Grimor

Cool ad. 

I imagine with where they're shooting that getting 100 extras is much much cheaper than doing this locally where I (or you) live. Ditto burning down that house, it's just a shack, would've been cheap. 
One of my favorites!

I really like this ad:
I'm so in love with the location, the music, the model...
Old school technique: no gimbal, no drone, no digital cinema camera. 
Just a steady, an helicopter, an Arri and Emily Didonato. 
 
 

I really like this ad:
I'm so in love with the location, the music, the model...
Old school technique: no gimbal, no drone, no digital cinema camera. 
Just a steady, an helicopter, an Arri and Emily Didonato. 
 
 

I just picked a mixpre 3 II. Thanks to @IronFilm

If you want "all the colour" with no transform, then with DNG's you can select "Blackmagic Design Film" for gamut/colour space (Colour Science Version/Gen 1) and as mentioned that is sensor space with no transform, only what you select for gamma. So it's the colour as the camera has captured it (I say camera rather than sensor since there are no doubt corrections applied before encoding the raw data). As I also mentioned though, this is not suitable for display and the expectation is you will transform it/grade it for monitoring purposes. I believe Digital Bolex recommended this workflow and then provided a LUT to transform from sensor to 709 for their camera back when they were still around. You will still be able to "view" the colour unmodified from the camera though. I'm just stressing (for the benefit of others) that the colour from a digital camera in it's native sensor space is not intended to be displayed this way, so you can't (shouldn't) really judge "hues, saturation", etc.

Some manufacturers like us (and many others) design a "working space" that is generally larger than 709/P3 and ideally a better starting place to manually grade from than sensor space but also not intended for final display. AFAIK Sigma has not done that so your options are either native sensor space or another documented colour space.
I probably wouldn't say "scaling" myself, but yes Resolve will do a standard transform from (sensor to) XYZ to Rec.709 or P3. It's not clipped on the output of this step though so you can still recover data. This is what you would expect to happen if selecting 709 or P3 in the RAW tab.
I'm assuming you are compensating for the change in 709/P3 on the display side here, but whether or not you'll see the differences you're expecting will be influenced all the way from the sensor response and what they do in camera, to right at the end on the display side and how well you can display P3 versus 709.
I work in the camera team (different country to where the Resolve team are based) so my knowledge of the inner workings have come via discussions with them so I don't know 100% either as the code isn't visible to me, but we do develop Blackmagic RAW and the SDK in the camera team (Resolve uses the SDK almost the same as any 3rd party app does) and we share with them the camera colour science information we develop so that they can implement it into their pipelines (DNG and CST/RCM/etc). They don't need to do as much of that now though for our cameras since it's handled in the Blackmagic RAW SDK which we handle from the camera team side.

As for DNG processing, they for the most part follow the Adobe DNG spec when it comes to processing AFAIK https://www.adobe.com/content/dam/acom/en/products/photoshop/pdfs/dng_spec_1.4.0.0.pdf

You may also be interested in looking at the DNG SDK if you can understand code as that will give you an even more clearer idea of how DNG's are/should be interpreted.
https://www.adobe.com/support/downloads/dng/dng_sdk.html

I've asked myself the same question - it seems that there are just more DigiPrimes made in the first place, but that is anecdotal, I do not have numbers to prove it,  just experience.  I thinking is the rental houses bought the DigiPrimes and DigiZooms and maybe Zeiss was first to market, but who knows...
 
At the moment, a DigiZoom 6-24 for $1,565.99 and $1,650.00 on ebay are hard to beat.  For about half the money the Canon HJ11x4.7B KLL-SC $749 and CANON HJ21x7.5B-III KLL-SC $775 on ebay are also good deals if they are in good condition.  They are kind of like the a DigiZoom set but by Canon and are not constant aperture, they are slightly slower to begin with and are (alittle?) softer than the DigiZooms. The Canons are each comparatively longer, however. The Canon 11x4.7 is a nice size, not too big, not too heavy. The 21x7.5B is large and heavy in comparison,  but a very long range zoom: 21x. There is also the Fujinon HAc15x7.3 $2500, which is currently not cheap on ebay right now but they come up from time to time for less.  This is a 15x constant aperture fast zoom lens with great resolution, little breathing, good illumination from edge to edge and a contrast level that is just right IMHO.   It's great for live events and with nice bokeh at the long end. It is not for everything, as it is not wide enough to cover all situations, and it is too heavy to run and gun. The Canon 21x7.5 and DigiZoom 17-112 will also throw the background out of focus at the long end.  There is also the Fujinon HAc13x4.5 4.5-59mm $899 on ebay. It's faster, longer, wider, has more contrast and is more resolved than the Canon 11x4.7, but the comparatively lower amount of geometric distortion and the lower amount breathing of the Canon makes you have to choose based on your priorities.
So there you have it, the 3 wide and long lenses sets (Fujinon also makes an 18x but it is not constant aperture so I prefer the 15x) from Zeiss, Canon, and Fujinon.  The clear winner is many of these lenses for under a grand or less if you have a compatible optical adapter and/or camera.
 
I don't do a lot of stopping down, but when I have, I preferred the DigiPrimes wide open or almost wide open,  as I like slightly less contrast and I think it is slightly softer as well, wide open, which hasn't bothered me.  So I can't confirm or deny the color shift based on aperture changes with the DigiPrimes. I can confirm an increase in contrast when stopping down with the DigiPrimes.

Quick overview of recommendations (very partial list! Just three for each) for anybody looking for low budget audio gear / videographer / cameraman grade etc gear:

Wireless:
Sony UWP-D21 (or previous generation UWP-D11), Deity Connect Wireless, or secondhand Lectro 200 or 400 series. 

Hypercardioid mics for indoors:
Oktava MK-012, Audix SCX1-HC, Audio Technica AT4053B

Shotguns for outdoors:
Rode NTG3, Deity S Mic 2, Rode NTG5
 
This is the kind of gear which would be excellent for a videographer / cameraman, so audio isn't at all their primary focus, but now and then they sometimes "have to" do audio, and this will still give them acceptable results if used well. 

Or for student filmmakers, or broke/hobbyist indie filmmakers, or an aspiring semi pro just starting out, this kind of gear kit would also be an excellent starting point for them as well. 

Also suitable for professional sound mixers too, excellent back up gear on the cheap, or to supplement what they've already got. 

Same here. Love your work, Seb! 

10 YEARS OF ANAMORPHIC
(2010/2020) by Seb Farges
Here is an editing of ten years of using anamorphic lens on my work.
In this movie, the anamorphic lenses are :
Baby Hypergonar 1.75x, SLR Magic focus module, Iscorama 36 non mc, Baby Isco Gottingen Anamorphot 1.5x, Bolex Moler Anamorphot 16/32 1.5x, SLR Magic Anamorphot 2x and 1.5x and Aivascope Pro 1.5x
featuring
Panasonic Lumix GH2,GH3,GH4, GH5, S1 and S1H
Olympus OM-D EM5
Sony A7, A7S II and A7R II
Primes lenses :
Nikon E Serie 50mm f1.8
LINOS Me-Vis C-mount 35mm f1.6
Konica Hexanon 40mm f1.8
voigtlander nokton 40mm 1.4 
SLR Magic 25mm f0.95
SLR Magic 50mm f0.95
Pentax-m 40mm f2.8
Hartblei Super Rotator T&S 80mm f2.8
Volna-3 80mm f2.8 medium lens Shift version
Holga plastic lens 25mm f8
and much more...

Hours and hours of diffraction.

Home made yesterday with my children and in one room. 

I did some flash triggering of things dropping into a water tank some years ago. Candles work pretty well for that.
Had optic trigger and an old HP signal/trigger generator to adjust timing. Camera was Hasselblad something with digital back.
And before you consider doing it in the living room let me tell you that bathroom is the better alternative.

High-speed photography is a fun and easy experiment. A few years ago I took photos in a dark room, in which within a long exposure (say 2 seconds) the camera flash towards a very short exposure (1sec / 35,000). Everything with cheap and homemade materials (based on arduino). In the end I achieved my purpose of stopping a bullet in the air.
 


(Both balloons are in the first moment of their explosion)

nice work... grimor must be the cop with the head cam on the right 😀

Home made yesterday with my children and in one room. 

Nice!!!
My wife and son were in Malaga last summer. They liked it a lot. They said they really like the "Tour Bus" that takes you around town. 

Home made yesterday with my children and in one room. 

Home made yesterday with my children and in one room. 

Home made yesterday with my children and in one room. 

Home made yesterday with my children and in one room. 

Alright, people, here is my take.
Shot all by myself since no-one was keen to help me.
) :
Lighting was quite simple, I only used already existing fixtures and modified them with some tape / baking paper to add warmth.
X-T3 , Helios and DIY anamorphic.
 

be aware you would then owe grimor a favor 😲

I have to say that this is one of the most cynical and opportunistic threads that I've ever seen on here and I find it morally ambiguous at best.
I will of course be checking it regularly to observe the level of decline in public spirit during these dark days so if any of you ghouls see a Leica X Vario in reasonable condition anywhere around or below £500 during these repugnant trawls please make sure you post it here