tupp

Looks like its real and will be shipping at the end of June and at $249 its cheaper than I expected it to be.
I'm disappointed they haven't actually shown it working stacked with their E to Leica M AF adapter but they do say in the comments of the video that it does work, albeit a bit slower obviously.
They haven't answered the question someone has posed about it working stacked with the Sigma MC11 which would give EF compatibility as well so thats one to keep an eye on.
As I've no real interest in buying new Z lenses, I've been waiting on this as it makes the Z6 a whole lot more interesting to me as its now adaptable to have full F, EF, E compatibility as well as AF for manual focus lenses.
As does the tumbling price of the camera itself !
http://techartpro.com/product/techart-sony-e-nikon-z-autofocus-adapter-tze-01/
 

There's probably never been a better time to do it, because now you can get almost every piece of equipment to run on batteries.  @tupp was right about gases and stuff, which is a really huge deal if you're trying to run a generator down there, but hello 2019 and its cheap LED lights and affordable high-ISO see-in-the-dark cameras!
That leaves dealing with the authorities and working out what they will or won't do.  It might be a good idea to ask around who has done such things before, as it's possible that they really don't like people making scary cave movies because they think it will scare tourists away, or maybe they like scary cave movies because scary movies are popular and people will come to the caves for excitement or whatever, you never know.
I saw a great film once about homeless people living in a subway station and they got permission from (IIRC) the polish rail department to film there with the criteria that the final film must begin with a statement from the rail people, so it did.  The first 3 minutes of the film was a portly gentleman from the rail department reading a statement about how the rail department wants to reassure the public that homeless people don't live in the subway and that it's clean and everyone should use it and that they are proud to support the arts, all while looking like he's completely terrified to be on camera.  It was great!  Can't remember the name of the film, but it was a first feature and it was really good, so if someone can remember then please let us know  

There is/was an ML version for EOSM firmware 2.0.3.  ML developer Daniel Fort has a 2.0.3 ML version from January 2017 on his bitbucket download page (scroll down to "magiclantern-Nightly.2017Jan13.EOSM203.zip"),
 
 
Here is Daniel Fort's tutorial on how to downgrade Canon firmware.  It is fairly easy, once you have the firmware (.fir) file -- just reflash the firmware the same way you would flash ML (except the SD card should not have the "boot flag" enabled).
 
Always make sure that your battery is fully charged before you attempt a firmware update.
 
 
Canon doesn't seem to have the EOSM 2.0.2 firmware posted for download, but it is available on this page.  Scroll down to the firmware download link near the bottom of the page (it's not the "ksd291a_installer.zip" file near the top of the page).
 
In Daniel Fort's firmware downgrade tutorial, he seems to suggest that it is very unlikely that someone would/could tamper with compressed Canon firmware files (.fir).
 
 
 

Might be worthwhile to attempt to find some other solution.
 
Wonder if these would work at £48.00:

@ZEEK
Thank you for the beautiful, informative videos and for the luts!  It is very helpful when you include detailed settings with each video for ML and for the MLV app.
 
Please keep up the good work!

Love what you’re doing with the EOS-M, zeek! The Milvus/Samyang comparison was great. I look forward to your BMPCC videos!!

Thanks, Mercer, the Eos m raw can really shine if the RAW is manipulated properly, i'm still learning anyway. I'm really impressed with the bmpcc original as well. The proress HQ looks very close to RAW, and the RAW, when upscaled to 4K resolution in Davinci Resolve, looks quite close to the BMPCC 4K. Cheers! 
 

No heavy crop at all! The crop I believe is the typical canon EOS M crop x1.61. My Sigma 18-35mm looks really wide and with a Viltrox 0.71x speed booster, I can use between 24-35mm F1.2.

Metabones didn't invent focalreducers.

Yup, that is part of what I meant by "best bang for you buck!"

Okay, but real tungsten has a smoother spectral curve than fake tungsten.
 
 
I seem to recall hearing that some folks were buying off-brand replacement bulbs and double-ended bulbs for hardware store, quartz work lights.  They were putting these sub par bulbs into production fixtures with double-ended sockets (Totas, Nook lights, various zip lights, Colortran Multis, etc.), and the bulbs were slightly shorter than the standard bulbs.  Perhaps someone in your organization purchased a batch of such bulbs, and that is what caused the buzzing/arcing on multiple fixtures.
 
I have never seen such problems, but I have always used brand-name bulbs in my fixtures.
 
 
What?  No.
 
As I said above, a popped quartz bulb has nothing to do with the fixture -- someone likely touched the bulb without cleaning it, or the bulb could have been defective.  Don't blame the Totas.
 
 
No.  If anything, it's another strike against the relatively pathetic output and power density of LED fixtures.  The tungsten Totas are fine.
 
Actually, the LED Tota is probably also fine -- it just gives less output (and is undoubtedly more expensive) than a tungsten Tota.

I've honestly liked the look from decent LEDs as much or better than tungstens in my uses.
Yeah, it's bizarre. I did equipment checkout for a few semesters, and I had an entire shelf of totas with problems. Maybe someone before me had methodically ruined each one? That and the exploding one really put me off totas.
Oh wow, that's disappointing. Another strike for totas, I guess.

Yes.  Always use protective screens with open-faced tungsten fixtures, regardless of the level of the crew's experience.  Most manufacturers will give you a protective screen for free if you don't have one.
 
 
Well, you definitely do not want students (nor inexperienced crew) handling your cheap, delicate, re-branded LED fixtures -- they will break something on such fixtures at some point.
 
In general, non-pros handling professional equipment should be very careful, and you have to clearly and emphatically warn such folks of any potential hazards or equipment vulnerability.  I never had a problem with students ruining bulbs by touching them -- I simply don't let them install nor handle bulbs.
 
 
Well, LEDs generally don't provide the punch nor control nor clean color that tungsten fixtures give -- so there is a trade-off.  Also, LEDs generally have more weight-per-footcandle (especially if one is toting batteries)
 
Furthermore, on cold sets or on locations with plenty of AC, any heat from the lights is often not a problem (sometimes it's a benefit).
 
 
Oh.  Well, you wrote, "totas," a plural tense indicating that someone inexperienced installed multiple bulbs.  If several bulbs pop, it's probably because a clueless person used their bare hands to lamp the fixtures  -- popping bulbs have nothing to do with the fixtures themselves.
 
 
Really?  2-3?  I have never had one Tota (nor any other tungsten fixture) "buzz," "spark" nor "short."  I have experienced sockets go bad from someone who didn't fully seat the bulb.
 
If there is contact arcing on a Tota double ended bulb, it is easy to see merely by removing the bulb.
 
 
It looked like it had the output of a 300w tungsten bulb.

...and if you are using equipment that students have touched, assume the worst and never use one without a protective screen. This is the main reasons I use LED lights: if you are working with inexperienced crew on a no budget set, LEDs won't burn anyone or explode. Or cook the room.
To be fair, though, I only ever had one tota bulb explode on me. I used 2-3 different totas with electrical problems, shorting, buzzing loudly, or sparking. I never had any issues with other Lowel lights, just the totas.
Like, half as bright, or like 500w equivalent? If you got any sense from what you've seen so far.

Are you shooting your interviews in outhouses?
 
 
With tungsten, you also get a smoother color spectrum, greater beam control and a higher power density.
 
 
I saw it at NAB.  I doesn't look as bright as Tota with a 750w bulb.
 
 
Here's a tip:  never touch the glass part of a quartz bulb, because the oils from your skin will cause it to eventually pop (explode).
 
Always use a clean paper towel to hold the bulb when lamping a fixture.  Don't use a facial tissue -- it can be impregnated with moisturizing oils.
 
If you accidentally touch the glass part of a quartz bulb, do not turn it on until you have first cleaned it with a new paper towel and isopropyl alcohol.

So looking for some help getting my first lighting kit. It will mainly be for 2 point interview set-ups but it might be used for general fill or broll lighting. I was originally looking at the aputure tri8c but it's $670 CAD vs the h672w at $281 CAD. I was also looking at the ls 120d ii but it's $1k plus softbox and fresnel. I wanted to start out under $1k CAD and go from there. I should probably look at lights other than aputure but the amount of lights is overwhelming. I'm not very knowledgeable about lights so any recommendations are welcome. 

Thanks for the help! I really appreciate the input
@Zach Goodwin2I was aiming for under $750 USD or $1000 CAD
@tupp I like that idea, but I was thinking going with one capable of being battery powered would give me greater versatility. (I sometimes shoot in buildings without electricity or places that aren't near an outlet) I'll have to look into that option more though and maybe consider powered ones in the future? 

With a tight budget then you'll get your best bang for your buck by buying 2ndhand tungsten lights. 

They get hot though 

Here's a used tungsten kit with a decent sized Rifa and a small Pro light for US$425.  It also comes with a 40-degree egg crate for the Rifa.  This kit is a good deal and that Rifa with the egg crate is great for interviews.
 
It would would probably be a good idea to add  a "medium-sized" focus-able light, such as an Omni (here's a beat-up one for US$32).  An extra stand for this light will probably run US$30-US$100.
 

Let's hope that the big tube structure on the front is removable and can be replaced with sane (much shallower) mounts.

That's the full post. I don't think they've said anything about frame rates on the F6 or F8 yet. The S6 does 6k60 at 2.4:1, and 6k30 at open gate 6244 x 4168.
I find the F6 to look like the best value. It's not as big a jump in price over the S6 as the latter is over the normal E2. If you want a speed booster with a locking EF mount on the S6 (assuming they do actually make a M43 mount), then the price is pretty similar overall. Of course, if you have a lot of S35 or APS-C glass then the S6 looks like a killer option. $4k is a little steep compared to the XT3 to me.

It's been available in photoshop for ages so not really a surprise it's made it's way to motion images.

I've done one or two car rigs.  Which camera are you using?
 
You probably don't wan't to use a gimbal if you are mounting the camera on the picture car -- the car will bounce and turn while the gimbal will have a tendency to remain still.
 
There was a thread about car rigging last year.
 
Hood mounting can be easy, using just a board with some padding/thick fabric underneath and a motorcycle strap or ratchet strap.  You can use a bracket mounted to the board that receives a tripod head or use some sort of tilting/panning mechanism with 1/4"-20 threads.  Don't forget to "safety" the camera with a separate tag line/strap.
 
If you want to mount a camera on the side of the car there is a special bracket called a "hostess tray" -- a term derived from the American drive-in diner food trays that the skating hostesses would hook to the customer's car door.  Don't forget to "safety" the camera with a separate tag line/strap.
 
Suction cups can wobble and should always be used with an additional safety strap (which can also help stabilize the suction cup rig).
 
There are a few tricks to keep reflections off of the windows.
 
If you are shooting a car in which an actor is actually driving, avoid busy streets!  An actor is constantly trying to be the character, which can significantly distract him/her from noticing other cars, pedestrians and road hazards.  Having a "spotter" car ahead of the picture car can provide extra safety and can govern the speed.  Slow speeds often look faster in the footage.