Zach Goodwin

Nope, he looks English to me.

Oh Zach... xD

Great to see your journey is coming along so nicely! You've worked wonders with that G6, Tepui Dream came out great!
Nice clever motion and lighting in some of that shots. Works nicely. I'm personally just not sure about the 'mood'. It seems very cold, desaturated, modern and real, which probably has a big deal to do with the lighting situation in the garage. But I'd probably think it would've come out a bit nicer with a warm nostalgic tone too it, especially since it's classic cars. I'd try to spark the imagination and mood a little more. For me, now, it's a little emotionless. Have you tried dialing out the blues with a hint of yellow and exeggerating the reds a bit more? Of course it's all a matter of taste and perhaps this is tweaked to perform best on the display that is going to be on the stand. But to give you an idea, this is kinda what I mean:

versus

See the difference?

So I really didn't think I'd end up keeping this camera, especially as it is 1799 euros body only(!!) for just 1080p and no articulated screen.
BUT this camera is a lesson to all the others...
1. May seem like a small thing to start but it has the BEST menus I have ever used, end of story. Properly organised. Not too long. Snappy to navigate. It is amazing how many other cameras get this wrong, even Canon which have too many sub-sections / tabs. Then there's a nice big MY menu at the end of the new Fujifilm main menu so you barely have to dig into the other tabs at all. It is such a nice improvement on the previous Fuji cameras. During a shoot the menus can make or break a camera. Ask any FS7 owner
2. COLOUR and CODEC and DETAIL - it excels at each. The images have an electricity to them, super alive. On most cameras, even with H.265 on the NX1, the codec always pays lipservice to the blacks. Whenever you bring them up they are a mess of banding, compression, blocking. The X Pro 2 codec handles like the D750, super clean in the shadows and LOTS of detail. You can bring so much out of the blacks even when they are crushed in-camera when using Velvia - which by the way, is giving me the most satisfying out of camera non-graded non-fussed with colour yet.
3. SMOOTH editing, and 60p for slow mo. With 4K i have come to miss my render-less timeline, snappy editing and 60p with small file sizes. The only 4K 60p DSLR is $6k and 800Mbit. Hmm - no thank you.
4. SOUL. It has as much soul as a Leica but is far cheaper and with a much more versatile feature set and viewfinder. The EVF is super sharp and you don't even have to magnify focus half the time, just go off the EVF or the back screen. Both are superb. To shoot with it is a pleasure. The water sealed body, the build quality, the twin memory card slots, the reassuringly photographic clunk of the mechanical shutter, which by the way is much quieter than a DSLR but no less beefy, the retro good looks - SUPERB looking camera body - it all adds up to something you just want to pick up over anything else. Makes the GH4 and NX1 feel like boring utility tools.
5. It is FAST and the LENSES are lovely. AF and general speed of operation is a big improvement from the X Pro 1. Then there's the lenses 35mm F2.0 WR, small and affordable. 56mm F1.2, creamy like a Noctilux. I also love the 18-55mm F2.8-4 zoom, it is small and well above average for an APS-C zoom of this kind, 35mm F1.4 is slower to focus and has no OIS but it is a lovely piece of glass, 23mm F1.4 also a stunner.
OK, I wish it had zero moire, I wish it had 4K and I'd love an articulated screen.
And yes... This is designed purely as a purist photographer's Leica-style rangefinder, what the hell am I doing shooting video with it?
Because it FEELS so good to do so and it LOOKS so nice when I playback the results afterwards.
Two things that are so important - the feel of holding the damn thing and the feel you get from the colour and details afterwards. Vibrant and alive, the whole experience.
Sony, Canon, Panasonic experience dull by comparison.
They really need to take a hint from Fujifilm.

Yeah, BMMCC, more like they Better Make Me Cameras, C'mon!

I paid $0 for it, cant beat that profit margin

One of the guys behind the looks in Instagram has released a set of LUTs.
Whats great, and also bad, its that they are quick drag-n-drops for Rec709. So little to no adjustment needed. As you can imagine the "vintage" is strong with these. But there are some modern looks as well.
I count at least 5, flipping through them, that will give a very nice base for a modern non vintage and non stualized look (only used one of them in the video, couldn't help myself, went for the Insta Look  ).
I just played around with them a little today. So don't take it as "finished looks" but more what base for tweaking they would give you.
Some bars and grain and possibly a vignette would probably really make it true "Instagram", but I didn't do it this time,
I plan on using them on NX500 footage which I almost exclusively shoot in standard PP and full auto.
For Log I will stick to my regular grading. (even though Log to Rec709 Luts are included.
BTW: Last time I did this, some where upset so I say it again to clarify. These are LUTs, they are ment to be tweaked. They aren't a quick fix for everything.
The reason I didn't last time, nor this time, tweak to much is because then the viewer will have no idea what part of the grade the LUT stood for.
 
 

There has to be a catch...

Great to hear!
OT: Did you know that the new Samsung Galaxy S7 line features liquid cooling? http://www.phonearena.com/news/First-Galaxy-S7-teardown-reveals-the-liquid-cooling-system_id78671
That's the kind of stuff they need to put in digital cameras too!

I'm finally working on a short. It's a sequel to my 2012 short "The Ballad of Crazy Pete":
Shot on the bmpcc. 

No one cares, but here's a new teaser:
 
I wrapped the film yesterday. I got some good stuff. The rough cut is all done. I'm waiting to hear back from the composer of the first film.

wait, what's this?!?!?

Thanks for giving the lut/grading info you had.   I have yet to see any films shot on digital cameras replicate the look from some of the classic mid 80's to late 90's films.  Extremely smooth highlights, pinkish Caucasian skintones, neutral, well lit look with natural looking saturated colors, plenty of detail/texture, yet soft/smooth, with beautiful grain to top it off. 
  Also, have you watched your cult leaders new release?
 

Here it is!
We recorded hdmi 8-bit 4:2:2 out of it and went to the odyssey
 
 
skin tones overall are nice!  and stabilization is amazing.
 The camera was interesting to use - especially considering that it's a 200 ASA camera and has moire and dynamic range challenges - sometimes this is interesting to have to maximize something with limitations. It's difficult, but I guess it disciplines you.

Easy.
5D Mk II or III with a 50mm lens. Or a 7D / 60d / one of the rebels, they all have similar IQ anyway.
Damn I'm good.

Don't post his videos and give him views, that's what he's looking for.

Tried to capture the essence of the fun, up-tempo and a bit melancholy synth-pop of the 80'ies. The decade I loved so much. I made this with a lot of old gear for the music. As for image I used only a Sony A6000 with the kit-lens and the 55mm 1.8. Some of the shots are also the iPhone 6 with a 4K hack. Most of the shots with that worked ok, but it's not 100% stable.
 

Hey guys! Is anyone here knowledgeable about the Olympus OM lens lineup? I'm looking to put together a budget set, but what little information I can find is vague and, in some cases, contradictory. 
Thanks in advance for any help.

glad you're happy with your purchase zach. filters just aren't for me. many affect the bokeh in a way i don't like, and many introduce green reflections that I *really* don't like. so I decided to pursue lenses that basically have the look I want built in.

there's still time its not Jan 2017 yet

The DXmk2 is a dream camera for a breaking news videojournalist like me. Weather sealed and robust as a tank with 4K, 120fps 2K and Dual Pixel AF, it's perfect for shooting riots, sports or any action scenario where a C300mk2 would be too big and obtrusive. With custom picture profiles I don't think CLOG would be missed. But deciding not to include focus peak, when we've been using it in the 5Dmk2/3 for almost three years thanks to the Magic Lantern team, can only be described as one of the biggest GREEDY and I-don't-give-a-f*ck-about-my-customers movements in the history of the camera industry. The could make the best camera in the market for the same money, but they want you to buy 2 cameras or spend more than twice the money in a C300mk2.

Looks like a nice camera for stills.

Tiffen HDTV/FX 1/2 58mm - EUR 11.32 (+ UK shipping c. EUR 9.99; AVIDES, via Amazon.de): http://www.amazon.de/Tiffen-Filter-58MM-HDTV-FILTER/dp/B001U8888M/ref=sr_1_69?ie=UTF8&qid=1454358161&sr=8-69&keywords=tiffen+filter+58mm

What made you lean more toward the 5D in the first place? What type of stuff do you shoot? What's your working style? Do you need the option of fast turnaround? How much are you willing to invest in SD/CF/HD space? Do you have a pre-existing lens collection, or are you starting from scratch? Is low size/weight important to you? Do you have experience with color correction? Are you interested in buying more than one for multi-cam shoots? Do you usually nail your exposure, or need more latitude to fix it in grading? Which camera's footage appeals to you more? Is a camera crash once in a while okay, or do you need 100% reliability? 

My short film - Chatterhead! Please share!! Thank you guys so much for your feedback - let me know what you think.
 
 
Shot on the F65.
Super easy to bring into resolve.