dafreaking

Stop shooting with ISO 6500 on a t2i and you won't need noise reduction. ?

The ASC Mag piece on The Bourne Ultimatum can be found here: https://www.theasc.com/ac_magazine/September2007/TheBourneUltimatum/page1.php .
Not only ARRI cinemods these, there's Duclos, G.L. Optics/Cinema Glass and Cinematics/PCHood that will mod these kind of lenses as well for example.
The official name is 'AF Zoom-NIKKOR 80-200mm f/2.8D ED'. Tagged AF-D by uncle Ken.
Just beware that:
The other Bourne lens is officially named 'AF-S Zoom-NIKKOR 28-70mm f/2.8D IF-ED', in which case the following goes:
These Nikon lenses are known to match very well amongst one another, though I couldn't give you any guarantees as I haven't used the 17-35mm f/2.8D myself or delved into its capabilities, but I think the fact these get customized says enough.

A little testy test with them. Silly video..but LOVE this glass 
 

rumors have been trending in this direction for awhile...
for the sake of discussion: if this is true, what features exactly are going to distinguish a 5d4 from the 1dxii for video?
what is it that makes this new camera "better for filmmakers"?
• 10 bit? - lol doubt it
• flippy screen? - id love to see that but canon has been uptight about their weatherproofing standards, dont think thatll be on this camera
• clog? - i hope this feature makes it, and although i wouldnt bet on it being there, what ELSE is going to make this new body better for video than the 1dxii?
idk lol these are rhetorical questions what do you guys think??
btw im starting a new rumors website where all the rumors are "true"
heres my rating system im still perfecting it
KR5 - Truthy
KR4 - TRUE????
KR3 - Most likely expected to be true prolly sort of but yes
KR2 - TRU TRU TRUE!!!!!!!
KR1 - Literally information from the future my website uses zero point energy

Yes, as listed on www.sony.com/electronics/interchangeable-lens-cameras/ilce-6300-body-kit/specifications
 

It's not that the XC10 is some kind of world-beating camera, it's just that I don't have a sense of panic about using it and it does the job well.
After a few days I'm really happy that I can set it up on 4K on a tripod, connect my phone to it for preview and wireless control, and go and man another C camera.
The RX10 ii had to be nursed through every shot, and then the results were usually rubbish.
Image and usability... they always drumpf specs

I have the Sirui P204. It's great. Super sturdy and the build quality is great. It replaced a Benro A49T Monopod which in comparison is pooh. Sometimes I'm glad a beautiful blonde left it in a cab in Tokyo.

Nah you're not understanding me.
The benefits of LOG are there for green screen and low light, as much as they are for bright daylight scenes requiring a wider dynamic range.
If S-LOG on the FS5 hurts keying performance BY A BIT... but gives you a CHUNK OF CREATIVITY... who is right. Chapman? Nope.

I've used the VideoMicGo on a no. of weddings and own the regular videomic. The go's are grea for scratch tracks with the A7s. I have a feeling the Micro will be as good given the low frequency rejection that they advertise. The videomic is decent as a boom given what it costs and what it's meant for, I like the newer designs where one can remove and replace the wire.

The FS5 is $5600 http://www.bhphotovideo.com/c/product/1185424-REG/sony_pxw_fs5_xdcam_super_35.html

Laptop or Desktop?
Remember...the lenovo laptops are the first ones with the new mobile xeon processors. Till Apple makes laptops using similar processors you would be relying on hacked kexts and DSDTs which aren't the best

Oliver. SSD's like the Samsung 850 Pro will offer you better speeds than a RAID 5. I am slowly shifting to SSDs as the Media/EDIT drives as my projects rarely go above 6-700 GB.  RAID is a luxury I cannot afford and it does have its caveats. A simpler more economical suggestion would be to use SSDs (the 850 pros) as your Media and Cache drives, and backup to external disks. While this requires a little more effort, It gives you similar/better speeds at a much lower cost.With 4K and even high bitrate 1080p footage, faster seek times (which the SSDs offer) will give you better performance while scrubbing through tracks. Stick these SSDs into thunderbolt external enclosures.

First thanks for the kind words TapTap.
Yes it's frustrating DBounce I get it trust me.  My iPhone1 used to drain power. My D90 looked like Jello mold. My 7D would randomly corrupt clips and the same for three of my friends. The 1DC has crashed on me. Reds software would freeze up mid shoot..... Early adopting any product comes with the landscape of stress. I don't like it but I'm interested in this camera for the same reason everyone else is. The 1DC is priced out and you want a dslr solution in 4K. 
I'm not saying in anyway Sony gets a free pass, all I wanted to say is that if your committed to the A7Rii as your main camera there are some work arounds  if needed in a jam. Otherwise return it and go back to your camera that works for how you make a living. For me it's to volatile in 4K so I have to pass for now on using it for gigs. 

One-man-bands definitely need to own at least one camera. There are shoots that will be jus fine with a 5D, A7s, etc. There are some you would want higher end stuff and would be very difficult to pull off and sell as a one man band. Can always rent for those. It's truly based on your needs. 
Personally speaking, I own a T3i and use it for the odd personal project and stuff where people would pay me a small amount. If I am being paid a decent rate, I always rent either an A7s or three or a C100. 

It's Sunday! Thwack...Thwack...THWACK!!!
 
....i'll get my coat..

It's Sunday! Thwack...Thwack...THWACK!!!
 
....i'll get my coat..

Hello dafreaking, thanks for your inquiry, I hope I can be of help to you.
I'm not really sure about this, but as there's always software involved and adjustments made, I think it's a thing you just have to learn individually. The sensor size helps immensely, though, just using focus peaking worked relatively well for me. Andrew can probably say more about this.
The zooming certainly is far from silent and will most likely end up on the audio track. Other than that I didn't find it too annoying, though. And since the lens isn't parfocal, anyway...
Battery life is OK (few hours with a bit of recording here and there) and since the things are cheap, I don't see it as much of an issue.
Best regards,
Your unofficial Sony support

Quotes like that annoy me as well because it's too easy when you have money rolling in left right and centre from professional video work to say "ah, throw that $12k 1D C aside I'll use it as a doorstop" and run out and spend another $3.5k on an A7R II. Way too easy!
However for the majority of people $3500 is a lot of money and significantly more than a GH4 or NX1 and thus the deliberation needs to be more critical.
When the Samsung NX1 came out Cinema5D basically rubbished it. The reason? Bad rolling shutter! Yet here with the S35 crop mode of the A7R II we have what looks like potentially even worse rolling shutter problems and they are practically mute about that... do I detect a Sony bias?
Well I have seen Cinema5D's guys operate first hand myself, at trade shows such as Photokina and they do know a few Sony people and get cameras early. It is too easy to recommend something when you have the camera literally dumped on your desk by a PR company as well.
I was offered a trip to the US to shoot with the A7R II by Sony and I turned them down. I was offered a demo unit by the US PR agency Sony had organising the A7R II marketing and I turned them down. On Wednesday 5th August I will walk into a shop, hand over my hard earned cash for the A7R II and if it is rubbish I will say so and take it back for a refund.
The only reason I am going anywhere near Sony and their PR agents is that they have organised an interesting shoot the day before on Tuesday and it is a chance to get some decent footage. Most of what I say to the Sony people there will be about how it can be improved and what the most glaring flaws are, because that is what I regard as feedback... saying "wow buy buy buy" does not have any useful substance to it, it is pure hype.
And so back to the topic...
It's an open secret Sony want you to buy more than one camera!
That's one reason why the launches are staggered like this. If the A7S II and A7R II came out on the same day you would be able to compare them and select the best ONE.
As it is, this week if you need an internally recording 4K full frame mirrorless camera and can't wait for a mystery to unfold 6 months from now then you are obligated to buy the A7R II.
Personally this is the approach I am taking because there's always eBay to shift gear whenever you like, whenever it is superseded.
I am sure the A7S II will push video to even greater heights, 4K 60p and at least 250fps 1080p, much less rolling shutter, better low light, etc.
it's a guess though and the A7R II is a guarantee of quality right now.
However there's always the danger with waiting for the next model and upgrading in that you never appreciate what is right in front of you.

TONS more coming from RX10 II in the review.
RX100 IV is a separate piece but I have had to work on that for past week, time which could have been spent finishing off my RX10 II review!

Great points ruined by crying :(

Great points ruined by crying :(

​Did you read this entire thread? His friend wants to invest in his production company. The story argument is totally lame. the friend is already working on different projects.
Oh yeah, and we don't need poverty tourism in India...

​I should have been more specific. It should be fine for normal editing, but the minute you start using things like After Effects, more video streams, etc it will slow down. I personally feel spending $4500 odd on an iMac ridiculous for the performance one gets but its sooo pretty. Also, that thing gets hot and noisy as it has smallish fans. I don't want to turn this into a MAC vs PC debate, but in $4500 you can build a super souped up rig that will lap up all those 4K files without breaking a sweat. We focus a lot on cameras, lenses, etc but a majority of our time is spent on post production so one might as well invest well there.

​I should have been more specific. It should be fine for normal editing, but the minute you start using things like After Effects, more video streams, etc it will slow down. I personally feel spending $4500 odd on an iMac ridiculous for the performance one gets but its sooo pretty. Also, that thing gets hot and noisy as it has smallish fans. I don't want to turn this into a MAC vs PC debate, but in $4500 you can build a super souped up rig that will lap up all those 4K files without breaking a sweat. We focus a lot on cameras, lenses, etc but a majority of our time is spent on post production so one might as well invest well there.

I thought I would check back on this 'discussion' again. It has helped me understand better why this website is so underwhelming to me.
I say that as someone who has used this site for years as (one more) reference for filmmaking.
The rot started to form a while back - before this Clarkson nonsense - when I read a post about the LX100. An amazing little camera I felt. But it got sneered on - initially.
Soon after there was a  'rethink' - suddenly it was a super piece of kit etc etc
 
Later after getting flamed by SleepyWill and some other old timers, I started to mentally list why this website constantly disappoints. By that I mean I spend my valuable time occasionally checking in, see nothing much, so check out again...nothing compelling here (for me) basically.
 
So here are my gripes:
1. The website is named after one proprietary camera system. In business terms, this is silly. Its like the kid who starts TripodsRUs - only to advertise a year later that he will also sell you a Slider, or a Monopod or whatever. It illustrates a lack of vision. A simplistic outlook. Of course it also ostracises Nikon or Sony folks, at least subconsciously, which seems unnecessary if its meant to be about filmmaking (which it isn't)
2. The website talks largely about Consumer Purchasing Decisions. It might be better named CreditCardCameraConsiderations.com or maybe BokkehSupermarket.com or perhaps EndlessUpgrade.com
3. The Clarkson chatter shocked me (and others here too it seems). Its almost fantastical that 'filmmakers' would defend this JC stuff. Apologies to those with me on this, but to those who are gushing forth with the latest skinny on poor JC and his downtrodden crew ...really? Is this news? for a filmmaking site? Regardless of whether people like the crap or not its EXTREMELy telling that by the end of this week it could be the most discussed topic - ever - on this site...
4. There is damn all abstract, challenging, artistic, genuinely creative discussion initiated by Andrew Reid. As editor/writer, I would've thought thats a failing, if others agree. Some do I know, as Ive read their posts of frustration ("What About Storytelling", etc) -
5. The reason JC+Crew gets s much focus, and Machinery From Canon et al gets focus, is perhaps because this is an Industrial News Site. Not A Creative Filmmaking Site. Its for people who are in 'the business', 'the trade' (or want to be) and therefore it seeks to Defend Jobs At All Costs. Well screw that. No filmmaker I know has a real job, whether they're swanning around Cannes or Berlin or not. They are constantly fighting broadcasters, distributors, unions, investors, bosses and banks to get their sh1t made.
Now if this is a site for jobbing SkyNews Cameramen or, thats cool. But why not say so? And lets slot a few more articles in about staff conditions, retirement plans, commuting problems etc. But don't pretend its Cahiers du fricken Cinematograper....
6. Seek out all the posts on Framing, Composition, Production Design, Editing Technique (not software) - there aint many folks. Why? Andrews busy? No problem, but just don't pretend to yourself that EOSHD is something it isn't. Its less useful than the Reviews Stories on BH's online  shop. Most of the time. I wish it wasn't (and don't screw with me you Clarkson-loving Etype-lusting future retirees out there) - I've paid my dues and used this site for a long time. Hell I probably accounted for 5% of its traffic.
A good example is the 'Pinned' Topic on "Shooting Inspiration and Ideas" - Nice idea to start a discussion. Just a pity A.R. does not mention any inspiration or Ideas. Thats for the plebs i guess. This is the kind of DailyMail hack website/hipster blogger nonsense which peeves me no end. Why is it pinned? You wanna solicit some traffic on that subject? Cool. Why not put up or shut up? Is it just to try to start a conversation on 'fimmaking"? Well, too bad (for all of us) - nobodys biting. Its got 24 replies compared with Clarksons hundreds. Wonder Why...
7. This site has all the architectural and functional finesse of a bad Themeforest Joomla site. I can buy it in India for 30 quid. To me, thats lazy. Theres lots of gifted designers out there, and they'd probably do it for free to contribute to a creative community. If there was a creative community. Sorry Everybody but a community is not just a website where a few hundred people occasionally read and post a reply. 
8. The site's content is taxonomically random in a way that frustrates and does't invite easy reading. Looking for location documentary stories? Nope. (and don't mention TAGS please...)
9. The sites been up for nigh on three years and It has helped build Brand Reid. Good. We all need to sell advertising. Good. Good....BUT...Out of maybe....30,000 posts, Andrew has posted nearly 7,000 it says. Thats also good, and I've read, appreciated many, slept through many more...BUT is this a place that gets my time? IS it trying hard to be a Curated and Edited Place for Filmmaking and Filmmakers - naaaah...it aint.
10. Andrew has been downright out of line to some posters here IMO. Its my opinion, s'all, but it seems I'm not the only one who sees this. Now I know us mere readers can't be 'as equal' as the publisher. I get that. Thats fine. But easy with the entitled, patronising tones please. It seems...to insult your readership.
11. These days everyones an expert on something. Building Your Brand Is Key, they say. I do fear that EOSHD's brand is built on exceedingly weak foundations however. The answer is to shape up and do what it promised. Or else delegate this 'content' work to another. Someone who is a good Editor. Personally I've never met an Editor in Publishing who was also a useful cameraperson or cinematographer. Or vice versa. Andrew's credentials as a cultural commentator are (for me) forever damaged after his passionate pleas that the BBC were acting like cultural fascists (or words to that effect). Really Andrew? You think that TG is "Important Work" huh? I always thought you were somewhat relevant. I was wrong. Way wrong. That doesnt mean you don't know your way around a german or japanese camera, but only a dinosaur would defend JC like you have, bless.
12. Its not ideal to scream at the subtle racism on this site by some very few contribs, but at least it would be good to have some fun with those weirdos using this forum to take the last train to Clarksonville and defend Mr. Camerons drunk racist mate Jeremy?  Could even set up a vintage car club for any EOSHDs distraught TG Fans? The BRollers?
 
Ok...theres my civic duty completed for another year. I trust I haven't offended anyone this time. 
Filmmaking shouldn't be conventional. It should be brave. Different. Visceral. It should also be honest and engage with the world around us.
Top Gear on the other hand is Prince Philip's favourite show.
It has nothing to teach 'Filmmakers'.
Get it Andrew?