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  1. Yes - 2K RAW on the Odyssey 7Q is best suited to slow motion, where it's the only option. You'll get a fair bit of aliasing and some softness - the mode wasn't really designed for normal capture, and sensor read out in 2K RAW mode simply isn't tuned for high detail capture. 4K RAW, on the other hand, is largely excellent. For short scenes where maximum DR is critical, 4K RAW is by far the best format. For everything else, aside from slow motion, you're likely better off exposing properly, and capturing in ProRes. Of course, be aware RAW files can be a bit of a pain to work with. In ProRes mode, you can do full 4K, or the 4K2HD mode, which debayers and down samples the 4K RAW signal on the fly, producing a considerably sharper image than the 2K output. If space is a premium, I'd recommend this mode. Otherwise, I recommend shooting in a mix of 4K ProRes, plus 4K RAW for scenes requiring extreme DR. You can use the 4K capture to create a 4K deliverable or, crop/re-frame/stabilize, then down sample to 1080p. Note that even if you shoot RAW, you'll still need to be very careful of exposure - the 7Q can show quite a bit of noise with SLOG2, so shooting in RAW doesn't mean you don't have to carefully light things. The FSRAW signal also bakes in a few details, so you'll still to properly white balance, just as you would with ProRes.
  2. FWIW, 24mm was the more common length in stills glass years ago (see Canon FD), and, I suppose, hits closer to FF 35 equivalent on a APS-C sensor than 25mm. That said, cinema glass typically includes the 25mm, rather than the 24mm (see, Xenon FFs, Zeiss Master Primes, Cooke, etc). For that matter, the 85mm is more typical in stills glass, whereas the 75mm is the more common focal length for cinema glass. Matching up to the Xenons (or Zeiss Master Primes), for example, we'd ideally want, in a six lens set: 21, 25, 35, 50, 75, 100 -- with a 135 next in line (and possibly more desirable than a 21mm for FF users). As an A7S/FS700/BM user, I can absolutely say I'd love to use the A7S with a set of well built, dedicated cinema glass (and intend to pick up a set of the Xenons - though if the SLR Magic timetable were sooner, would be very interested in those). Though the Rokinon DS's are a great value, they don't have nearly the build quality of more expensive glass. Camera bodies come and go -- lenses can last a lifetime, so paring up a long term solid, durable set of cinema lenses while swapping your camera body every few years is a sound strategy. Remember also, sensor sizes are getting larger (see Dragon 6K), so FF coverage may be very important in future proofing a set of lenses.
  3. If the sRGB color space is all you need, check out the LG 34UM95 -- it's a 3440x1440 extra wide 34" screen, covers 99% of the sRGB color space, and supports internal LUTs w/ colorimeter (i1Display Pro works fine). It's also ~10 bit color (8bit + FRC). Attaches natively to the Mac Pro via thunderbolt. At just under 1K USD, it's about the same price as the Apple Thunderbolt Display, and a far better value. The z27x is also worth considering if you don't need full 4K support: native 10-bit color, better calibrated contrast, scaled support for 4K, and more color spaces (e.g. Rec 709, Adobe RGB, DCI-P3). I've used both, and though the z27x beats out the LG panel to panel, the LG is still more than capable for editing in the sRGB space (say if your content is only going up online), and the extra width is really great, particularly for FCPX. Some users have reported some backlight bleed (I noticed a bit in the bottom corners, but nothing so bad as to interfere with editing work). I've also heard good things about the NEC PA272. Remember, though, that the Mac Pro doesn't natively support 10-bit displays under OSX -- for hyper critical color work, you'll need an adapter to sit between your Mac and monitor (e.g. Blackmagic Ultra Studio). You can, however, view 10-bit color under Windows.
  4. Zatara

    BMCC or Sony FS700

    If you use the computer, you'll be limited by your port speed (in this case, USB 2.0). If you can't snag more 7Q SSDs, or get a computer with Thunderbolt/USB3.0/eSata, you could try a stand alone drive duplicator like this: http://tinyurl.com/md2yfnu I haven't tested a duplicator with the 7Q SSDs personally, but theoretically it should work. Reviews seem to indicate most of the sub $100 duplicators can go around two to three times faster than USB 2.0. Just remember, assuming it would work, it would fully duplicate the 7Q drive, so you'd need one extra disk for every 7Q SSD you want to copy (but, these could cheaper mechanical drives or non-CD SSDs).
  5. Zatara

    BMCC or Sony FS700

    Yep, that connector should work (the CD transfer cable is basically a generic USB 3.0 to SATA connector) -- but do a test before critical transferring just to be sure! Beware, though, that transfer speeds will be slow -- you're looking at at least 4 hours to transfer EACH 512GB drive over USB 2.0. Might want to consider renting an extra set of SSDs if you'll need it! And remember, you CAN'T delete files directly off the 7Q -- you need to transfer the files then format the drives back on the 7Q, to avoid corrupting the file structure. Though, you don't need to transfer everything if you just need one take and don't need/want the rest (just copy the take you want then reformat back in the 7Q). Thunderbolt and USB 3.0 make a huge difference in throughput, but even then, remember a standard mechanical disk will slow down your transfer speeds compared to the 7Q SSDs, so for quick transfers on set, you'd want to go SSD to SSD (or RAID array, if you've got plug-in power).
  6. Zatara

    BMCC or Sony FS700

    I think I get about 10 minutes of 'actual' recording time using two 256GB SSDs. Conformed, that 10 minutes @ 240fps becomes 100 minutes of 24fps slow motion. It'll take awhile to dump all of that info via USB 2.0, so you might want to see if there's any chance of grabbing a laptop with either Thunderbolt or USB3.0 (USB 2.0 won't transfer faster than 35MB/s, though it typically won't even transfer that quickly). You'll be able to preview your slow motion footage right on the 7Q but only at 120fps speeds -- so it'll be twice as slow when viewed on a computer. You might also need two SSDS for 4K @ 60fps, but I rarely shoot in that mode, and don't remember off the top of my head. Yeah, editing directly off the DNGs is a real pain, so you'll want to convert to a more usable codec (ProRes or DNxHD) as your first step. It front loads your rendering time, but either of those codecs are far more manageable inside your NLE, and I work off the ProRes all the way through grading (you can also grade your stuff in Resolve before going exporting to ProRes, if you prefer grading before editing, though the DNGs will tax your system more than ProRes/DNxHD). That said, ideally, don't ditch the DNGs until the project is done, if you can avoid it. For the initial transcoding, you can toss a bunch of clips on one timeline in Resolve, and render them all out at once, as separate files -- that can save a bit of time. Re: the FS700 settings: Yup, stick to the 180 degree shutter rule (or as close as the camera will allow you to get), unless you're stylistically looking for something else (you can set the FS700 to show your shutter angle in degrees instead of shutter speed). Simultaneous record: You CAN'T simultaneously record slow motion on the FS700 and the 7Q (since the FS700 uses a buffer method for this). You CAN simultaneously record regular old 24fps on the 7Q and FS700. This even works in 4K2HD mode -- I always simul-record just in case! White balance: Yup, really easy to dial in manually, in 100K increments. Though note the color cast on the 7Q and FS700 screens isn't exactly the same (my 7Q screen, at least, seems a teeny bit green). Finally, froess mentions the EF adapter -- the Metabones EF Speedbooster is awesome, and I more or less only use EF glass on my FS700 (unless I need the SELP18-200 for the smooth zoom). Though not necessary, it really opens up your lens selection choices (albeit at the expense of autofocus and smooth iris changes) -- they also make Speedboosters (and regular adapters) for a variety of other mounts (Nikon, FD, etc).
  7. Right now, there aren't many outlets for 4K (case in point, I can shoot 4K with my FS700, but I don't yet have a 4K monitor!). That said, we're quickly speeding ahead to 4K adoption, so it's not a bad idea to future proof. In the short term, however, shooting 4K gives you a ton of flexibility if you're delivering at 1080p. You've got lots of extra resolution for post-stabilization, and the ability to reframe or crop your footage in post (this is great for interviews, giving you a wide and C/U for quick cut ins with just one shot/setup). The post-options alone make 4K extremely enticing, but certainly not necessary. Re: lenses -- Yes, absolutely, primes, particularly cinema quality primes, are go to lenses on 'real' sets. But, the Rokinons (while pretty awesome value, and totally worth adding a few to certain kits) aren't in the same league as the more expensive stuff, and the optical quality of zooms can be quite good (see the Sigma 18-35!!). More to the point though, if you're shooting a lot by yourself, you may not have the luxury of constantly swapping out lenses. And, if you're handholding, especially at longer focal lengths, IS is a huge, huge asset. Which is to say, if you can swing it -- and you'll be bouncing between narrative and doc-style gigs -- get both. But, the best shots are the ones you actually get, and a good zoom can make that far more possible when you're rushing around out in the field. I'd recommend having at least one good zoom in your kit (also for practicality, lugging around three to five primes simply might not be possible for certain jobs). FWIW, that all said, I've no intent to sell off my Rokinons any time soon, and I love shooting on older Canon FD primes for certain projects!
  8. Zatara

    BMCC or Sony FS700

    The FS700 + 7Q (FS7Q) is fantastic combo! Bear in mind, for 240fps slow motion, you'll need two of the Odyssey SSDs, if you shoot 120fps, you can get by with one. You'll fill up that space FAST, so either shoot judiciously, or be ready to quickly dump your footage. The RAW quality is far better than the onboard slow motion recording, however, and you're not limited to 8 or 16 seconds (for 240 or 120 fps, respectively), so the 7Q option is easily superior to the FS700 onboard slow motion. For recording, put the 7Q in FS700 RAW mode, and you'll send the RAW stream out of the FS700 to the 7Q (you can enable this via the menu on the FS700 under REC SET). You'll set the FS700 to slow motion with the S&Q mode button (either 120 or 240, depending on preference -- note you'll want to select 2K mode with the S&Q button [hit it twice], the 7Q can't yet record 4K slow mo). You can adjust what speed slow motion you want in the FS700 menu options. For your non-slow mo shots, you can use the 4K Raw to HD ProRes option, which is really fantastic, and saves a ton on space (well, compared to RAW anyway), and you don't have to worry about transcoding later. For converting your RAW over to DNxHD or ProRes (w/ Miraizon, on Windows), snag a copy of Resolve (10 or 11, both free!) and process your RAW files there. If you haven't used Resolve before, watch a quick youtube tutorial to orient yourself, but you won't need to do much to get your files ready for your NLE (set the gamma and colorspace to BMD Film, keep the white balance as shot [unless your WB was way off during recording], and bump your exposure up by ~2.0). With those settings you can either do a more fine tuned grade in Resolve, or just export to DNxHD or ProRes and do your final grade later. Just remember you're 'baking in' more info when you export, so you'll want to fix any major issues with the original RAWs before you export (e.g. white balance, exposure). I archive the DNGs until the project is done, just in case, then toss them (always saving the ProRes versions, of course). Bear in mind, though it's called 'RAW,' the FS700 files aren't as flexible as on a stills DSLR -- Sony bakes some stuff in -- so you need to get your exposure and white balance as close as possible when shooting (for exposure, use the 7Q's waveform, it's great!) Finally, the slow motion files, if not exposed with a ton of light, can get a bit noisy, but Neat Video does a great job cleaning them up, so you want to invest in that if you don't already have it. I'd stick with 24 fps if you're shooting for web (and, for that matter, if you set the FS700 to use shutter degrees, you can maintain a nice 180 degree shutter when switching back and forth between slow motion and normal speed, making your life easier). Oh, and one last point on transferring files off the 7Q -- you need to download Convergent Design app to 'reconsitute' your slow motion files, since it splits 240fps files across both drives. Just do a straight copy of each SSD to your PC and then run the app. Whatever you do, don't mess with the file structure on the SSDs, and DON'T delete anything off them via your PC -- use the 'format' function on the 7Q itself.
  9. Going all in on full rig is a super exciting prospect, but it looks a bit like you're putting the cart (...rig) before the horse. 1620 (or nearly 3K USD) is a huge amount to spend on rig before selecting your camera -- and though Lanparte makes some quality stuff, you'd do best looking at something potentially more purpose-built for the camera you choose than an 'everything-and-the-kitchen-sink' package. Plenty of other vendors make purpose built rigs for various DSLRS/Cams, or, check out places like smallrig.com for a huge array of single bits for assembling your own rig (I spent a bunch on a Movcam FS700 rig -- which is super often, and is great -- but went with mostly Smallrig parts for my BMPCC and it works just as well). Not to dissuade you from getting the Lanparte, but, you might consider kicking some of the budget over to the camera itself, lenses, or audio -- or build it up as needed (a monstrous rig can be a real pain for some shoots). If you're intent on a DSLR up to about 3k USD, it seems, at this point, either an A7S or GH4 is really what you want (low light, or 4K on-board). The E-mount coupled with APS-C mode on the A7S plus the MFT on the GH4 allow a huge array of lenses, so you could still stick with all EF-Mount Rokinons for either cam, if you so chose (and I believe all the Rokinons in that package are Full-Frame, so you could go with a simple EF to E-Mount on the A7S, no Speedbooster necessary). The A7S is full frame, and the GH4, with the right glass, can still give you a nice shallow depth of field -- or a wide one, if you need it. The A7S paired up with a Shogun down the road might make for a really formidable 4K package. Also, be careful on using solely a full Rokinon prime set -- not all of them as well regarded as others. I own the 35, 85, and 8 Cine lenses, and though they're pretty great value for the money, I don't tend to use them terribly often unless I need heavy depth of field or super low light shooting (in which case, they have been extremely useful) and virtually never if I'm running and gunning. Since it sounds like you'll be shooting a fair bit of 'mobile' projects, you'd do well to consider nabbing something like the Canon 24-105 or Tamron 24-70 (both with IS) for flexibility. With a slight bit of grading, the Rokinons mix fine with either the Canon 24-105 or Tamron 24-70. Whatever you do, if you stick with a DSLR -- get some good ND filters for your lenses. Absolutely critical for shallow depth of field. A good variable ND (ex: Heliopan) that fits your largest lens can do the job, with step up rings for your smaller lenses Stick with Zoom and pair up an H6 (or an H5 if you only need two XLR inputs) with either of the above DLSRs for mobile XLR input, plus the added benefit of a handheld recorder when needed (or get the GH4's YAGH unit if you run with an external battery rig), and, as mentioned, you'll probably want to invest in some lavs if you're a one-man band. As mentioned, DON'T rely on a single cam mounted shotgun mic -- that can work totally fine for ambient noise, but is a recipe for disaster if it's your only source for dialogue (I've been shooting a short mobile interview series as a one-man-band, and found an NTG-3 cam mounted for ambient noise, plus a Sennheiser MD46 handheld mic w/ Evo wireless works great). Finally, if you think you'll be running around shooting more doc-style work than 'studio-style' films, you might consider a C100 paired up with a Ninja Star or Ninja Blade. Though on the aging side, the C100 is still a fine bet for doc style work (and matched with an external recorded, virtually as good as the venerable C300). Having on-board ND and XLR inputs is super useful on my FS700. Also, get a light. A small, decent quality light you can toss on your camera can make a huge difference for run and gun shooting.
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