sudopera

This video is a pure goldmine of information regarding the proper use of Sony cameras and their features, but most of this can also apply to any other camera brand. I bow to the man for this kind of simple but thorough explanation of all the features, codecs, gamma curves, gamuts etc., when and how to use them, why not to use some of them in some scenarios...
I highly recommend watching this whole video, because even if some of you guys are already familiar with most of this stuff, I'm almost certain that you will get some new useful info.

So dont use it.

This video is a pure goldmine of information regarding the proper use of Sony cameras and their features, but most of this can also apply to any other camera brand. I bow to the man for this kind of simple but thorough explanation of all the features, codecs, gamma curves, gamuts etc., when and how to use them, why not to use some of them in some scenarios...
I highly recommend watching this whole video, because even if some of you guys are already familiar with most of this stuff, I'm almost certain that you will get some new useful info.

Started watching this, super good stuff. Saved the source with File2HD.com to watch when I have more down time. Thanks for sharing. 

Just saw on Twitter that John Brawley will have some footage from Ursa 4.6K soon

but when the 1080p looks as good as 4k...  

I wasn't even being a jerk this time! They found out I was banned before for life.  
 This is my only forum now besides nofilmschool and cinematography.com.  Until I get banned here.

pictured with 85mm Rokinon for size reference
 
I received the Pl mount Trump 58mm T2.2 last week (38mm coming soom).  It comes with the case and various aperture inserts for effects such as 1.5x 2x 3x anamorphic style bokeh, tints, shapes etc...Swapping these inserts is as simple as unthreading the rear optical cell (which is also customizable) and inserting the chosen aperture (all of which have a notch that easily aligns with a tab inside the lens).  
It has a 270 degree focus throw.  For reference: Rokinon and most other still lenses do not even have 180.(which makes finding accurate focus more of a challenge)
Smooth variable aperture from T2.2 - T16
Easily converts from pl to ef via adapter.
As I haven't spent a lot of time with the lens yet, I can't comment on its look and how it compares to other lenses.  Check out Bob Gundu's work to get an idea of the look these lenses can create.  
I would also like to add that Rich asks for examples of your work so he can customize your lens to your style/taste.  He noticed I used the Anamorphot 1.33 and then made a custom recessed step down ring for me to mount the slr magic Anamorphot 1.33 on the Trump. (no charge!)  Great product and service! These lenses are truly a work of art.
   http://www.richardgaleoptics.uk/      (Richg101 for Eoshd readers)
 
 
 

REDUser threads are cringeworthy: 
1st page then stopped....
"Ursa just got URSED!" 
It's like some of them are in an army - "our country is better than yours" kinda vibes. It fits with the product naming scheme I guess. 
That said, RED cameras are awesome. 

Interesting move by RED... Shame I had to go onto that forum, need to wash the red frenzy from my eyes.

Full size HDMI and dual SD slots is so sweet, wish more cameras did this. Heck, if the GH5 did this I'd be stoked! 

Has anyone taken into account that maybe this camera is a bit bigger because it has dual SD slots and full size HDMI, and maybe they just chose not to have any overheating issues. Also their lenses for this system are quite big and heavy, so I don't believe that photographers would be very happy with a heavy standard zoom on a tiny body.

Makes sence, often find german and swedish to be very close.
A medium format booster would be so so sweet. 
Regarding the size difference I would prefer the size of the leica over the A7. I like form factor of my D750 over the A7 and A7ii I had any day.

I've actually been thinking the same thing, sort of. 
I pre-ordered the URSA Mini 4.6k just to get in the queue, with the intention of purchasing if early reviews and a rental test were up to scratch. 
There's quite a shift in my business at the moment towards commercial & corporate work due to the diminishing funds in music, where music video budgets are in great decline. 
The URSA Mini 4.6k is going to have an amazing, cinematic image - but there are many benefits to the FS5 that can't be ignored (ND's, 240fps slow motion, reliability, size). I've got a bunch of DSLR sized gear here (sliders, gimbal tripod) that I couldn't use with the URSA Mini 4.6k. The FS5 would fit all of it. 
Now the Sony image.... I've been shooting on Sony much more than any other brand because of the HFR. Music videos need it. However, I've never loved any of the images. I used a C300 at the weekend on a viral and it speaks volumes how much better the colour rendition on the Canon is compared to Sony. It's softer sure! But overall much more pleasing. Much much more. 
So for me, I'd have to work much harder with FS5 images and make them sing. It would probably be the better camera to buy that adapts my business model. I'd have to swallow my zest for beautiful Blackmagic images and stick with Sony. But that's not what I want to do. It's sort of personal. The BM image is a massive deal. Massive. 
As for the A7S II - I'd use this as an A-cam on a very low budget shoot and as a B-cam on others. 
From all the cameras here - the FS5 is the best option to fit all purposes. But it's not the sexiest. 

It's good to see that new versions of iMac Retina screens cover DCI-P3 color gamut.

@Andrew Reid Huh? Aren't you supposed to be selling cameras instead of buying?

The f35 is so far under the radar. (hence the low $$$)  I can remember watching Zacuto's 2011 shoot out mistakenly  thinking, wow, the f35 is a dinosaur next to the other cams.  I played around some more this week with mine. Did side by sides with the 1dc and fs700 4k (different lenses on each cam, waiting for Trump 58 and 38 with Pl to eos adapter to make a better comparison). To me, the f35 is superior to these cams in almost every possible category except low light, size/weight, hfr, and affordable lens choice. If you were to upscale to 4k, I think there would easily be more true detail than either of the other cams (without artificial sharpening and its side effects).   I showed the images to a couple other people after applying matching impulz film luts for each cam (clog,slog2, and slog) with a quick match up in Resolve and asked them to pick their favorite.  F35 every time. Its image is one that I perceive to appear similar enough to the look I've been conditioned to associate with film.  The f35 has an organic texture, color, grit, depth, and feel to the image and motion that I don't see in today's very clean, high end cmos sensor cams.   Again, thanks to old cam prophet from the east for saving me from cmos.

You could cut together a short 'taster' or sample scene that is a good representation of the film as a whole, then upload to vimeo with password link. Then use that (along with covering email) to contact whoever you want.
For what it's worth, here are some things I've learn't over the years from working freelance in post production, and from friends who are resident at well known vfx/post facilities. These are just general thoughts on low/no budget work, maybe something of use in there somewhere...
Generally, if approaching professional colorist or any post house about low/no budget work - they appreciate 100% honesty when considering any indy projects. Many people in post (especially colourists and visual effects artists) are creatives at heart. 
In my experience the words 'Low budget' or 'Zero budget' should never be the opening sentence when approaching most creative people, professional or not. It instantly creates an impression of low quality and the expectations of your project to be as equally low. It especially sends a cold chill down most facility owners spine when asking them to provide a service to you that they'ed normally charge hundreds of dollars per hour for.
Instead it is better to be totally upfront early on about not having very much (or any) money, but for that to not be the focus of getting a 'freebie' service, but rather a pitch for a collaboration. it is that term 'collaboration' that is likely to get you noticed from anyone, regardless of how jaded by the business they may have become. If you can get other people excited about your project and how good you know it can be, people start to take notice.
If it's self-funded film,tell them that - If it is a passion project...even better. What they don't need to know though are the names of all the beautiful people who already gave up their time for free and that they should somehow be 'expected' to follow .The amount of bullshit stories and promises people in post hear about possibly getting a deferred payment from distribution and dreamy plans to do the festival circuit etc etc.These things may well be true, but they deal with clients everyday who are always trying to screw them over hollow promises. Always best to keep it straight and honest. 
The simple fact of the matter is, if you have an interesting project that someone likes - and they have the time, there is a good chance people will be willing to help. Become a magnet of enthusiasm, that always attracts the best creative people for collaboration, professional or not.
All the top facilities and artists out there are always going to be busy, but sometimes they have a drop in workload or have a trainee that would benefit from having a project to refine their skills on. Sometimes the bigger post houses are quite open to that idea, if it fits into their schedule.
The best thing to do is contact and then visit a few post facilities and talk to someone face to face (post production manager or equiv). If they can't help directly, ask them for advice. It is often incredible how helpful people can be, if you ask nicely and you take donuts with you.
As the saying goes ' If you don't ask, you don't get'.
 
 

For me this point would carry a lot of weight.

So Otus line, according to Ming Thein who just spent time at Zeiss for the Milvus unveiling, is designed by the group responsible for the Master Prime
lenses.....
 
$4K looks a bargain compared to $14 or $28K for the cine lenses ... and you don't need a sherpa or four assistants to carry your gear.
 
As he points out these lenses should be viewed as lifelong acquisitions ... amortize them over 20 years ... drop a Starbuck's latte a day and they are paid for in three years each ... at the end of 20 years they will still have a value ... 
 
I have lost a lot of value over the recent years in depreciation of digital camera bodies ... almost none in decent lenses.
 
Bob

Hi everyone. I have uploaded a test sequence with shots from a indie feature I´m doing. We Shot a small scene with film because we wanted a really particular look for this par in the movie, more vintage, like memories from childhood. Se we shot on a SRII super 16mm Fuji Eterna 8673 stock. Then scanned on an Arri scanner.
I never color graded film. So wanted to hear some opinions about.
If any one have questions, please be my guest  
PASSWORD: fuji test
Also, i wanted to share the raw clip for anyone who want to give it a try. Remember its film log. compressed in DnxHd
https://mega.nz/#!hFh1hAyA!b0mxVAk1KtjL7guXYcRExBEcdTAVinaTLfMIQq5k-24 

1. Blegh. Apple people. 4K on smartphones are a thing for a while now. 'But wooohhh, it's Apple doing it now, look at this, it's amazeballs'. I mean... really?
2. Can't agree with the topic title. It's still a tiny sensor... it's still a very deep depth of field, it's still oversharpened... I thought that was a thing we're trying to avoid by shooting with cameras like the D750, to be more filmlike. The iPhone's footage is way too screamy and harsh for my taste. It lacks nuance. Besides. DYNAMIC RANGE. Man.
3. Of course 4K -> 1080p is going to look sharper/crisper than regular 1080p from a Canon/Nikon fullframe DSLR. To me though, the amount of detail in a deep depth of field shot makes things flat, I need some layering

Not a hack, just a normal spam attack from about 7 robot controlled members.
I'm clearing it up in the admin panel as we speak.

RED Raven or URSA Mini 4.6K? Which to go for if their body price is the same & you could pick either? (which they're not! URSA Mini is clearly going to be many thousands cheaper to own)
Clearly the URSA Mini comes out the winner here, as I don't think the Raven is better specced. 
URSA Mini is:
a) has 4K ProRes (Raven doesn't)
b) has XLR inputs 
c) better ergonomics
d) global shutter option
e) sensor size which is a better match for the Canon EF mount (URSA Mini is a little larger than APS-C vs GH2 sized for the Raven)
f) as well as PL/B4 (and more??) mount options available instead
g) cheaper media (and rapidly getting cheaper!! You won't see the same rate of price drops happen with RED's media)
h) I half suspect URSA Mini will have the edge over Raven in low light (though not by a huge amount,. a stop or less). I suspect dynamic range to be close too, given how RED overstates theirs. Will have to wait for each to ship however before this can be really clear which way it falls.
i) way cheaper EVF (and better too I reckon)
j) better slow motion (same fps, but Raven's is heavily compressed RedCode at 13:1 while the BMD URSA Mini can do it in uncompressed raw!)
k) better input/output options. 
l) BMD wins with the higher resolution (ironically so.... as that is RED's big obsession, resolution)
m) free copy of the industry standard DaVinci Resolve (which you'll need to purchase if you wish to colour grade Raven's footage with it)
n) and last but not least.... URSA Mini will ship earlier!! (yes, even with BMD's record of always being late)
Of course the usual caveats apply with this analysis: nobody has either of these in their hands yet, so specs analysis vs real world use might be far apart!

just to add, keep up contact with your second choice. in case the first one falls through. having a backup for each location has saved our butts quite a few times. most memorably, we were supposed to shoot on coastal bluffs in Malibu. the day before our shoot, they caught on fire. my producer was able to shift everything to the back up location in long beach and we didn't miss a beat.