JazzBox

message me if you want to know what bits you will need for each rig - I presume you have gone for the nikon 2.8 zooms

Sorry, but what are the crop factors?
 

I use Gini Rigs parts to custom make my rigs - they are suppling all the rigs for my new Movie Pandora
based around the 5D MK111 CAGE ..   WWW.GINIRIGS.NET  but with a Panny in it on a quick release plate inside the cage
Tiffen NDs are the Best 
I use Chrosziel matte boxes

Maybe you can try here
http://cvp.com/index.php?t=product/blackmagic_bmd-hyperd-avidas5hd_video_assist
or here
http://www.marcotec-shop.de/en/products/cat_611/detail_7390.htm

Sure, where you in Italy, or am I mistaken? If so... I always check http://geizhals.eu for availlability throughout the EU.
From what I've gathered they only get a handful of units in every once and again and Blackmagic doesn't give them any heads-up, it just shows up... (or doesn't). So, best to (pre-)order it somewhere, like CVP, and hope that they'll get some in sometime soon and there's not a whole lot of people in front of you who reserved one...
I was particularly interested in the same combo as well. Were two decent topics on the BMD Video Assist and Micro Cinema Camera around here somewhere. I was wishing some company would come up with something that would allow a little something like this:

As I found this seeming a little awkward to use like that:

There's some signs of life, but I haven't heard or seen anything when it will actually be availlable to go and pick up. I guess it's Blackmagic after all. They've been doing this for some years now though, you'd expect them to have their shit together by now. The button says 'Shipping in February'... but it has said other things before, so who knows...

You need to build rigs to support long lenses then they work fine , I have rigs to use them on tripods and totally different rigs to use them hand held on shoulder rigs , and they all have rods and lens supports to stop this movement jitters , some long lenses like the Nikon 80-200 I use as lot only work on rigs there is no way you can hold this lens just in you hands and shoot at 200mm .

Ugly, ugly post. Here's a clean table:

The more I watch it, the more I really love the overall style and color! Great!

Huge thanks Andy!!

that piece I don't know what Paul did.
In general I use gorilla grain, low level and about 60 percent opacity.
I have started to upload to vimeo with pro res LT so it's not h.264 getting recompressed as h.264.
seems to work better.

The Nikon zooms and Zeiss primes are very similar in sharpness both makes are very very good the way they differ slightly is the zeiss are warmer have more saturation and more contrast -the classic Zeiss look with strong deep blacks , the Nikon's are less contrast not as solid crushed blacks and less saturation , so both do a great job just slightly different ways they  render light , now I don't think one is better than the other just use full tools to get the job done , the Nikon zooms on set are quicker to use as there is no changing lenses to change focal length , the Zeiss do have a 'pop' look  to them that I like , both are worth buying and will last forever what ever camera you use .   just adapt them
 
If you just want to buy Two lenses that cover a huge range of shots get the Nikon's , you will need to make rigs for them they are big heavy lenses that need supporting , if you like using small primes that don't need lens supports get the Zeiss

exactly , a set of matched lenses is essesntial for glass parity - thats why I champion the Nikons so much - the 20-35mm 28-70mm  and 80-200mm all match and cut together very nicely

Im using the Nikon Glass as it is all very consistant and cuts together very nicely , and I do like the look it creates , it doesn't crush the blacks like Canon lenses do , there is alot of detail in the grays too , I use the 20-35mm with a Metabones XL Speedbooster as it has the equivilant of super 35mm gate /field of view . I very rarely shoot beyond 20mm , as Im not a fan of wide lenses much , I know lot of people on here want the widest fastest lens they can get but for me its just not cinematic at all - looks like video due to such a big depth of field . I shoot on long lenses most of the time as thats my style and I prefer the look and separation you get . most of the time I shoot with strict lens decipline on set 28mm for the wides , 40mm for the mids and 70mm for close ups and 100mm for the head shots , thats it ! so I'm never really in the 20mm range much , 20mm is there on the Nikon if I need it and I always carry a 14mm and 17mm incase for extreme wides - but they dont get used much by me!
On my last film the Producer was constanly saying - 'Don't use wide lenses they look unprofessional !!'  meaning no mega deep focus !!
on the Sony Vs Panny theme , if I was filming in moonlight in a field I migh use the Sony , but the Panny is an amazing camera , I use lighting , I play in the shadows alot , thats the look I prefer ,I dont over light and the Panny works great in low light very very clean in the blacks no fizz and noise , I never go over 800 iso , 200- 800 iso is my range and I light for that - it works.
 
The G7 really does hold it own against the RED and The Alexa , its a great clean camera - and you can stream 4k to an ATOMOS NINJA ASSASSIN and record 4K ProRes at 744 mb/s - amazing !!

your XL speedbooster is an amazing essential piece of kit as it makes the 4k Panasonic cameras into very serious film making tools when paired with Nikon 2.8 Zooms ,
As I mentioned Im DOP on a British Feature film Pandora , we will be shooting this film with PANASONIC G7 4K cameras and Metabones XL Speedboosters.
We have done extensive tesing of the G7 camera in 4k 24p mode with Metabones XL Speedbooster at Media City in Salford UK with my post production house - We Create - (Rod Edney and Paul Whiting) and we have found the G7 / Metabones XL Speedbooster combination to be better in low light and less noise in the blacks than the RED 4K files we compared it against and found it also almost indistinguishable from Arri Alexa files we compared it against.
The guys at Media City where very impressed with the Metabones XL Speedbooster.  All in all we are committed to making the whole movie with Metabones XL Speedboosters on all 4 camera Rigs.
 
Brian I have just PM's you some info - thanks Andy

you will need to get permission from the publisher of the book or you will face legal action for copyright violations - contact them asn ask - get it all in writting

yes Paul is awesome - very talented guy and amazing brain on him.  He's a savant with technology and visuals - pretty unique brain in that man.

the grading was based on a fuji lut paul did in after effects.  
The lens was the olympus 9-14mm or something like that.  Pretty crappy lens, but we were forced to either use that or another zoom that was a 12-12mm or something.  With the micro 4/3 crop factor, we had to go as wide as possible.

In my humble opinion doing that it is not the best way to get a deeper sound: most of the time you have phase cancellations that give you less bass frequencies when you listen it in mono.
If adding another track - in order to have a real "double" - it is impossible, I would prefer to reamp it or to eq in some ways.
 

thanks guys - the other Olympus pieces are pretty amazing - couldn't believe the look the other filmmakers got out of that camera.
We used the 1st person rig thingy from some Sweedish person - 3rd Person View camera mount (ALL SPORTS PRO version) - it was pretty good - our thing was making it as far as we could from the person.
the other olympus video was closer.
Olympus paid paul the director to make a video - the only catch was we had to use their camera and lenses.
the idea was all his.
and funnily enough his idea was my idea at the time too - which latter became my film chatterhead - which is just the thoughts of someone walking thru the city.  I turned mine into a political piece because it was consuming me a lot at the time and i wanted to make a film for bernie.  little did I know the film would make me question him and the entire political situation.
Oh well.

the free LUT I got from iwltbap gave an effect kind of like this, couldn't remember which one it was before. didn't mess with it too much, but it was a shot with a lot of snow, and all the snow turned kind of teal. and something like skin gets a definite strong orangeish bias. might be what you'd like. don't think my footage was flat enough for me to enjoy it. changing white to that color is a very stylistic approach, not surprising it'd be tough trying to achieve

outside I use Tiffen Nds on the front so I can keep if fully wide open - its a great small lens with the Zeiss look - it has an aspheric element so is razor sharp

the Zeiss 28-70mm C/Y zoom is very sharp f3.5 and stops down to 4.5 as you zoom to 70mm , so not constant aperture BUT it is small and light so great outdoors when I dont want to use the Nikon 28-70mm which is big and heavy ,
 
stick it on a Metabones XL and Bingo this lens pops big time

I've found this very useful when I stumbled upon it one time...
He's got his info from Alexis van Hurkman, author of the Color Correction Handbook and the Color Correction Look Book: http://www.amazon.com/Alexis-Van-Hurkman/e/B001IODHRA/ .

This stands out to me as one of the best tutorials.  what he shows in this video provides the basis for just about anything else you;d want to do as far as grading is concerned.  

Zooms: the 28-85, 35-70, and 80-200 are all excellent. 35-70 is the cheapest, parfocal, constant aperture, and takes smaller filters, so it's the most popular.
Ultra Wide: There's an amazing 21mm 2.8-- the same design as the ZE/ZF2 version. It's expensive (in fact, more expensive than the newer versions) but has an aperture ring, focuses the right way, and features the older, more forgiving T* coatings. 
There's also an 18mm f/4. Not quite as sharp, but very low distortion and it won't break the bank. You'll need an adapter to put filters on it, and it's a big size. 82mm if I recall, but I'd have to double check.