Zach Goodwin

I doubt many new electronic lenses will keep the value in the future but im sure manual lenses like the zeiss and leica lenses with always have their value.

Bright Tangerine. If money isn't an issue. I've used their normal rail matteboxes, and just got the Misfit Atom for Xeen lenses. Very well made.

It just crossed my mind a few days ago that maybe I should shoot monochrome in my spare time as much as possible, so I could train myself to frame better and maybe see better compositions without the distraction of colors. Sometimes when there is some fast and spontaneus shooting involved, my mind simply blocks and I hate my average framing/composition in those scenarios, and I find myself thinking if I just had a few more seconds to let my brain to catch up. It seems to me that with b&w I could force myself to pay more attention to composition and contrast, and simply see the details that are important for my framing more clearly.
It certainly won't help over night, but I feel it could pay off in the long term.
Just a tought, what do you guys think?... and don't laugh at me you naturally gifted people 

Sure, when good is good enough for your own personal projects and travels... but on actual collaborative and paid projects it's more like...
 

And of course you want consistency, apply good practice and get the best motion picture quality...

Parts List:
4ft Fluorescent Shop Light, Ballast Included: On Sale $20 4 x T8 Bulb, 5000K, 98 CRI: On Sale $20 C-Stand: Used $100 Grip Head: Used $20 Baby Wall Plate: Used $5 Sandbag: Used $5 Total Cost: $170
By comparison, a 1 light Kino kit would cost around $1,100 sans Lamps or C-Stand.
 
Cons:
Ugly as **** Non-Dimmable (However: You can pop out lamps to have 4 levels of light.) No Barn Doors Heavy (10lb total = Fixture 8lb + Bulbs 2lb)

why else do you think every shot of him has an amber tint?

Make lenses great again!  

Let me know what you think of my reel. Thank you! Cameras used are the Canon T3i, and Samsung NX1. Everything shot in Oregon. 

DNxHD/DNxHR no question about it. Cineform YUV 10bit also works great. 
Prores is currently unsupported and should be abandoned as soon as possible. 

Plenty of useful info here too... http://www.sagindie.org There's a little misinformation in this thread, like being able to defer payment under the Ultra Low Budget Agreement. that contract requires a minimum of $125/day plus $17.3% for pension and health and you must hire a payroll service. It's the New Media agreement that allows you to negotiate payment as low as $0.

I switched from premiere to resolve when 12 came out and couldn't be happier. Great editor, powerful color tools.

In the end, its up to the person shooting. IMHO i prefer to do as much in-camera as is humanly possible - whether that be choice of lens, filters etc...
Yeah, there's always going to be a program/app that can do this or that - great marketing, gotta love it! But why not see what's available in your NLE already, because lets face it, that's what these people are using as a baseline anyways.
Testing is really the way to go - look at how most films choose their cameras.
In the end, in-camera effects were around for 100yrs before digital came along - its all been done & tested for you (there's certainly a youtube video or two, or even a Book on the subject). Paying £200, instead of doing some research & then picking up a few secondhand filters is simply pissing your money up against the wall - IMHO

i never understood the criticisms of an artist mastering the tools they use. 

Makes a lot of sense. The last part you wrote is totally true, figuring out how to achieve that, though, seems harder.
This sums up my feelings on your short:
http://www.shanesnow.com/blog/2014/9/6/why-its-hard-to-recognize-genius
 

As you guys probably already know, FilmConvert is having their annual NAB 25% off sale. That with Noam Kroll discount is a whopping 35% off regular price. I have had the trial plug in version in FCPX for about 6 months but due to my small screen, the Color Correction tool isn't easy on the eyes. And my slow computer brings FCPX to a crawl. But when I heard about the deep discount, I decided to give the Stand Alone version a try and I must say I really do enjoy it. With a neutralizing LUT applied during transcoding, I was able to bring the unedited, prores footage right into FilmConvert. With some quick and easy tweaks, I was able to get some very nice results.
This one is the ungraded 4K image, from the Panny FZ300 that I converted to 1080p prores with EditReady...

And here it is again with just a few tweaks with FilmConvert...

Anyway, I really do like the program and was wondering if other users have the Stand Alone version, or the Plug In? If you use the Stand Alone, what workflow do you use... edit in NLE... correct and grade in FilmConvert?  

Just a heads up, I purchased the pro version of Resolve to unlock the H265 editing. Unfortunately the program does not support the audio stream from the camera, so you will get great looking video, but will not get any audio on your clips!

Yeah, the ringlight is easy to find or even make cheaper...but the reflective 8x8 foot backing material is where most of that $1900 goes on.
It's a super reflective 3M scotchlite type fabric material that reflects about 95% of the light directly back to the source, so when the green or blue light from the ring light hits it - it gets re-directed back into the lens (on same axis) as a shadowless solid green or blue reflection of light, thus giving a clean key for post. you can buy scotchlite reflective fabric, but it always seems to be in smaller rolls, and not easy to patch together into a seamless background. you can also buy paint with similar properties, but needs to be thinned and sprayed properly on a flat surface.
If you got some scotchlite tape and wrapped it around a pole and swung it around, you'd have a lightsaber effect when filming it with a ring light attached to your camera lens (basically same front-projection principle of how they shot the sabres in Star Wars: A New Hope)

this is honestly a glorious clusterfuck of graphic design

An image is worth more than 1000 tutorials. I'm still in progress. Last night we spent about 4 hours playing with wires and stuff, and then. Today I kept going for more two hours and voilá! I still need to polish the edges, but it's MUCH better than my first attempt through brute force.

Every step has been properly documented and I'll still repeat the process for the last diopter, hoping to get better shots still.
Thanks Brian! I was trying to avoid resorting to expensive tools or specific services since they might not be available to everyone (if I were back in Brazil, I wouldn't be able to find a place that understood my goals, for example). Doing it with stuff that you can buy off any hardware store is more appealing to my current goals of making the knowledge and tools accessible to everyone.
That being said, I believe I would've gotten a perfect result with a saw and saved myself some jump scares, burnt wire, plastic, transformers, watching stuff glow red hot and a TON of time polishing edges. HAHAHAHA!

Wow this went off topic.....  but in an entertaining way :-)

@Jonesy Jones dude thanks for your time and effort in posting all this interesting information and feedback, its a great perspective
ill prolly never go to NAB because i hate las vegas, but id love to go, but thats kinda bullshit bc even if their show came to LA id be useless as a voice from the floor..... id just be walking around the whole time super high like "Wow..... oh man......so many Ks for so few Ks..."
 

My prediction of a custom build camera was right then. 
Reminds me of the Apertus Axiom project. Other than that, seems really cool. 
I just hope it's going to be reliable. That sensor is everything....

NO ! I'm considering reporting You ...  (Just joking !)  But take a look at my answer to Ebrahim Saadawi :

Do yo have a preference to a
certain company colour sceince?                               Not really, I was a CANON-Cam-fan and discovered the un-ergonomic C100 ...
                                                                                   Then looked at SONY VG900, X70, A7S2, FS5 and then B.M. Ursa Mini 4,6 K
                                                                                   failed the promised global shutter until RED's Raven and now i look at old REDs ...

And then take a look at my latest post :

Just a few Movies Filmed with Canon and Nikon DSLR Cameras untill 2014 ...   (by montanafilmmaker)
Black Swan (2010)   “ Canon 5D Mark II and 7D used in conjunction with 16mm film cameras. ”

Just a few Movies Filmed with Canon and Nikon DSLR Cameras untill 2014 ...   (by montanafilmmaker)
Black Swan (2010)   “ Canon 5D Mark II and 7D used in conjunction with 16mm film cameras. ”

127 Hours (2010)   “ The Canon 5D Mark II, 7D, and 1D Mark IV were all used, in addition to other cameras. ”
 
The Avengers (2012)   “ Canon 5D Mark II and 7D used as additional cameras. ”
 
End of Watch (2012)   “ Canon 5D Mark II and 7D used as additional cameras. ”

Elysium (2013)   “ Canon 5D Mark II used along with the RED Epic. ”
 
Drive (2011)   “ Canon 5D Mark II (some shots) ”

Margin Call (2011)   “ Canon 5D Mark II (driving scenes) ”

Wilfred (2011 TV Series)   “ Season 2 and onward is filmed entirely with the Nikon D800.
Cinematographer likes to use the 50mm f/1.2 AIS lens for it's extremely shallow depth of field. ”

Dexter (2006 TV Series)   “ Nikon D800 used for lots of the show. ”
 
Portlandia (2011 TV Series)   “ Canon 5D Mark II used for Season 1 and 2. ”

House (2004 TV Series)   “ Canon 5D Mark II used for Season 6 finale "Help Me". ”

ParaNorman (2012)   “ Canon 5D Mark II ”
 
Act of Valor (2012)   “ Canon 5D Mark II, 7D, and 1D Mark IV used along with other cameras. ”

Snitch (2013)   “ Canon 5D Mark II (some shots). ”
 
Red Tails (2012)   “ Canon 5D Mark II, 7D, and 1D Mark IV were the primary cameras used on the film, along with a Sony camera. ”

The Bourne Legacy (2012)   “ Canon 5D Mark II (some shots) ”

Frankenweenie (2012)   “ Canon 5D Mark II ”

Limitless (2011)   “ Canon 5D Mark II and 1D Mark IV used for some shots. ”

Thor: The Dark World (2013)   “ Canon 5D Mark II (second unit: crash camera) ”
 
We need to talk about Kevin Costner (2011)   “ Canon 5D Mark II and 35mm cameras used. ”
Come on Zach; can't You see they made that on purpose ?!?
To illustrate there's cheap low-quality Mitchell surveilance-Cameras everywhere in the dystopian future of Dredd ...
Or maybe a parallel to the gloomy, claustrophobic, polluted, rainstained image/feeling of "BladeRunner" ?
Or the handheld "reality&documentary-style-movies" like "Blair Witch Project", "Cloverfield" etc. ?

Really - You MUST be joking !  (So am I with the surveilance-Cameras above ...)
It's like when Pink Floyd did a noisy radiotuning search in the start of "Wish You were here"  So be here, tech-competitors !  ;-)

PS :   We really need some more happy emoticons in the forums toolbox  !!!

This Thai horror feature was shot a couple years ago on relatively early Magic Lantern build for 5DMkIII.
I can't really see what anybody would want more from an camera to be honest. (when lit and treated as a 'proper' production camera)