Oliver Daniel

I edit about 2 music videos a week on FCPX and it's absolutely awesome. It syncs all the clips together, then you get a very fluid and intuitive multi-cam to choose the best angles. 
I've always thought they should rename FCPX "Final Cut Pro Music Video Editor", that program is made for it. It's easily the best tool for the job. 
The he only downside to the fantastic performance of the auto-sync is that it doesn't like non-native files imported straight from the camera card, like .MTS and .MXF files. It totally fucks up. Better transcoding first and importing the clips after if not shooting ProRes or H264. 
There is still this bitter image of FCPX in the minds of many people. It's been out for nearly 4 years. It's great now. Time to wake up!!!
 

1. Innovative Lighting Tools
Lighting is the most important technical aspect of filmmaking, yet so, so many people don't bother! INSANE!!! I'd like to see a growth of innovation in affordable, LED based lights with high light output. Smartphone controlled lights. Clamped lights. LIGHTS!!!
2. Modified Lenses
Lenses are more interesting when modified, certainly when they can do some extra effects and have cine gears. Give us some character!
3. Ninja Star 4k 
I don't want a massive screen on my tiny camera thanks! The Shogun really needs a baby brother. 
4. Panasonic Video Camera
They have a GH4, and then...a Varicam. Surely they have a partner to the GH4 on the horizon? 4k 60p, better DR and 120fps HD are my only requests. 
and... that's it. 

1. Innovative Lighting Tools
Lighting is the most important technical aspect of filmmaking, yet so, so many people don't bother! INSANE!!! I'd like to see a growth of innovation in affordable, LED based lights with high light output. Smartphone controlled lights. Clamped lights. LIGHTS!!!
2. Modified Lenses
Lenses are more interesting when modified, certainly when they can do some extra effects and have cine gears. Give us some character!
3. Ninja Star 4k 
I don't want a massive screen on my tiny camera thanks! The Shogun really needs a baby brother. 
4. Panasonic Video Camera
They have a GH4, and then...a Varicam. Surely they have a partner to the GH4 on the horizon? 4k 60p, better DR and 120fps HD are my only requests. 
and... that's it. 

1. Innovative Lighting Tools
Lighting is the most important technical aspect of filmmaking, yet so, so many people don't bother! INSANE!!! I'd like to see a growth of innovation in affordable, LED based lights with high light output. Smartphone controlled lights. Clamped lights. LIGHTS!!!
2. Modified Lenses
Lenses are more interesting when modified, certainly when they can do some extra effects and have cine gears. Give us some character!
3. Ninja Star 4k 
I don't want a massive screen on my tiny camera thanks! The Shogun really needs a baby brother. 
4. Panasonic Video Camera
They have a GH4, and then...a Varicam. Surely they have a partner to the GH4 on the horizon? 4k 60p, better DR and 120fps HD are my only requests. 
and... that's it. 

Or just light your scene

1. Innovative Lighting Tools
Lighting is the most important technical aspect of filmmaking, yet so, so many people don't bother! INSANE!!! I'd like to see a growth of innovation in affordable, LED based lights with high light output. Smartphone controlled lights. Clamped lights. LIGHTS!!!
2. Modified Lenses
Lenses are more interesting when modified, certainly when they can do some extra effects and have cine gears. Give us some character!
3. Ninja Star 4k 
I don't want a massive screen on my tiny camera thanks! The Shogun really needs a baby brother. 
4. Panasonic Video Camera
They have a GH4, and then...a Varicam. Surely they have a partner to the GH4 on the horizon? 4k 60p, better DR and 120fps HD are my only requests. 
and... that's it. 

RED Weapon, Alexa, F65 etc are not at the top of the food chain. It's the person behind the camera and whatever is in front of it.  At the least, that's how I like to think of it.

Why do people on the interwebs write off a camera before they've even seen/used it? 
The specs of this camera might not seem that good, but no price has not been mentioned or the complete feature list. 
It might even have a feature where It has this feature that is featured on the camera. Hope so! 

Well you said it there Ed, the slow-mo footage is seen on camera tests on Vimeo and YouTube. It's people just trying out a feature and sharing their results. No big deal. 
I use slow motion on about 95% of my projects. A lot of them are music videos or hyper stylised commercial vids. It's completely necessary and really adds impact to some key moments. That's why any camera I purchase/rent must almost always have a slow motion feature. 
It really depends on your shooting style. For example, news gathering doesn't really need it. Action? Oh yes!!! 
Also don't forget that iPhones can do 240fps and the GoPro Hero 4. Mass market slow motion = mass YouTube/Vimeo slow mo tests! 

Hi Aaron, I think you will get approximately one hour per 128gb in XAVC-I. 

I shot on RED twice and made some very average music videos. I switched to my GH3 for the shoots afterwards and I had a lot of fun and the videos were great!
In the last 2 weeks, I've shot on the FS7, FS700, GH3, Blackmagic, GoPro and iPhone. My best video was shot on the GH3 because the idea on the GH3 was better than the others, had better lighting and better composition. What a shocking discovery!!
 

I never ever understand why a lot of hobbyists online base their opinion of a camera on some Vimeo test footage where good lighting wasn't used. 
Sometimes I feel the geekiness of camera tech overshadows an understanding of using light effectively, and therefore creates some kind of laziness to the prospect of actually using a light source at all. How many people can admit they have bought more camera bodies they can chew, instead of investing in a decent set of lights that will last a decade?  
The improvement in image won't come from the camera, it will come from your understanding of shaping light and composition to portray emotions and messages in the story. Choosing the right camera is part of that understanding. 

Wow this thread got very personal. It's only cameras and "dog shit" talk! What's not to like?  
Onto the FS7.... the menus are really my only strong criticism of the camera for these reasons: 
The responsiveness is slow, which wastes time on a shoot.  The naming scheme and menu arrangement is complicated - everything is everywhere. For example, I want to select codec and frame rates in the same menu option. This slows things down too, especially when you are shooting 4k and then need a slo mo shot.  
I would suggest ways to improve this by: 
Doing a complete overhaul of the user interface, structure of the menus and naming scheme.  Improving firmware by making the buttons respond better.   
Do I think this is a deal breaker? 
Absolutely not - the menus are something you can get used to. It would be better to see an improvement - the camera is still the best option for the money and can match much higher priced cameras under skilled hands.  I would 100% recommend the FS7 as it's a brilliant all-in-one solution, and can be upgraded to raw. 

​True - nothing new like EM-5 stabilisation or NX1-does-everything features.  
Although I would still rather buy a Canon if my stills glass was mainly EF lenses. They know that too. 

Don't be fooled by the RED model. Sure they are amazing cameras that have shot Hollywood films but those films also had a huge crew. The shoots I've done on RED have been very slow (as I didn't have enough crew) and technicalities then came before creativity. Also if you want more accessories it costs a fortune. It's a hardcore system. 
I would only buy RED if I had the money to fund more crew members, and I had consistent decent budgets to play with. You also have to consider post-production. The raw workflow is one of the best. But it takes a lot of work and time. Time is money. 
Personally I think a much better option would be the Sony FS7. It's the best "all-rounder" camera available. It's the same sensor as the F5. It has high FPS. Wide DR. Slog3. 10 bit. E-mount. Lovely ergonomics. Great price. Good low light. You can film anything with it brilliantly, pretty much out the box! (You need a mic, cards and batteries). Also you can upgrade it to shoot in raw and higher FPS. 

Don't be fooled by the RED model. Sure they are amazing cameras that have shot Hollywood films but those films also had a huge crew. The shoots I've done on RED have been very slow (as I didn't have enough crew) and technicalities then came before creativity. Also if you want more accessories it costs a fortune. It's a hardcore system. 
I would only buy RED if I had the money to fund more crew members, and I had consistent decent budgets to play with. You also have to consider post-production. The raw workflow is one of the best. But it takes a lot of work and time. Time is money. 
Personally I think a much better option would be the Sony FS7. It's the best "all-rounder" camera available. It's the same sensor as the F5. It has high FPS. Wide DR. Slog3. 10 bit. E-mount. Lovely ergonomics. Great price. Good low light. You can film anything with it brilliantly, pretty much out the box! (You need a mic, cards and batteries). Also you can upgrade it to shoot in raw and higher FPS. 

That's raw for you

Is it possible to change the iris manually on the Sigma 18-35 with a Nikon adapter? 

The Samsung NX1 needs more skilled users. I always rent before I buy, but I can't find anywhere to rent it in the UK. I can't judge it from the few clips online because it doesn't have the support yet. 
My crew want to purchase an FS7 instead of renting it all the time, mostly because of the high DR and 150fps. It's going to cost £10k to get the basic bits we need after tax offset. 95% of our gear is made specifically for DSLR size or smaller. 
The NX1 is compelling because it has many bells and whistles (including 100fps), costs £1299, and would leave us £8k to buy more lights, lenses and other gadgets to improve overall cinematography. But it's very different to the FS7. I know where I am with that camera.

Anybody with skill and talent can make any camera look awesome. A person without skill and talent will make an Alexa look like the worst camera ever. 
The skill and talent is knowing how to use your tools for the best creative results. All my stuff shot on RED is a bit crap because I've barely used it. My GH3 stuff is much better because I know the camera. 
My advice is that if you want to base your opinion of a camera on Vimeo content, don't. Rent it and shoot something with actual people, interesting locations and decent lighting. And lighting. And more lighting. 

I meant in my last post "hard to find", not "hard to hard." I obviously need to look harder, my eyes go fuzzy with all the letters and numbers. 
The general vote with my crew is to go Sigma ART in Nikon mount for the clinical, modern set. Corporate work and photography. Just don't know about 85mm though? 
I'm going to pick up these Rollei's, also Rich check your emails for FF58 queries  
What is a really good very wide lens option? I love the effect of using a wide to get a close-up and having a massive background out of focus, with some distortion. The SLR Magic 12mm on MFT is "magic" in achieving this look, the image gets bendy and almost fisheye like with its macro-like abilities. 

​You are right, I find it so hard to hard non-HFT Rollei lenses. Especially the 25mm. Looking everyday. 
It's cool to see what everyone is doing with their glass. I do love flawed vintage lenses, there is definitely some kind of tangible emotion coming from those barrels. Nikon released a 43-86mm which is meant to be their worst lens ever. I think it's great! 

​As it happens the majority of the 25mm distagons are non hft I have found!  Of all the lenses in the system, the 25mm is the crown IMO.  
http://www.ebay.co.uk/itm/Carl-Zeiss-Distagon-25mm-F2-8-f-Rolleiflex-QBM-/161491656495?pt=DE_Foto_Camcorder_Objektive&hash=item2599a71f2f
When I get dso lens users asking about wide alternatives I tend to point them towards this lens.  It's the best vintage and non multi coated wide angle lens (for sharpness).  

 
This is full frame on the A7R.  It's the only vintage lens I own that really delivers resolution suitable for the A7R  
 
 

​That's interesting and I'm not knocking your opinion, but for some reason I'm compelled to think the opposite.  I like awesome considerate shots on limited technology for some reason. Something flawed feels more real to me, somehow.  Must be my inflated infatuation of French New Wave. 

The C/Y's are awesome.  There's a massive thread on Reduser that covers them in depth and lots of other resources on the interweb.  I prefer the MMJ's because of the ninja star bokeh on the German versions, but if you like it you can save over the MMJ's in some cases (35/1.4, 100/2).  With the C/Y's you can get close to the Samyang range with the 18/4, 21/2.8 (one of the best wides ever made), 28/2.8, the Hollywood 28/2, 35/1.4 or 2.8, 50/1.4 or 1.7, 85/1.4 or 2.8, 135/2, 2.8 and 3.5 IIRC, plus a few zooms - though you probably know the Contax zooms are one touch.  That can sometimes be a pain, but they're nice.  I have the 35-70.  There are others as well, the Makros are great and the 100/2 is what I would take over any of the 85's or 135's - its simply awesome.  The C/Y's have the classic zeiss rendering, very contrasty and that 3d look.
I always wrestle with going C/Y or Leica R for a set of matched lenses, haven't been able to decide yet.