Cosimo murgolo

Hans and Rich,
So interesting that you picked up on the weight. That has always been a huge part of this whole DSLR takeover for me. Adding weight makes SUCH a difference. Thanks for all of the compliments! Stoked on what I'm getting out of it. Being in New Mexico definitely has its pluses. 

Great stuff Jesse!
If I did not know different, I'd be assuming this was shot on 50 and 80mm Lomo Anamorphic.
Also agree with Rich - rig weight is such a great thing as it translates into a more filmic aesthetic. No wobbly headache inducing microshake Cmount baby anamorphot here!

looks like 'Real anamorphic'.  Like real lenses shotting on 4 perf 35mm film.  the locations are wonderful.  And the weight of the entire rig appears to be translating into a rather solid look to the handheld shooting. 

https://www.dropbox.com/s/oa3tmrtw8d3stn6/Screen Shot 2014-12-22 at 9.43.18 PM.png?dl=0
https://www.dropbox.com/s/6v9z5z6eim4kc88/Screen Shot 2014-12-22 at 9.42.56 PM.png?dl=0
https://www.dropbox.com/s/9rcnqo8etwrcwfh/Screen Shot 2014-12-22 at 9.43.27 PM.png?dl=0
Screenshots and the video should be live below shortly.
 
 
 

just one word, ​marvelous!!!!!  it looks very cinematic, I love it.
Thanks for sharing

The Hawk in the photo it's huge and expensive, FM it's only heavy ,​ you are welcome Nahua.
 

That's my set up at the moment, I am very happy with it, I didn't get  how to calibrate the FM focus soon, but thanks to Hans and the anamorphic guys I managed to get the FM focus right.
Next I am going to try to fit the proskar and the sankor, if I can.
At the moment I didn't have time to make a video, very busy flying around, I am looking forward to play with my toy soon.
I am so excited !!!!
The combo in the photo includes schneider cinelux with lips and olympus 100mm f2.8.
http://
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Small JPEG shot. Hypergonar in the FM with a Jupiter 21M 200mm lens at f4. ISO 51200. 
https://www.dropbox.com/s/1ey6wkk3xr4qf3s/Photo Dec 20%2C 1 09 58 PM.jpg?dl=0
And the somewhat saggy rig. Need better mounting and support 
https://www.dropbox.com/s/0h7gyvsyjzfqn0q/Photo Dec 20%2C 12 48 55 PM.jpg?dl=0
taking this out to White Sands this weekend. 

Spend some good flight time from Vancouver to Brazil translating some more chapters. Two thirds done, most of my lens research done too.
Cosimo, I haven't forgotten it, just don't have time at the moment. hehehe. I'm focusing on getting this one done first, then catch up with the stuff I missed.

This is the place to gather ideas for shooting.
Gain inspiration here to go out and use all this great gear we have, and don't forget to post your results.
General discussion of the filmmaking world is also allowed here - favourite directors, writers, etc.

Sounds like the FS7 may have caught a bug from their consumer cameras.  My a7 and a6000 are very slow to start-up sometimes and do hiccup.  You might check to see if the FS7 has wireless, or apps that can be deleted.  Wireless and apss slow down the a7/a6000.
 
Oliver, did you work on this video, and if so, how did you, or the editor, get all the way through it without laughing yourself into a coma?  
 

Yes I did work on that video above. I was both the DOP and Editor for this piece - I went for a very comical, cartoony look with grunge and cheap effects to balance the tone.

I shot on the FS700 with just a Canon 24-70L 2.8. Did the job!

You are right - the shoot was hysterical in many ways. I never had a straight face. It's always like that on our sets, always really fun and humoured - none of this military shouty stuff.

The FS7 is completely different to the FS700. The FS7 is a very serious tool, built to last for years. I'll miss the FS700 but times are changin'. ;)

Great piece of filmmaking Oliver.  The girls' "porno" look detracted from the great comic ideas you put across.  I mean, if it was shot with the cast of SNL, for example (and boy could they use your talent) it would have been a huge hit.  As I have time, I will watch more!  (and I encourage all readers here at EOSHD to check out Oliver's stuff!)

updated with cine lenses and double focus! one third of the work is done. :)

some simple, but good tips for all of us.
Any other better video tutorial, please share.
Thanks!
 

This is a short fashion film that a few friends and I made recently for a graduate of the National College of Art & Design in Dublin, Ireland.
It was a non-commercial gig that we did with no money by calling in some favors. We filmed in two different locations, one in Dublin and another in Tullamore over the course of one day. A lot of the shots are available light with diff or bounce. The opening sequence in the science lab was lit with a couple of redheads and daylight. Small LED lights were used in places. It was mainly shot on Samyang Cine lenses 35mm & 85mm and a Canon 50mm f1.4.

Everything was shot raw either in 1080p 25fps or 50fps at a lower res. ProRes files were made in Resolve using the cinelog lut. The edit and grade was handled by the director. The original plan was to relink and for me to grade in Resolve but I moved to NYC recently so the director working from the ProRes files was the easiest solution.
 

 
Thanks for watching, some other stuff shot on everything from 16mm film to Red can be seen on my site: www.richardtwomey.com

This guy is shooting some really nice stuff with his A7S (not many skin tones though!):
 

 
Check out his other videos. I haven't seen any A7S footage I've liked as much as his ...

I think the most important thing coming out of this test is that if you have good actors in front of the camera it really helps draw attention away from any technical inconsistencies. 
 
Also if someone decided to make a Philip Bloom biopic - the male actor would have to get cast as the lead.  :D

Ebrahim, I would very much like to see something that you think of as largely "your" work (rather than your contribution to a larger project). So perhaps small scale stuff like wedding or beauty shots?

Sure and while you're at it, drop some videos from a GH2 here as well.
Remember this post earlier this year? http://www.eoshd.com/2014/05/kendy-ty-t2i-one-guy-amazing-things-5-year-old-dslr/
Nobody says last generation cameras immediately suck as soon as something newer comes out. They've been used to great extent for a reason.
But does it really make sense to put your money down and get that kind of camera, when there's so much else out there that's affordable and has 2014-tech? Not so sure...

I'm sure we'll see a more advanced shim system in the coming weeks. The key here is the lens has to be close enough to 71mm to fit inside the shim that is currently shipping. Like I said, I got REALLY lucky that the Hypergonar just happened to fit the shim well enough to be ghetto rigged inside the FM. I'm incredibly stoked that the Helios works with the A7s full frame with a 1.2 crop (for 2.66 cropping in post [throwing away the edges]). The combo is such a sweet spot between clinical and dreamy.

Here is an example of the cinelux es 2x running on the zeiss 85mm f1.4, wide open on full frame.  no cropping.  3:2 still from the A7r then de squeezed.  Incredible image quality.

Good Luck Robbing you might need a mask.

Another curious thing is the danger of doing more or a better job than what was asked for. When I was a student I used to make renders for some terrible Architects who had no Idea about what's important in Architectural representation. Everytime I did a better job than the shit they were asking for ,they acted like they were paying for something they hadn't ask for, even with the price agreed before the actual job (which was way too much if you compare it with today, but at that time the working generation had no idea about renders)
 
Obviously there are people who know what they are doing, so try to figure out what case it is.

That you want to "leave clients out of this" is the very reason Ebrahim's advice is SO important, and which, the sooner you begin to appreciate, the more "camera angle" issues you'll get hired to deal with.  When I hire a DP say (though in my business that person would be in the software/data business)  I trust him to do whatever camera angle he/she thinks good.  Assuming the DP is basically competent, the camera angle will be good enough for what I need.  If it's a special camera angle, called for in the script, I might not even know the right questions to ask.  This gets to the equipment issue.  Richg is right that you want good equipment, but ONLY because the client trusts you to do what's necessary.  There is no disconnect between Rich and Ebrahim.  Anyway, if my DP thinks we need a specialist I will let him hire someone.  If I want to use a $6,000 lens, the client will let me if I have his/her interests at heart.  All productions are the sum of many people, each which have ideas that would go ten times over their budget.   A lot of time and energy is spent, politically, collectively figuring who should get the budgeted time, money, etc.  When I was younger (like you?) I spent a lot of time reading/learning techniques (I still do) and felt getting to a certain level of expertise would be the key to success.  Unfortunately, what I discovered is that EVERY project is different in some small but significant way.  Every project depends on my finding a solution to a problem I didn't have before.  Styles and tastes change.  So no matter how well I might perfect a "camera angle" say, it would eventually go out of favor so I'd have to figure out something that fit the new projects.   In short, 90% of my clients use me because they trust me.  The skill they need from me I find trivial!!!!  Of course, I use the $9,000 lenses when I can, because it's important to me, and I do believe they see it, BUT ONLY AFTER I've done the 90% of the blocking and tackling.
 
Another way I might say what Ebrahim is saying is that getting the 20 minutes "in the can" with consistent quality, that meets the client's needs (which they will never be able to fully articulate) always requires a million compromises which CANNOT be saved by all the most expensive cameras and lenses on Earth!  It's not that the client won't appreciate a good lens over a bad lens, it's that the "story/message" is 90% of what they're looking at.  A $10,000 lens in the wrong lighting will NOT beat a $200 lens with the right lighting.  Like everyone else, I admire anyone who uses $10,000 lenses in the right lighting, but there is no real technique to that because lighting, as Ebrahim says IS A FUNCTION of what mood the client wants.   
 
TRUST, TRUST between you and the client is everything!  So it's more important you WORK WITH PEOPLE, than learn techniques by yourself.  Get any job you can.  Work with young people on school projects.  
 
Finally, if you want to know tips and tricks, then you need to look at that person's work and ask them how they solved a certain problem.  Or you need to ask what kind of look you want and what the person does.  There are no tricks that apply to everything...except the learn to work with people for a COMMON goal that, as jax_rox says, may not be your own.