kaylee

Interesting camera.... If the Raven has an interchangeable lens mount, I'd stick with that... 
Gotta laugh at the "obsolescence obsolete" tag red stand by.
In the time the c300 got a mk II... Scarlet has gone mx > dragon > W (with Raven in the mix too).

The benefit of a FF-APS-c speed booster is a lot greater since the availability of fast and wide lenses for FF is pretty good.  
In medium format terms your point is very valid though since there are still limitations on how you could go about trying to replicate a 150/2.8 for medium format, when using a FF lens.  on paper you;d need a 105/2 lens for full frame in order to match a MF 150/2.8 and this 0.7x focal reducer (assuming the focal reducer is actually delivering good performance).  HOWEVER, you'd actually need a 105/1.4, stopped down to f2 in order to obtain both the dof/fov ratio as well as the image quality you can obtain from the 150/2.8 MF lens wide open.  There are NO 135mm format lenses that will replicate the balance of IQ and dof/fov that is achieved by a 150/2.8 on medium format.
The OTUS line of lenses somewhat bridge the gap.  The new 28/1.4 at f2 on FF will likely outdo my Schneider SA 40/3.5 on 645 in terms of resolution, while providing similar fov/dof.    But at £3000 per lens they become less viable.  You can get 3 of the schneider 40/3.5's for the price on a single otus.  This brings an interesting point, in that if you look at the optical diagrams of the otus lenses they are infact not that far removed from a high end MF lens with a focal reducer stuck on the back.  
 
 
Since OTUS lenses are the only real option for wide open shooting with superb IQ on FF, these would be the closest direct comparison against high end lenses on medium format.
 
OTUS 28mm at f2 on the A7Rii will probably be a close match to a 40/3.5 wide open on a 6x4.5 frame of portra400, drum scanned. 
 
if this focal reducer squeezes the image onto a smaller frame transparently then in some cases and with the best medium format lenses bought at good prices you'll have a poor mans OTUS.   
 

 
 
 
 

please share your results~! i wish more ppl were shooting video with the 5dsr. i want to see more from it

lmao p much
the true horror of this whole thing is that ppl buy tvs with this motion smoothing/hfr bullshit turned on, and they never know to turn it off, and so they get used to it, and then when I turn it off for them theyre like 'No we liked it better the other way'

My 5dsr will be here tomorrow - I am going to test this as well.  Hopefully I'll have the same results; I will be using the Sigma 50 art stopped way down (F/5.6 - F/8)

I don't know if anyone is still interested in this but I printed a collection of 12 images in 17x11" and the images look gorgeous. The sharpness and detail is so crisp and nice and when I had a small showing of the images to some photographers they said they were really impressed these images coming from 2Mpix files.
 
All I did before printing (after initial color correcting) was to resize the images 200% in ACR. Again, if someone is interested I can take some pics and upload of some of the printed images.

tbh i was gonna make an analogy about jarred land and david miscavige but i decided not to

andrew i agree with the premise of your article: this idea of stills/video "convergence" is just hot bullshit. marketing bullshit.
ykno.... some say that "COLOR" was actually a pretty sexy marketing term back in the 20th century.......
> fun story about "Ks"
when ppl come in my office for the first time, and i know them to be somewhat knowledgable about video, my new thing is to have then sit down to watch "SOME 4K VIDEO ON MY NEW TV!"
i dim the lights and play some clips. i point out the detail... "Do you see all this? Its so clear!" ppl are always amazed
then i tell them that what i said originally was a little misleading... theyre watching 4k video on my 1080p plasma
their reaction is always the same...... a gradual, creeping, soul enveloping confusion

i agree!
i find this to be a fascinating example for several reasons; not the least of which is that the recoloring of this comic, The Killing Joke (1988), was done in 2008 by Brian Bolland, the extremely talented man who did the pencils in the first place – the guy who drew it~!
hes no amateur, but he missed the boat here didnt he?
to approach this as a black and white page, like a coloring book, i feel that its a natural first instinct to start coloring things the colors that they are, as seen on the right above and below. but our job is to do more with color... like....... an artist lol
here, commissioner jim gordon is being driven to insanity by the joker. on the left we see what he feels. the page on the right is clearly unemotional and anemic in comparison

now, again, this is a metaphor in more ways than one when it comes to filmmaking, but its a literal point in terms of two dimensional representational imagery

OH MY GOD
*vintage* jarred/jim right there

You won the bet. 11 pages right now, and no hint of skepticism. A lot of brave loyality. And a stern warning for the haters:

It's unlikely I know, but I suspect this was shot by a time-traveling music video director from the eighties.

What the fuck was that bullshit?
I thought it was going to be an actual short film.  Why does an arbitrary video of nothing have a name?
It looks like a perfume advert that is too long and was thrown out for being too cleche.
As for the look of the footage. Ok, nothing spelbinding. A bit videoey in certain shots.

i agree!
i find this to be a fascinating example for several reasons; not the least of which is that the recoloring of this comic, The Killing Joke (1988), was done in 2008 by Brian Bolland, the extremely talented man who did the pencils in the first place – the guy who drew it~!
hes no amateur, but he missed the boat here didnt he?
to approach this as a black and white page, like a coloring book, i feel that its a natural first instinct to start coloring things the colors that they are, as seen on the right above and below. but our job is to do more with color... like....... an artist lol
here, commissioner jim gordon is being driven to insanity by the joker. on the left we see what he feels. the page on the right is clearly unemotional and anemic in comparison

now, again, this is a metaphor in more ways than one when it comes to filmmaking, but its a literal point in terms of two dimensional representational imagery

i agree!
i find this to be a fascinating example for several reasons; not the least of which is that the recoloring of this comic, The Killing Joke (1988), was done in 2008 by Brian Bolland, the extremely talented man who did the pencils in the first place – the guy who drew it~!
hes no amateur, but he missed the boat here didnt he?
to approach this as a black and white page, like a coloring book, i feel that its a natural first instinct to start coloring things the colors that they are, as seen on the right above and below. but our job is to do more with color... like....... an artist lol
here, commissioner jim gordon is being driven to insanity by the joker. on the left we see what he feels. the page on the right is clearly unemotional and anemic in comparison

now, again, this is a metaphor in more ways than one when it comes to filmmaking, but its a literal point in terms of two dimensional representational imagery

fascinating
i did this, and i gotta say, i found the look of the show – including all aspects of art direction which appear on screen – to be completely forgettable and boring
i watched several different clips from season one and two and my general critique is that color and lighting are not being used dramatically in terms of storytelling in a lot of the shots
dont get me wrong, its clearly technically sound, but its boring
but boring in a very pretty, attractive way, which forces you to look at it more than through it – like a window. and this is a disconnect in terms of immersion and suspension of disbelief – storytelling
in general it also looks too much like crappy-poo reality, which we all know too well
so my assessment is that you would like this show more if color was used in a more meaningful way
let me blow your mind with an analogy:

which is better? why? more here
 

fascinating
i did this, and i gotta say, i found the look of the show – including all aspects of art direction which appear on screen – to be completely forgettable and boring
i watched several different clips from season one and two and my general critique is that color and lighting are not being used dramatically in terms of storytelling in a lot of the shots
dont get me wrong, its clearly technically sound, but its boring
but boring in a very pretty, attractive way, which forces you to look at it more than through it – like a window. and this is a disconnect in terms of immersion and suspension of disbelief – storytelling
in general it also looks too much like crappy-poo reality, which we all know too well
so my assessment is that you would like this show more if color was used in a more meaningful way
let me blow your mind with an analogy:

which is better? why? more here
 

Great example, Kaylee. I haven't seen a side by side like this before. I've seen recoloured single frames from films, but a single frame from a film means very little when you don't have the context of the story.
The left hand side, definitely, because instantly in that first frame I was on edge because of the red, which I should be because this is a dangerous scene. Also in the first frame the whole background is washed out in red. The red is the element of contention, but also the red turns the human in a cage into an inactive background object, better highlighting the joker as the subject. On the right hand side there is almost too much detail about the cage (because of the colour) and your focus is torn; is joker talking to the guy in the cage or what? Is he going to raise his head? No, he's not, he's beaten, he's defeated. The colour in the left better communicates this.
Also the last frame. In the right hand image the splash under Joker and the coke can pull the eye away from what's important. They are great details to set the environment, but the colour on the left turns them into background objects leaving your subconscious to pick up the details while your eye is drawn to what it should be. Also the colour adds ferocity and more movement to the frame.

fascinating
i did this, and i gotta say, i found the look of the show – including all aspects of art direction which appear on screen – to be completely forgettable and boring
i watched several different clips from season one and two and my general critique is that color and lighting are not being used dramatically in terms of storytelling in a lot of the shots
dont get me wrong, its clearly technically sound, but its boring
but boring in a very pretty, attractive way, which forces you to look at it more than through it – like a window. and this is a disconnect in terms of immersion and suspension of disbelief – storytelling
in general it also looks too much like crappy-poo reality, which we all know too well
so my assessment is that you would like this show more if color was used in a more meaningful way
let me blow your mind with an analogy:

which is better? why? more here
 

fascinating
i did this, and i gotta say, i found the look of the show – including all aspects of art direction which appear on screen – to be completely forgettable and boring
i watched several different clips from season one and two and my general critique is that color and lighting are not being used dramatically in terms of storytelling in a lot of the shots
dont get me wrong, its clearly technically sound, but its boring
but boring in a very pretty, attractive way, which forces you to look at it more than through it – like a window. and this is a disconnect in terms of immersion and suspension of disbelief – storytelling
in general it also looks too much like crappy-poo reality, which we all know too well
so my assessment is that you would like this show more if color was used in a more meaningful way
let me blow your mind with an analogy:

which is better? why? more here
 

fascinating
i did this, and i gotta say, i found the look of the show – including all aspects of art direction which appear on screen – to be completely forgettable and boring
i watched several different clips from season one and two and my general critique is that color and lighting are not being used dramatically in terms of storytelling in a lot of the shots
dont get me wrong, its clearly technically sound, but its boring
but boring in a very pretty, attractive way, which forces you to look at it more than through it – like a window. and this is a disconnect in terms of immersion and suspension of disbelief – storytelling
in general it also looks too much like crappy-poo reality, which we all know too well
so my assessment is that you would like this show more if color was used in a more meaningful way
let me blow your mind with an analogy:

which is better? why? more here
 

This camera needs light. I mean, A LOT of light in Slog2. The RX10 II only does Slog well if it's very, very bright. And I AM CRAZY!!! 
I don't regret it at all.
I took a massive risk filming the video with a new, untested camera. The great thing was, we only had 6 hours to shoot it and the camera versatility really helped. 
On further projects, I got detached from the camera as I couldn't get the aesthetic I wanted (sterile lens and small sensor). Went back to the GH3 and the image + adapted FD lens is superior to the RX10 II (non-technical, just how it feels). 
Got rid of both my GH3's and RX10 II's and now have the A7S II. The A7R II is now on the way (multi-cam purposes). Not had enough time with the A7S II but impressed so far. 
All in all, you can make professional video quite easily with the RX10 II. It just comes down to what you want as an artist. Unfortunately, the camera was the wrong paintbrush for me. Although it will be right for some! 

Re: BMPCC low-light performance, let's break it down this way.

The Pocket's native ISO is 800. Using a Speed Booster, you gain 1 2/3 stops of light, effectively bringing that native ISO up to 2500. 

Since most of the Pocket's DR lies in the shadows, it can easily be pushed 2-3 stops in post with acceptable results. (Ctrl+F "underexposure." https://www.hurlbutvisuals.com/blog/2014/06/director-of-photography-blackmagic-cinema-camera/)

Therefore, using the same full frame lenses, you can shoot the Pocket at an effective 10,000-20,000 ISO with acceptable results--the same or better than the A7S in S16 mode, according to Ebrahim--but with the added benefits of 10-bit 4:2:2 and RAW.

I don't claim the Pocket is the best low-light camera out there, but it's much more competitive than sensor size snobs would have you believe.

With fast primes and a Speed Booster, the BMMCC should perform like a champ in most any environment. 

Second Quick Test ECyclops 20x20 inches "sensor" size digital motion camera.
Sony A7S + Shogun Capture Camera1942 Epidiascope Zenith Optical Co. Tessar 616mm f6 (wide open) -4 elements in 3 groups, bakelite lens body-2x 6 tube Kino + 1x 1K FresnelSlightly grading."One-person film crew", with makeup and costumes that assisted the model.  

Adobe Premiere Pro CC was updated today to support H.265 files  I imported several NX1 H.265 clips directly into Premiere and they play and edit beautifully without any glitches or lag.  I even tried multiple transitions and LUTs on my clips and it slowed it down a little, but still no problem editing.
I have a Windows 10 PC, I7-4770K, 16GB ram, GTX970 4GB, separate SSD system, work and render drives.
Adobe After Effects and Media Encoder were also updated to support H.265.
Thank you and great job Adobe!