IronFilm

Shooting on the wide wide angle is zero problem at all with APS-C/MFT, just get yourself an awesome Tokina 11-20mm f2.8! :D (or the cheaper Tokina 11-16mm f2.8, which is the one I have, purchased before the 11-20mm was announced). Or if you want ridiculously wide, get a Sigma 8-16mm! (equivalent to 12mm on so called "full frame") Many like/prefer the battery life / menus with the GH4/G7

I'd like to see Nikon/Olympus/FujiFilm make a camera which is FS5/C100 sized (i.e. smaller than a C300 or FS7, more in line with the size of a larger full frame DSLR instead in size) which does (at a minimum) 4K DCI 30fps 10bit internal + 2x XLR inputs + internal ND filters + full size HDMI out + SDI out + 120fps FHD 10bit internal Anything extra on top of that would be pure gravy, but I'd like to see that at a minimum. I don't care if it is FujiFilm X mount, or Nikon F mount, or Olympus MFT mount, just make it please! I like that name "VC5"! Be like a GH5, but with much much more (internal NDs, XLR inputs, etc). And at a size much much smaller than an AF100, but would still have a bigger body than a GH5 to fit in all the extras they'd pack in. Nikon never made camcorders for the consumer/prosumer market like Canon did? Maybe that lack of knowledge/experience is one big factor holding them back from making a "N100" (i.e. a "Nikon C100", N for Nikon rather than Canon! ha).

If you want raw & HFR and your budget is around US$13K then look at the KineFinity Terra 5K/6K, you could get two even for that budget! Or a FS700/FS5 with an Odyssey 7Q+ Probably because until very recently owning an Alexa was prohibitively expensive for the vast majority of owner ops! But with older secondhand ones showing up, and the Alexa Mini, the situation is changing to make it kinda affordable for some.

Crazy to think there was a second account from waaaaaaaaaay back in 2012! :-o

Oh no! :-o

ML raw is the only way to get a noticeably better image out of the 5D series. Get yourself a secondhand a7S mk2, or Panasonic G7, or Sony A6300 and get a huge leap in quality. Just use a metabones adapter to keep on using your old lenses. This looks awesome, lets you plug in ND filters: http://www.adorama.com/kanexeosaf2.html Or get this for much less (or any of the other many options): http://www.adorama.com/FDEOSNEXP.html?RRref=productPage

The recording length times for the A6300 just hugely improved: http://www.sonyalpharumors.com/sony-releases-new-firmware-update-a6300-fixes-overheating-issue/ Get the 18-105mm f4 lens instead, is a crazy huge range, nothing else like that! With OIS is a great run and gun lens too. My favourite on the A5100/FS7 And F4 is quite ok, I was shooting today my Sigma 18-35mm f1.8 & 50-150mm f2.8 (on my Nikon D5200) at f4 for most of the day.

Yes, but if they get direct communication from Tamron as to the details of how they implemented their version of the EF mount then it will be heaps easier for BMD to support it!

Shall do so soon. I think I've mentioned once or twice on this forum what it was shot with but hopefully nobody remembers!

Ah I wasn't worried about the bomb threat but the immigration /taxes aspect of bringing in "pro" cameras vs a DSLR

<<If you hold a Micro Cinema Camera up to a corner of a room you will see Blackmagic made the body of the camera to be flush with the two walls with just enough space behind the camera to fit a battery. This means one can mount several Micro Cinema Cameras in a row to make a VR system. This is exactly what they did on “Jason Bourne.” The production used Micro Cinema Cameras set up as a four camera array system, all shutter and genlocked together with a single point trigger, the footage captured was then displayed on overhead panels while shooting the corresponding green screen plates with the actors. The Micro Cinema Cameras were positioned to shoot left, right, front and rear, creating a 360º shot of the area. Along with the plate cameras in the vehicles, all cameras recorded timecode so each exact frame of the plate shot would correspond to the lighting environment shot, creating a perfect match up. In the end, Blackmagic has found a way to make an incredibly small camera capable of capturing incredible footage. I think we’ll see many more DPs turn to the Micro Cinema Camera as a great addition to any action scene they need to capture.>> My future dream #360VR set up when I upgrade from my GoPro style based set up!

Check out the thread Andy Lee made. He shot a feature film using SIX of the G7 cameras.

Basically if you love what you read about the GH4 then you'll love the G7. It misses a few "pro" features such as vlog, weather selling (but doesn't matter if not using weather sealed lenses), 96fps (but that was a big drop in quality anyway from 60fps), and 10bit external (but you'd need an extra recorder). However otherwise you could think of a G7 as an "improved" GH4 but at a much lower price!

Yes I'd recommend the Sony A6300 But... if longer record times matter then get Nikon D5500 or Panasonic G7 If yiu can bump up budget by 50% then you could look at a secondhand D750 or a7S that is fantastic in lowlight

Get a Panasonic G7 and a RJ Lens Turbo for Nikon F mount (under your 200 threshold) and Tokina 11-20mm f2.8 (over threshold). Then you can later on get Tokina 28-70 f2.8 and 80-200mm f2.8 for probably under the threshold too secondhand. And Nikon 50mm f1.8D

That is a massive problem is it with an FS7/C300? Even a small FS5 would be troublesome?

Reach out to Tamron directly to sort this out?

What were you shooting in Italy?

btw, I'd love to play a game of "guess the camera"... what do people think "This Giant Papier-Mâché Boulder Is Actually Really Heavy" was shot with?

25%? Good news for the Brazilian secondhand market! As it is otherwise very high relative to the rest of the world.

Yup. Soon! Currently doing the festival circuit.

But is VC supported bythe URSA Mini? I heard one guy say it is not.

I was DoP for part of this: The director was himself one of the key leads! Good idea really, as it was a long slog. 5yrs in the making! My Tascam DR60D has this feature. "Safety track"

The feature film trailer: ^ quote from vimeo. As you can see here: He comments in the above video: Interesting that Arri raw was chosen over ProRes. http://www.latimes.com/entertainment/movies/la-et-mn-laff-lights-out-david-sandberg-20160602-snap-story.html A squeal is already in the works: http://film-book.com/lights-out-2016-horror-film-to-get-sequel/

Mitch though is extremely open and helpful on the forums however. Such as DVXuser They allow specific 3rd party SSDs now