Spgreen65

Very much enjoyed the look of the Canon CN-Es (same glass as the Ls with better QC, coatings, and housings) on Helium for a recent short I gaffed. Attempted a more raw, naturalistic feeling look than I generally do, and I'm pretty happy with the results. Grabs are from ungraded Rec.709 proxies.
 

Nice job man, I also did a 1 minute short but didn't get it finished in time. 
I liked the shots of the dude sharpening the axe.

@Sage, here i bring some stills to share.
Daylight interior. With a grade and without, raw shot in Cine-D.

Feel free to experiment!

A few test shots from a recent location scout. I've been using my Canon 28mm f/1.8 lens a lot lately. It is just so versatile. I originally thought it would be too wide for my tastes as I usually prefer the 35mm-60mm focal lengths, but the ability to get a shallow depth, close up or a fairly, wide establishing shot has been great.

I don’t have a vid example but this was taken with my g85 and an Oly 17mm 1.8.

Heck if you want a pocket camera than just buy the original BMPCC and put a Panny 20mm f1.7 on it and be happy. Doesn't get much better than that output wise. And a Bunch of batteries in the pocket on the other side! Bliss on the cheap. And damn near Arri output.
I know it is not fast enough for you but that Olympus M.ZUIKO Pro 12-40mm F2.8 is going to be pretty hard to beat if you want something that is top end stuff, well built, and can be a beast on a normal m4/3 camera down the road with the AF ability and the Clutch in it..
That is the same lens Blackmagic had on Every 4K BMPCC I saw in the videos. They must know something we don't. ?

Lil spot for a FIFA tournament we have at work every year. Shot in 4hrs, edit/grade/audio in about 8hrs. Since everyone here loves tech, it was shot with FS7, 35mm+100mm Lomo anamorphics, Easyrig.
And a longer commercial for a modular house construction company that went along with a less-corporate look'n'feel with poetry as VO (in Swedish, though. Sorry non-Scandinavians) rather than corporate mumbojumbo
Shot on FS7 in FS-RAW, Cooke S2/S3 Panchros, combination of dolly moves and Easyrig stuff. Gaffer mostly used M18 and accented with smth like an Aladdin Flexlite on a boompole with a pancake for diffusion. 
https://vimeo.com/247948695 (embed turned off apparently and I'm on my private phone so not logged in to fix it)
Cheerios!

Here is my entry, amateur shooter:
 

I recently shot a very short film in Chinatown (Chicago). I decided to use the GH5s for discreet purposes. All natural lighting. Zeiss 50mm Master Anamorphic. 3200 ISO VLog L.
 
https://imgur.com/a/FTy8OtI
 

If you have $99 to spare I highly suggest watching Ron Howard's Masterclass. He has a few dedicated sections on blocking. It's invaluable if you ask me.

And here's some quick footage from this afternoon, shot with the Fuji 12.5mm and bmpcc. Seeing how the lens looks with a grainy doc style.

Toss up, between Blade Runner and Shape,  but I would go with Shape,  it is just beautiful. 

Because XL is for full frame lenses and will get you closest to the original fov. 

With that much money in glass why cheap on out the adapter? Just get the speed booster XL and be done with it.

Looks like the Moon Dog Labs lens.

Thanks! Think 1950s sci fi B movie by way of the Coen Bros.

Kidzrevil:  what Voigtlander 28 is that? the Color Skopar, Ultron, or?

Thank you. 
 
PS: Because of you I have purchased a few of the different varietys of Satin, Black Satin and Pro Mist filters. I dig your stuff!

Thanks Luke! 

Marty, what movie is that from? Joan of Arc?

You really need to start reading people's posts properly & perhaps between the lines a little.
Some of us actually have genuine experience filming for proper production companies & have learnt a lot over the years.
I'll repeat myself, Zebras should not be completely trusted & I wouldn't ever advocate someone using them at 100% - i've been filming for 15 odd years & I still don't put them at 100%. And we aren't allergic to scopes etc...it's just that sometimes you do need to trust yourself, rather than a computer, which might not always be right. In all frankness, a light meter is the way to go - always has been, always will be.
Oh, and you can only properly use or get good results using ETTR with RAW! Not going to change my experience/opinion on this.
Also, if people cared about image quality, why are there so many high profile TV dramas & Films that are loaded with Moire/Aliasing?
And don't get me started on the Soft image vs. the Super Sharp.....
Sound & Image are completely different animals - please don't confuse the two or use one as an example for the other.
Amazon & Netfilx are really shaping up to producing some great content - watched OJKA last night & it was amazing (on Netflix now!).
Good Grief, sometimes its like slamming your head in the fridge door & realising you should be using the oven.....

I think you need to reread my post without a pair of defensive glasses on. I have not pigeon-holed anybody nor anything else that makes me look silly.

I just added a couple of thoughts to what could be a meaningful discussion about the problem all people that hang out here, including nerds like myself, face.
We risk the chance to be "home blind" and forget about the real people out there, you know the audience, the non nerds... They are at the end of the day our bosses. What they like goes.
But to answer your questions, yes they do, its starting to drift a little. But that's normal with any trend.
If we look at the last 20 years so what you call "heavy-handed grading, blurry images, harsh lighting and distracting out of focus backgrounds" have been considered "professional" looking.

That's merely because the real non nerd people haven't been able to get those looks with their own equipment. Its been unobtainable and different = professional an likable.
When they hire someone to shoot video they want something different than what they can get them self.
Before it was easy. Just use a tripod and good audio and you kicked their ass.

Today the world is different. Everyone and their cat has a tripod or stabilized lens. A large sensor and a decent mic.
So today we must once again look at what we can offer to our clients and audience.
But there are of course a few things that never go out of style. Story, good music, great acting, good exposure and to some degree contrast.
People seem to enjoy contrast.
But please note that I haven't even commented on the video at hand nor the response to it.
I just commented that contrast isn't always a bad thing and shadows can be both crushed or not and still look good.

Why do you think every new camera that's ever been mentioned on this forum gets a dedicated thread with people bashing the crushed shadows.
Just to a make a new thread a few weeks later celebrating the shadow detail?
Its not because Panasony doesn't know that "nerds" like raised shadows. Its because they know that the big chunk of non nerds out their like it their way.
And they are more important.
 

- Every movement shot was done using a gimbal (besides the drone shots)
- I pulled focus on camera(the Zhiyun crane is pretty sturdy, lol)
- That was shot on a kitchen table with green fabric as well as on the kitchen floor
- Using the integrated lut, exposed until skintones looked good (most of the shots are slightly underexposed)
- I only like the easy operation. The codec is terrible and you can either decide between way too oversharpened or blurred footage. Color science using D-Log isn't bad though...

Shot on the GH5 in 3 days. A concept trailer done having a zero budget for our upcoming first feature film.
I really like what I can squeeze out of the internal 10 bit V-Log footage. DR, lowlight and colors are really good.
Everything was shot with sharpening and nr set to -5 and a Tiffen Black Pro Mist filter applied in front of the lens (12-35mm 2.8 V1, 20mm 1.7, 42.5mm 1.7) to make it smoother. Colorgrading done in Davinci Resolve. Drone shots by the DJI Mavic (the internal sharpening is hideous tbh...).