Zak Forsman

full time freelance editor here. I bounce around at a couple different companies whose clients are the major studios. for example, I cut this piece for the mummy.
the pay is great, frankly. i have been doing this sort of work for about ten years. I have also directed two features. the most recent was distributed internationally by paramount three years ago and we're still seeing good money from it. I don't spend more than I can afford on cameras and lenses, but am fortunate to be in a pretty good financial situation. No debt at all. My wife and I do not have kids. She also happens to be a film editor so she has an appreciation for my gear lust. But yeah, short version is that I work professionally editing and directing, and some of that income supports my personal collection of camera bodies, lenses, and support gear that i use more for fun, personal side projects that keep me sane.

full time freelance editor here. I bounce around at a couple different companies whose clients are the major studios. for example, I cut this piece for the mummy.
the pay is great, frankly. i have been doing this sort of work for about ten years. I have also directed two features. the most recent was distributed internationally by paramount three years ago and we're still seeing good money from it. I don't spend more than I can afford on cameras and lenses, but am fortunate to be in a pretty good financial situation. No debt at all. My wife and I do not have kids. She also happens to be a film editor so she has an appreciation for my gear lust. But yeah, short version is that I work professionally editing and directing, and some of that income supports my personal collection of camera bodies, lenses, and support gear that i use more for fun, personal side projects that keep me sane.

full time freelance editor here. I bounce around at a couple different companies whose clients are the major studios. for example, I cut this piece for the mummy.
the pay is great, frankly. i have been doing this sort of work for about ten years. I have also directed two features. the most recent was distributed internationally by paramount three years ago and we're still seeing good money from it. I don't spend more than I can afford on cameras and lenses, but am fortunate to be in a pretty good financial situation. No debt at all. My wife and I do not have kids. She also happens to be a film editor so she has an appreciation for my gear lust. But yeah, short version is that I work professionally editing and directing, and some of that income supports my personal collection of camera bodies, lenses, and support gear that i use more for fun, personal side projects that keep me sane.

Sure. For me, it's not just the wider field of view -- it's the compressed spatial and defocus qualities of relatively longer focal lengths married to a wider field of view that really revs my engine. 

Shot some this evening. 5D mk3, Contax Zeiss 50mm with oval aperture mod.
 

The stabilized/moving sensor on the GH5 may be an issue with the BMD speedbooster. The XL is not a problem, though it does  a bit of vignetting with some S35 lenses....still well worth getting rid of in post, for the extra 1/3 stop faster and slightly smaller crop factor.

BTW -
GH5 native support is NOW in Davinci Resolve Studio 12.5.6 !
BOTH .mov and .mp4 C24K 10bit 4.2.2 works in windoze!
YEY!
D/L it now.

Sure. For me, it's not just the wider field of view -- it's the compressed spatial and defocus qualities of relatively longer focal lengths married to a wider field of view that really revs my engine. 

Assuming you mean 5D Mkiii?...if yes, I can reply with what I've personally found so far. Other shooters here no doubt have more insight.
 
Depends on resolution settings and detail of scene being recorded. On the most recent high resolution crop mode build -the clever MLV lite compression will adjust data rate to squeeze as much record time out as possible, but if your scene has high amount of detail - it can spike the data rate and restrict duration of record time. Lexar or Komputerbay CF cards are most commonly used, 1000x or 1066x Komputerbay cards have never personally let me down and are pretty cheap. I can shoot up to 3.5k continuous (scene detail and aspect ratio dependent) on Komputerbay cards. Shorter record durations are possible at higher resolutions.
1080p raw is pretty bulletproof on the 5Diii and is the easiest to shoot with, it is the higher resolutions that always have the quirks or limitations. That is to be expected when you realize what the camera is doing to enable raw video recording (that canon never intended to be made possible).
It can be made very easy if using MLVFS workflow. Basically it acts as a virtual drive to convert the MLV files into .dng files that can be registered to have a Resolve compatible header to the files...no transcodes needed. Search MLVFS in the ML forum for instructions to setup and run. MLV Dump also works great, very simple operation to 'virtually' convert MLV files to .dng. There are many software options for both PC and Mac to process or view the camera files...people seem to have different workflows tips and tricks that also are evolving with the firmware.
Short answer is no. You can get a lower res, choppy frame rate playback with the non-crop 3.5/4k ML builds. The most recent high resolution builds have live view seriously choked or purposely broken (when in crop mode), so as to enable enough processing power to be freed up to the camera for the higher resolution recording (from my understanding). If shooting 1080p raw, you can also shoot .h264 proxy file at the same time, then select the proxy (as normal) for realtime playback. This is a good option for confidence or client playback as well as a backup if shooting an interview for example. The audio from the .h264 can also be useful as scratch sound to help sync the raw video to a separate sound recording.
Yes. On 5Diii you can monitor a 'mirrored' live view display from the camera, or HDMI output will act as separate monitor feed (clean). The options depend on the two different builds of ML firmware you can choose to run. With the new high resolution crop mode, I personally use 123 build, that allows me to use rear camera lcd live view as the framing reference (non real-time liveview)...and the HDMI feed to my monitor will display a zoomed in (but real-time) preview - this gives a nice punch in view to use for focus. It's a quirky workaround, but can be made to work quite well.
Lots of Gotchas...and part of the fun is to work them out, or creatively work around them.
Developments and tweaks are continuously being made to the ML firmware builds, so what could be an issue today, may have a solution tomorrow. If you can code, you can become a developer to get a feature tested, approved and the committed into a working build for others to test and use. It is a cool community of people that have managed to make great things come out of canon DSLR's.
To use ML and get the most out of it, there is some research and reading of the ML website/forum required....that is not necessarily for everyone. It depends on how much time you can afford to spend. The ML builds and forum developed workflows are so much more refined than a few years ago, so it is very accessible to those who are willing to work with something that does not necessarily come 'ready to run' out of the box. Any detailed questions are best searched on the ML forum, virtually EVERY question has already been asked and answered there, as well as detailed explanations as to how to get your camera up and running pretty quickly.
http://www.magiclantern.fm/forum/

this looks great. wanted to share something I learned to do in resolve. see at the far left and right of your image the blue/red chromatic aberration along hard lines of dark and light? I get that with my Kowa B&H anamorphic too. but in resolve, if you split your image into red, blue and green channels, you can apply slightly different horizontal scaling to the red and blue channels to eliminate the aberration completely. it also sharpens things up a tad. and you'll get to experience the same, very satisfying, feeling I get everyone time I apply this fix.  

You could use this epoxy : LOCTITE M-31CL from Henkel. It is good for glass applications, is clear and not very viscous (great for not having bubbles). I used it once to bond ceramic to glass for a very specific application and it is great. Just be careful to let it sit for at least 2h (as Glass/Glass adhesion is critical) and use the proper mixing nozzle. I don't know how it affects optical performance for sure though but is is very, very clear. You can try and contact them, they usually have good advices to give.

Am still working on my film and still loving the results. Here's a screengrab from my shoot yesterday. I just threw a LUT on there, to get it into Rec709. I'm sure the final look will be different and more refined...
 

However I do have a question for some of the ML Raw veterans out there... I tend to shoot a lot of silhouettes, and I am finding it tough exposing for them. The Raw histogram is telling me it is overexposed when the sun is in the shot, so when I close the Iris to get me some sun stars, even though it is still showing as over exposed, I am getting a crap ton of noise. I know @squig ends up with some dark footage, any ideas?
Also any new news in 3K/4K Raw?

Polyester style glues/ resins take a long time to off gass...I would also stay away from any Polyurethanes...5 or 10 min Epoxy resins or any cure time epoxy will be best...they will also bond best with both metals and glass or plastics....if you glue to plastic,a small trial test where it does not matter may be in order...for example Styrene in Polyester resin eats some plastics...lastly once the Epoxy reaches it's designated cure time, it turns completely inert...no off gassing once cured...I would choose between 5 or 10 min Epoxy depending on how much time you need to do the work....the mixture is somewhat forgiving too...more or less 50:50...but it will cure if you're off...it just varies the cure time.

Well, I just used it inside a cheap junker lens. We'll see what happens,  

Did some digging on the optical cement front. Here's a list of all the adhesives offered by Summer's Optical, along with a brief description to go with each. Any further questions I'm sure could be answered by their customer service department. I'm guessing our best options would be F-65, UV-69, or HS-2.
http://www.optical-cement.com/cements/products.html#anchor720308

Not a quick answer, but found these:
 
 
http://www.eoshd.com/comments/topic/6344-learning-to-repair-lenses/
http://www.skgrimes.com/library/old-news/old-lenses-can-be-restored-by-re-cementing
http://forum.mflenses.com/equipment-care-and-repairs-f6.html
 
https://www.optical-cement.com/cements/cements/uv.html
 

Would also love an answer on what adhesives are safe for use on lenses...that's an expensive mistake to make.

yeah, they all do. tiffen black satin has an unusual shape. distractingly so. shaped like little cowboy hats if i recall correctly. so i returned it. in wanting to introduce halation and lowered contrast, I've switched to vintage glass instead of filtration. this is why i'm so happy with the Dog Shidt Optiks set I purchased. Here is a video from Bob Gundu that shows the halation you get using these. I think it's perfect.
 

They drove right by my neighborhood along Beverly Blvd (keep an eye out for El Coyote on the left). Also their new campaign slogan, "$8K for 8-bit" is not very compelling.

They drove right by my neighborhood along Beverly Blvd (keep an eye out for El Coyote on the left). Also their new campaign slogan, "$8K for 8-bit" is not very compelling.

They drove right by my neighborhood along Beverly Blvd (keep an eye out for El Coyote on the left). Also their new campaign slogan, "$8K for 8-bit" is not very compelling.

They drove right by my neighborhood along Beverly Blvd (keep an eye out for El Coyote on the left). Also their new campaign slogan, "$8K for 8-bit" is not very compelling.

I just listened to an hour long podcast with the DP of Fargo season 3. I've been really digging the look of the season. He gave some insight to his color profile, so I decided to make a LUT for V Log L based off of Fargo Season 3. By no means is it perfect but have fun: https://www.dropbox.com/s/gtpwt6gxczfnyrf/FargoSeason3VLogL.cube?dl=0

I've been searching for Varicam vs C300 comparison videos to get a sample of how the EVA1 and C200 might compare. Will say this. *IF* Panasonic can pack the EVA1 with their Varicam color science, and maintain 14 or 15 stops of DR, I'd choose that over the C200. Like Mercer, I love shooting RAW, but I'm fortunate that I've got an Odyssey 7Q+ already and am sure that with Mitch Gross involved, Convergent Design is one of the first companies that will have an update to capture the EVA1's RAW output. But more important than that to me are color and dynamic range, and I'm keeping my fingers firmly crossed that Panasonic will deliver.
 
 

I was pretty excited that the C200 was offering compressed RAW, 15 stops of DR, and solid color science. buuuut there are a lot of compelling specs in the EVA -- 240fps in 2K, even in short bursts, would be fun to have. If they can truly attain Varicam color and 14+ stops of DR, i might be tempted. But I worry that 400mbps won't be enough. That's half what 10 bit ProRes 422 HQ would be at DCI 4K. 
Anyone know the crop factor for the Varicam line? I know, I know, screw crop factor. I only ask because I want to calculate the widest taking lens I can use with my anamorphic set. Canon Super35 is 1.6x. Not sure about Panny. 1.5x maybe?