for focus consistency was an intentional choice by Sigma, but it is another difference to the wider zoom.
4. I read somewhere that it was effectively as quiet when autofocusing as an STM lens. This is not the case at all - not with my copy anyway. It's at least as noisy as the 18-35. Of course this is only really an issue if you're using it on a Canon DAF camera or a6300.
The 18-35mm has been my go-to lens on my BMPCC and GH4 (with their respective speedboosters) for a while now. The relatively compact size of the lens was a big part of this. Now I use a C100 size is not such an issue, but if you're hoping the 50-100 will make a great partner for the 18-35 on a smaller camera as a full walk-around "prime" kit, you may be disappointed. It's so heavy in fact that Sigma's included lens case comes with a shoulder strap! Even on the C100 I'm going to be using it on a tripod most of the time, as the longer, front-heavy focal length makes footage pretty shaky. Of course the flipside of this is that the extra weight helps with reducing micro jitters and with a bit of practice focusing and holding it, it may be useable handheld. 
I'm happily holding on to the lens because the image quality is superb, it's made really nicely and the convenience of having prime image quality (minus the breathing) in two modestly sized zooms is invaluable for my work. In most cases I'll be using the 50-100mm as a portrait lens for interviews, so in general it will be on sticks and this negates the weight issue. It's by no means so huge and heavy I don't want to put it in my kit bag. 
If you want to keep your kit small and think you'll get by with one or two fixed focal length lenses and value compactness and ease of handling, I'd weigh up the pro's of sticking to primes before shelling out $1000 for the 50-100mm.
 

Please canon don't give us 4k, it will overheat and the rolling shutter issues will ruin your reputation. Instead give us 10 bit 422 at 2.5k with a good sensor readout (3ms), in different codec flavours with different storages rates. It would be nice to have the possibility to record to hevc 10 bit 422 and also pro res 10 bit 422 HQ. The rest you already do right. 

Please Arri .... We know you can make an Alexa mini with the 65mm sensor for £2k
 
Whhhhhyyyyy don't you ruin your business to fit my very particular needs.... Whhhhyyyyyy?

Just add C-Log to the 1DX Mkii and call it a day.  As for a smaller body,  not gonna happen. They need room for heat-pipes, and that cannot fit in the smaller body. And given what you need it for,  I take it you'll want that weather sealed also.  Btw, who else is packaging these specs into a weather sealed body? Sony A7 series, FS5/7 are not weather sealed. 

http://petapixel.com/2016/04/28/sony-patents-contact-lens-camera-joins-google-samsung/

Dug up an old thread to share some screen shots from a 4.6K video I just shot for photographer Daniel Kelleghan. Full video should be up Monday. I'm so blown away everytime I use the camera. The color and DR is just insane.
Shot in ProRes UHD with the Sigma 18-35.
 

Music promotion for the german band: CORTEZ
Made with Sony A7SM2, Leica Summicron (35, 50, 90) and the mighty Van Diemen Cine Iscorama M2.
Enjoy!!
 

I use the 1/4 black pro mist to take the edge off sometimes. I like what it does for the highlights with rolloff and blooms. I got an 82mm one for 17.50 used  

Well, for me there is one answer: Tiffen Dfx!
It's a bundle - indeed a LARGE bundle - of digital filters as plugins hosted by Premiere, Avid, FCP X and Resolve (with or without own GUI) or as stand alone app. It's not exactly cheap, but it does better than any glass filter by the same brand. Because you can very subtly choose the luma/chroma range for each of them in post, they have many parameters to tweak, and there simply isn't anything comparable on the market. In this webinar, jump to 52" to see how you can deal with skintones:
For my taste, the filters applied here are almost too crude. These are extreme examples for the audience to see what's going on. I shot a restaurant scene that was way too bright and lacked any atmosphere. There are incredible light effects in Dfx that let you make the candles in the scene appear as if they were the sole light source (fall-off, shape, skin-protection, what have you). Highly recommended. There is a trial too.

I'd suggest as the producer he finds the extra $500 a day for an alexa mini and get his money's worth out of any anamorphics he's fitting to the camera (which will cost a lot more in rental than the camera).  makes no sense renting anamorphics if you can't use their full image circle.  a 3k image area on the ursa sensor is a 1.5x crop of an alexa mini in 4:3 mode!   The $500 saving on camera rental is moot.  

it doesnt have to be that setup. I could scrap the kits and get the 20mm 1.7 and something else

I don't mind, overall, the focus peaking on the A7s though it's sometimes vague. Neither the VF nor the LCD screen are really big enough for peaking to be super useful. An external monitor will be better
I don't believe you can use PlayMemories to pull focus. I've never tried, though.