IronFilm

So my original plan here was to use the sunlight from the window as a key, and the 120t as a fill. Unfortunately it started raining so I had to use the 120t as the key, and use a white board as the fill bounce. It's really bright and definitely needs some diffusion with faces b/c of the hard shadows. My favorite 2 things are the dimmer and the running temperature. It runs cool the whole time and you can pick it up to store as soon as you shut it off. Hopefully the daylight version will be out soon!
 

It is fascinating. I remember his earlier stuff from years ago.
 
I don't see what is the big deal.
 
Just walking down the length of my local main street will get myself filmed by HUNDREDS of cameras! Permanent installed cameras.
 
Who ever complains about them? Nobody. Ever.

Perfect for photogrammetry!

It is fascinating. I remember his earlier stuff from years ago.
 
I don't see what is the big deal.
 
Just walking down the length of my local main street will get myself filmed by HUNDREDS of cameras! Permanent installed cameras.
 
Who ever complains about them? Nobody. Ever.

Have a Terra 5k on order - pending a trip to bejing to test it out - end of July they informed me - pushed back a month...so far....will let you know how it goes.

Actually the Terra has ignored me.
I'd love to try one out in Berlin at some point, I can't buy absolutely everything just to review it.

The 5k seems like the better model. 
Current Kinefinity users have little to complain about and recommend the cameras.
The Chinese thing puts people off, however the parent company making these cameras are absolutely massive. 
Andrew has reviewed and featured previous Kinefinity cameras but has so far ignored the Terra. 
It is intriguing - because if Kinefinity pulls this off, they wil have by far the most complete cinematic camera package considering its price point. 
I really do hope they pull it off. I really do. 
As for any Odyssey fuelled camera setup like the C500, it's just a little bulk too much. Worked hard to go very portable with my gear this year. 

It appears that it's only the action sports/skater guys who still use canon dslr's for movie making..  they're so busy enjoying their full throttle lives they don;t have the time to sit browsing the web for the latest and greatest gear.  The only other camera the action guys seem to know about is gopro and if they're happy with the ghastly image from that, a crippled 5dmk4 will be a dream.  If canon didn't reach out to this crowd then they'd not sell any dslr's for video stuff

Don't have footage right at the moment (my HDD just died on me ), but I'll tell you this. THe a7sII (and original) do give a great image. For 4k, they're your only option with the F3 tapping out at HD.
But man, that F3 footage... 10-bit 4:4:4, and even 4:2:2...
The a7sII doesn't match it IMO, especially in the grade. The a7sII has a lot of other things going for it, and still gives you a great image.

It's like an exaggerated response to what I often get at weddings

After using the BMPCC for a while, I still go back and forth on RAW and Pro Res. 
RAW is of course, fantastic. But I do think the Pro Res is underrated, and the workflow is such a delight.

I am afraid, most of us here, has never had an XC10 in their hand.
But we can still exchange views and ideas, that’s the forum about.
I don’t buy a camera, like my wife chooses a car.
-Look honey, I want this one, it has such a nice color :-)
If a camera’s specifications are not good enough, why should I use time to test it???
For me the XC10 is a monster, clear mistake from product management.
Not good for photography.
No RAW. It could be a firmware update but Canon would for sure not do it.
The lens is so-so
Weak continuous shooting
No IR flash-sync
No autofocus lamp
Few manual adjustments, everything is in menus
No B shutter
 
Not good enough for professional video work.
The lens is so-so…
There is a On/Off ND-filter, but no control over it.
There is no powerzoom.
No XLR
Strange solution for viewfinder
The bitrate (305 Mbs) is more a sign of bad codec
 
Not interesting for the amateurs either.
Too expensive, especially with the memory cards.
Too much data to work with
Probably very high loss of value.
Too big and strange ergonomics
Too weak for the competition :-)
I doubt, the video file of the XC10 is better than the GH4 with the 14-140 kit lens, and the Panasonic is way better for photography. And, don't forget to check the price.
That is my view on it :-)

Yea, the A5100 has its limitations, definitely: I use it with an Atomos Ninja2: no overheating, no 30 minute recording limit, it has microphone jack and headset jack. The 1080 image quality (no 60p, unfortunately) is excellent with this combo. The A5100 has brilliant accurate/snappy/shimmer-free a touch to focus function because of the 179 PDAF points at least as great as the 70D/80D dual pixel. It's not 4K, but excellent HD combo. I use a Swivi LCD viewfinder with the A5100, not tiltable, though. I wouldn't say my A5100+Atomos combo is better than XC10; but, the XC10 is better only daylight and all for more than double price (let alone the crazy prices of CFast cards). Andrew recently reviewed the Panasonic GX80 with Blackmagic Video Assist 4K, and I found it quite impressive. If I wanted to upgrade, I'd go in that direction, or something like that. Unless, Canon would be so kind to come out with something reasonable in the meantime. No 1" again for me, please, I don't care if it's Canon/Sony/Panasonic/Nikon.
Yes, but you, Andrew, evaluated that the AF is pathetic, and MF is very hard to use (unusable). How can you focus this camera then?

It's funny I've had the opposite reaction towards this camera. Thought it was interesting on paper (4K, 422, decent codec & canon log under $2K had me sold) but in actual use it was a huge let down. Number one issue the lens and specifically the unusable focus ring. I see MF listed in the cons of the review but it can't be stressed enough how shitty it is. It seems Andrew may overcome this issue because he considers the AF to be ace but it isn't DPAF good either imo, and goofy MF is a deal breaker for me. I was also far from blown away by the IQ, but this type of lens just isn't my cup of tea I'm afraid.. 

Agreed, full sized HDMI, internal 10bit 422, GH2 sized multi aspect sensor, & XLR-K2M like audio interface rather than a bulky YAGH

Amook,  If you are going to shoot S Log with the F3 you are going to want to record to an external recorder! You need the 10bit and 422 color space to record the S Log picture, if you use the the internal F3 codec which is a 420 compression, when in the S Log mode you will not be getting all the information ( bits and color information ) you need. There is a lot of information on exposing the F3 when shooting S Log, do a search. Here is a basic explanation of the F3 and S Log by Andy Shipsides of Ablecine.
http://blog.abelcine.com/2011/08/04/f3-s-log-part-1-on-the-charts/
And here is another post talking about the F3 and S Log on DVX
http://www.dvxuser.com/V6/showthread.php?269977-Do-I-need-a-Gemini-or-Ki-Pro-Mini-to-Use-the-S-LOG-Firmware-Update-on-the-F3
Good luck.
 
Broatch

Compressed raw, Sony's sensor and Pentax's price. Of course, none of it will happen.

Bet this will go a long way towards further improving RED's reputation on the high end. 

I feel like this is really gonna light a fire under Arri's belly. They've had a nonchalant attitude thus far toward their competition and have really been patient and unhurried. It's good to be the king, after all. Panavision was Arri's biggest customer, too. Has been for decades. But now that PV has united with Red, it's gonna give Red a new level of legitimacy in the high-end, and productions that might have gone Alexa on principle before will jump on this. Panavision has many, many big DPs on their side. The success of their business model is due to their skill at cultivating relationships. Those relationships are about to pay off.

SONY F3 is an amazing camera, this video I edited and worked on was shot on Sony F3, love the image imo much better than consumer cameras, it's a pro camera but obviously older now when compared to other Sony pro cameras
 
 
 

I own both and they both have pretty great images. Image-wise, the colours are not dissimilar.  
Personally, if I'm looking for something quick, 'more run-n-gunney' the A7s is generally my go-to. It's smaller, lighter, gets onto a gimbal significantly easier, and the XAVC-S is super malleable, despite the fact that it's 8-bit. It also is easier to use - my biggest gripe with Sony professional cameras is their menu systems. The F5/55 is improved in that regard, but the F3 sucks for having to dive into menus to do simple things.
A7s will give you much better high ISO performance, thought the F3 performs pretty well in low-light as well.
The F3's internal codec is nice, but it really shines when you pair it with a recorder. Once you do, you'll be very happy, especially in Slog2. The images you can get out of the F3 are amazing. If I'm not using a recorder, or don't want the extra weight, or annoyance - the benefits of the F3 over an A7s are diminished IMO. I own the XLR adapter for the A7s, so XLRs isn't really a plus for the F3 for me. The F3 does have internal ND, which is really nice. A7s is full frame, which is also really nice.
I have a Shogun Flame which I use to get 10-bit 4:2:2 out of the F3, or 4k out of the A7s. It's a pretty neat setup.
Keep in mind that you can get away with using a cheap tripod with a small DSLR, but a cheap tripod will struggle to hold something like an F3 with a decent lens on it.
I've shot commercials for television and cinema, and all sorts of other projects with both of them, and with decent lenses on them, they can both give you pretty incredible images. I don't think you'd be disappointed with either camera. 

I love how the F3 image looks. Seems like it has some magic to it, a bit like the pocket but with less hassle. (Internal ND, XLR audio.)

imo the xdcam 35mbs files from the f3 are more 'solid' than the higher mbs xavc-s from the a7s.  colour and motion feel right from the f3 too.  s-log was perfectly implemented within the pmw f3, f35 and f65.  usable dr is more on the f3 from what I've seen too.  Love my F3.

I worked on a short where A7s and F3 footage was intercut, but I was really surprised to see a noticeable difference in quality between the two. This might have just been the grade, but compared to the F3, a7s skintones looked like plastic and the highlight roll-off was not as nice. That being said, the a7s does have it's advantages. It is better in low light, it can do higher frame rates (I think the F3 does 60i?), and it ways a hell of a lot less. 
Now this might just be my opinion, but I actually prefer the image coming from the F3 over that of the F5. It just seems more natural and more organic. Obviously it's not 4K Raw, but as a final HD deliverable the F3 spits out some really nice images. I think sony was using some kind of magic in their early sensors because the f3 and F35 seem to shoot more filmic footage than their later cameras. 
 

Very good point. (I would still take the F3 to a skate event ;))
I would definitively get the F3. This thing is a workhorse and you have everything you'll ever need (except 4k but personally I don't want it).
SDI, XLRs, Fr**king INTEGRATED ND FILTERS !, Build quality, Adaptability.
The A7s is  a good camera, sure, but it is a still camera.