gsenroc

It's actually pretty simple to figure out why it's not able to get balanced.
Since I suspect a CoG problem in the vertical direction, you can try shifting the base plate to the front a little bit, maybe to the front end in extreme case, then point the camera upwards, and hold the tilting motor housing in its place.
Now pay attention to where the camera falls:
If the lens goes forward (tip down), adjust the slider on the tilt motor backwards when camera is pointing up If the lens goes backward (tilt up),  adjust the slider  forwards If the slider is already at the very end, then your CoG is out of range. In this case:
If the lens goes forward, you need extra weight on top of your camera If the lens goes backward, you need extra weight at the bottom of your camera If you make it balanced, then put the camera horizontal, then balance it with sliding the base plate backward.
After that you can balance the roll motor, then pan motor.
The tricky thing is, that there are two degrees of freedom for the adjustments of the tilt motor, so pay attention to which one is off and which one you're actually adjusting.

If it helps, here are the photos.
The small ball head is actually needed to shift up the CoG a little bit, otherwise the Z (vertical) adjustment will be out of range and I won't get it balanced.
A good thing about the BMMCC is that it has three 1/4" holes at the bottom, I can use two of them to align the orientation.
You don't need to adjust the settings for balancing. When it's power off, it's not doing anything, balancing is pure mechanical. If the camera can stay at any position, you're ready to turn on the crane.
 

If you want to ban someone for pointing out real log is different to your flat profile (which is really good and useful, btw)... Then ban away.... I thought you liked honesty though?

Just placed the order, I hope it'll arrive within a month 

They fucked up because Canon fails to understand that entry to medium range ($1000-$3000) camera with good video capabilities would generate some substantial sales and there is definitely a market segment here (eg GH4).  Even if this "video DSLR" market segment represents 3-5%; Is the Camera industry doing so well that they can ignore it ?
They fucked up because now this market segment is being taken by Panasonic and Sony and people who make the switch are not going to come back.
They fucked up because some conservative executives in Japan think that delivering decent video feature in DSLR/Miroless body would hurt their pro-cinema line when actually the pro do need a real pro camera with built in ND, XLR and all the pro cam features.
They fucked up to comprehend that the amateurs or video enthusiasts like me can't spend the money they don't have for an expensive Pro camera and even if I had the money I need something small capable of doing video and stills (plus having a nice full frame sensor and not S35). It has nothing to do with cannibalization, Sony does have A7 and FS line and they do just fine because they know it's two different market.
Bottom line is that I laugh at the 5D4, I pre-order the GH5 and I'm not spending a dime anymore on Canon gears. I may not be the typical core market guy for Canon but is the camera industry doing so well than they can ignore the 3-5% video/stills folks and laugh at the face of customers who invested a lot $$$ over the years ?

Zak, I've noticed that the SB lens module is actually sitting loosely in the thread, and it will shift to one side when locked with the screw. It's only a little shift, but it may cause some issues depending on the copy.

My Micro has arrived! Such a little beauty. My VS-2HD looks huge when mounted on the Micro 

I think Tokina 11-16mm F2.8 may be good solution for you. It's a s35 lens and you can use the Nikon version, adapt it to Samsung with aperture control.

I think Tokina 11-16mm F2.8 may be good solution for you. It's a s35 lens and you can use the Nikon version, adapt it to Samsung with aperture control.

I think Tokina 11-16mm F2.8 may be good solution for you. It's a s35 lens and you can use the Nikon version, adapt it to Samsung with aperture control.

I doubt many new electronic lenses will keep the value in the future but im sure manual lenses like the zeiss and leica lenses with always have their value.

Dear people.
 
Shot this musicvideo for a friend when is was in US. 
Enjoy

The manual of the Cinema camera can be found via BMD's website. Just go to support and look for the download link there. I remember they call it Blackmagic Cinema Camera Manual.
Edit: just looked around and here is the link: https://www.blackmagicdesign.com/manuals/CinemaCamera/Blackmagic_Cameras_Manual.pdf

Finally completed my Voigtlander SL II Set. 20mm, 28mm, 40mm, 58mm, & 90mm. 20 is the last, while not the sharpest It has great rendering and "pop" with very little distortion on faces. 
 

I had it, and it's terrible compared to other options!! It is a smart design but poorly executed. Mine didn't flip properly (half of the time the image staid upside down) and they didn't answer to my emails. And it's really low res (I got a MustHD and the difference was huge). I would get a Aputure FineHD V2 if I was buying now, best bang for buck if you don't want a recorder and you like big monitors.
This is my setup...

Attaching the mini plate to the monitor makes the setup fast and easy and it all fits in a small cheap Amazon camera bag.

The best thing is that when you block the tripod head (Mantona 18008) that holds the monitor (MustHD) it's feels like a handle, and it's quite comfy to hold with one hand and pull focus with the other. It's like holding an inverse Bolex D16... I really like it!
All I need is a cage to protect the cameras HDMI input.

 

My Micro has arrived! Such a little beauty. My VS-2HD looks huge when mounted on the Micro 

My Micro has arrived! Such a little beauty. My VS-2HD looks huge when mounted on the Micro 

My Micro has arrived! Such a little beauty. My VS-2HD looks huge when mounted on the Micro 

Wonderful! I just ordered my Micro yesterday. Now I'm so excited.

…and after the last few major upgrades I've done, I've learned that grownups CAREFULLY SAVE THEIR PURCHASE CODES for plugins… the serial numbers or whatever, the download link, and a master list of plugins for everything, all in one place. It can be months after an upgrade and I'm mixing in protools and realize "that vintage comp emulation would be tits on this"… and it's not there… grrrr. Trying to remember to do that every time I buy something.
One thing I miss about the previous Mac Pro? All those places for hard drives. It was so easy to pop in an SSD and boot back and forth - and still have your older OS drive accessible if you needed to dig through the library or whatever.

Yeah, I make sure all my files are kept in a separate disk.
Check this out: http://www.macworld.com/article/1164891/mac-apps/keeping-mac-os-and-data-on-separate-drives.html  This is one hell of reason I like Mac OS, just like those Linux and Unix systems. Organizing files is a breeze. Actually most of the settings are still there after reinstall the OS if we do it right, saved a lot of time, and I don't need time machine any more.
I don't do upgrades anymore because it's actually quite buggy most of the time. Instead I just do a clean install. I normally spend about two hours for the install of everything and it's very easy with the above trick. Once per year for a Mac, doesn't sound too crazy, and it actually saved me quite some time from sorting out all the upgrade bugs. And sure the OS is blazing fast as it's a clean install, no matter it's Mac or Windows.

Hey guys - I haven't been here for a while so I'm not sure if the new Sigma APSC Art zoom has been discussed much yet, but I just got one yesterday and thought I'd share my first impressions.
I haven't done any technical tests but I'll start by saying my first impressions are it's a superb piece of glass with the superb sharpness (even wide open), character and build quality that you've come to expect from the Art line. 
However there are a few things those of you interested in adding it to your kit might like to be aware of - especially if you're thinking of it as a companion to the now classic 18-35mm 1.8.
1. It's HEAVY, and pretty big. The 18-35mm feels like a modest MFT lens next to it! It's not exceptionally long but it's got a lot more heft to it and is quite front heavy, meaning it's probably a bit unweildy on a hybrid camera. On my C100 Mark II it's OK to hand hold, but only just.
2. Focus breathing is EXTREME. Personally this isn't a big problem for me but it does impose a certain style on your focus pulls, so if you don't like that look take note. It's going to take a bit of getting used to for me.
3. While the 18-35mm has minimal focus breathing it is not parfocal, which can be annoying at times. The 50-100mm however appears to be parfocal (or at least very close to it). I don't know if trading breathing for focus consistency was an intentional choice by Sigma, but it is another difference to the wider zoom.
4. I read somewhere that it was effectively as quiet when autofocusing as an STM lens. This is not the case at all - not with my copy anyway. It's at least as noisy as the 18-35. Of course this is only really an issue if you're using it on a Canon DAF camera or a6300.
The 18-35mm has been my go-to lens on my BMPCC and GH4 (with their respective speedboosters) for a while now. The relatively compact size of the lens was a big part of this. Now I use a C100 size is not such an issue, but if you're hoping the 50-100 will make a great partner for the 18-35 on a smaller camera as a full walk-around "prime" kit, you may be disappointed. It's so heavy in fact that Sigma's included lens case comes with a shoulder strap! Even on the C100 I'm going to be using it on a tripod most of the time, as the longer, front-heavy focal length makes footage pretty shaky. Of course the flipside of this is that the extra weight helps with reducing micro jitters and with a bit of practice focusing and holding it, it may be useable handheld. 
I'm happily holding on to the lens because the image quality is superb, it's made really nicely and the convenience of having prime image quality (minus the breathing) in two modestly sized zooms is invaluable for my work. In most cases I'll be using the 50-100mm as a portrait lens for interviews, so in general it will be on sticks and this negates the weight issue. It's by no means so huge and heavy I don't want to put it in my kit bag. 
If you want to keep your kit small and think you'll get by with one or two fixed focal length lenses and value compactness and ease of handling, I'd weigh up the pro's of sticking to primes before shelling out $1000 for the 50-100mm.
 

It looks they will announce the camera first with some specs, and opens the preorder for it, doesn't sound too crazy, but indeed shady.
I'm curious to see what they will bring out.

Yep, I got the email too. 
Curious to see what new players come up with, although their very secretive and vague approach is a bit odd. Maybe they haven't got the patent for the technology and need to protect it, who knows. 
The camera announcement of the year has to be the Kinefinity Terra so far. I hope this Craft Camera sends a few waves too! 

People are getting huffy about Kinefinity not being on the approved ProRes license list and are using that fact as a club to knock anyone who praises the company and their cameras. I think.

If I had the capital, I'd plunk down for one of these today. Looks like an amazing package, and the image off the 6K Kinefinity sensor is just beautiful.