Nick Hughes

Some nice looking shots in there, but there are some really awful artifacts going on. The shot at 1:20, going under the crane. Look at the letters on "Cape Town Cruise Terminal," look at the wires on the crane, look at the water, look at the ships - pretty much everything has this crazy dancing artifcating going on. The shots are beautiful enough to distract you, but once you start to look at pretty much any part of the image and the flaws become pretty obvious.

I think it's important for people to see that you're working and remind them that you're out there. I follow tons of local filmmakers and the ones who I see posting set-pictures or stills from a project are the ones that stay in the front of my brain. When I need to bring on an extra shooter, the first people I think of are likely to be the ones who I've most recently seen sharing their work. You can pimp yourself out however much you want (or not), but we as filmmakers shouldn't be afraid of sharing our work. 

I bought an old Panasonic SDX900, it's the dvx100's big brother.  I thought maybe SD had something interesting about it - lacking resolution and dynamic range.
I tested it quickly against my Sony F65 going to 8mm or 16mm, and it seems to have its own weird unique feel that's kind of interesting.
Anyway let me know what you think - post workflow I can post as well how I kind of "destroyed" the image too.

Many VICE productions are switching to the FS7, including a lot of their shows on their new channel VICELAND. 

Not saying they're not out there, because they are. Just commenting on the topic, the C100/300's are very popular where I live/work and in TV land, they're heavily used in scripted productions, unscripted productions and commercials.
Just watched Cartel Land, at times its nuts. Basically all handheld run and gun (and sometimes getting shot at) with the C300 and a 17-55 lens for most of the shots.
 

Yes. I often shoot as a single operator running 3 or more cameras simultaneously. If I'm recording a full band set, or an orchestra, or a long lecture, I'm usually actively operating a camera that is far removed for several static cameras. If they only record for 30 mins at a time, then I'm missing a minute or more of potentially crucially coverage (an entire guitar solo, for example) from my main camera to walk around restarting cameras that are spread around the concert hall. 
For someone looking for an A cam, a recording limit probably isn't a big deal. To me, these small ~$1,000 cameras are useful as B, C, and D cams, which I often need to let run unsupervised for long stretches of time. 

I for one enjoy hearing people try to assign what is and isn't art. Makes it easy to weed out whose opinion I should care about.

Well, you have to learn how to expose a camera. That scene is underexposed. Slog moves the shadows into the midtone zone, this makes you believe you are exposing correctly, but it's actually wrong. Shadows are noisy, your image is 100% shadows, 100% noisy. Upping ISO makes shadows less noisy = your image less noisy.
Use a lightmeter, or a screen with a lut.

I for one enjoy hearing people try to assign what is and isn't art. Makes it easy to weed out whose opinion I should care about.

I for one enjoy hearing people try to assign what is and isn't art. Makes it easy to weed out whose opinion I should care about.

I for one enjoy hearing people try to assign what is and isn't art. Makes it easy to weed out whose opinion I should care about.

I for one enjoy hearing people try to assign what is and isn't art. Makes it easy to weed out whose opinion I should care about.

I'm exited to hear qualifications needed to be a music video. And the other thing was so obvious that I just left it out.
Your criticism is boring. 

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 own an FS5 and love it. I upgraded for many of the same reasons you did - I do all kinds of work and wanted a proper video camera. I love my GH4, but I absolutely hate rigging audio and monitors to DSLR-style cameras. I still use a 5-inch monitor (and v-mounts occasionally), but it fits the camera much better.
I'm usually shooting the FS5 in 1080 for the 10-bit 422, but very happy to have the 4k available. Clear-image zoom is amazing, especially in 1080 where you can use the zoom rocker to smoothly punch in. Turns my 18-35 into an 18-70.
The codec is a good and bad thing as I'm sure you've read. Of course I'd love an all-i option, but it's also incredible to only need two 128gb SD cards for a FULL day of shooting.
Vari-ND is amazing. That is all.
Low-light is not going to blow an A7s user away, but I've shot at ISO8000 in slog 2 and 3 with usable results after NR. The noise isn't ugly, sometimes I don't notice it's there until I look for it. It does get worse in slo-mo, but still manageable if you shoot right.
Raw option is coming. I know it's another $2.2k (Shogun Flame route), but it's great that it will be available.
There's also the typical Sony annoyances, like no ECS shutter (so so useful for dialing out LED banding), and limited shutter options otherwise. Pressing 'menu' will take you out of S&Q mode. Audio input 1 can't record to both channels, but input 2 can. No Hypergammas. No IBIS. Monitor and EVF are just OK. 
 
It's definitely not the camera for everyone, but it hits a very nice sweet spot for versatile shooters who lean towards the doco/corporate side.
 

I own an FS5 and love it. I upgraded for many of the same reasons you did - I do all kinds of work and wanted a proper video camera. I love my GH4, but I absolutely hate rigging audio and monitors to DSLR-style cameras. I still use a 5-inch monitor (and v-mounts occasionally), but it fits the camera much better.
I'm usually shooting the FS5 in 1080 for the 10-bit 422, but very happy to have the 4k available. Clear-image zoom is amazing, especially in 1080 where you can use the zoom rocker to smoothly punch in. Turns my 18-35 into an 18-70.
The codec is a good and bad thing as I'm sure you've read. Of course I'd love an all-i option, but it's also incredible to only need two 128gb SD cards for a FULL day of shooting.
Vari-ND is amazing. That is all.
Low-light is not going to blow an A7s user away, but I've shot at ISO8000 in slog 2 and 3 with usable results after NR. The noise isn't ugly, sometimes I don't notice it's there until I look for it. It does get worse in slo-mo, but still manageable if you shoot right.
Raw option is coming. I know it's another $2.2k (Shogun Flame route), but it's great that it will be available.
There's also the typical Sony annoyances, like no ECS shutter (so so useful for dialing out LED banding), and limited shutter options otherwise. Pressing 'menu' will take you out of S&Q mode. Audio input 1 can't record to both channels, but input 2 can. No Hypergammas. No IBIS. Monitor and EVF are just OK. 
 
It's definitely not the camera for everyone, but it hits a very nice sweet spot for versatile shooters who lean towards the doco/corporate side.
 

The 50-150 is parfocal and doesn't breath, it's essentially perfect. It's a steal at the current prices used. Did a shoot with it out on a beach handheld with AF on, incredible results.
Very interested in these Tamron's for their stabilization, rented the 35mm and the 85mm to test this weekend on my D750. Will report back with samples and impressions once they arrive today.

So should we refrain from criticizing tools with flaws?

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.
 

With the upgrade it will be 240 continuous. 
With the FS5 + upgrades, you have a greater flexibility of shooting styles, from super slimmed down and discrete, to fully kitted-out RAW beauty.
With the FS7, you don't have quite the same versatility, but the baseline IQ in any shooting configuration is going to be higher.
 
I've personally been greatly enjoying using the FS5 in all kinds of situations and look forward to getting the upgrade paired with a Shogun Flame.

I really don't see anything in this short that isn't accessible to most Indies... We are not talking sweeping crane shots or even an octocopter ... Just good lighting and a gimbal or two on the riding shots. Even the editing and grading is fairly standard stuff....
Now when you see an expertly shot goPro video that has been smoothed and massaged to death, I fully agree... But this video doesn't seem like it is miselling what a $6k camera can do in the hands of someone who spends $6k on a camera.

After, before adding grain/sharpening.

It would be nice if there was some competition in the raw recorder field. I'd love to be able to use a 5" monitor/recorder for FSRAW (though I understand why it would be technically tricky to build such a product).

It would be nice if there was some competition in the raw recorder field. I'd love to be able to use a 5" monitor/recorder for FSRAW (though I understand why it would be technically tricky to build such a product).

For gods sake people. He makes hundereds of LUTs in all shapes and forms. Its a matter of adjusting them. I dont care if its Deluts or Impulz, you have to adjust in post or expose for them in order to get them in the styles you want