Chrisis

You need to watch both videos. This is a nice look of how it was made.
http://www.bmcuser.com/showthread.php?19548-URSA-Mini-4-6K-Commercial-with-miniature-environments-and-CG-characters

Yep, tends to be big boy stuff, and I understand it.
Funny though, the paradox is that it's *very* valuable for quick and dirty, low budget stuff, and events. The very places it's used the least is when it can help the most. A lot of times, lighting is minimal, set up time is minimal, they don't want to mess around staging stuff and repeating stuff, so you end up getting what you can get quickly and on the fly. It's very freeing to not have to worry about getting an accurate white balance while shooting. So many times I wish I could go RAW at weddings, but the storage would be horrendous. Crappy mixed lighting conditions,  quickly moving between indoors and outdoors, harsh exteriors during mid day. All sorts of things where Raw and lattitude is invaluable. 
I love only having to worry about composition, focus, lighting ratios (if controlled) and getting a fat negative. The rest is all done in post. 

Don't use them? Well, I guess it's strange that I created an official video for Blackmagic with a Windows 7 system...

I think, for the sake of absolute clarification, we need an official statement from Blackmagic on what operating-system Resolve, and Camera Utility, can run on, and if they're willing, for us self-professed system-building geeks, to explain why it cannot run on Windows 7. For the record, I have the latest Resolve (12.5.3) and Camera Utility (4.0) running perfectly on Windows 7 64bit - despite the "minimum system requirements" stating that one requires "Windows 8.1 Pro 64 bit".
Also, as I stated in my previous post, Windows 7 is by far the most widely used Windows OS - beating Windows 10 nearly 2:1, and Windows 8/8.1 by 5:1. Dropping support for Windows 7 64bit is not an intelligent move - and if anything, Blackmagic has intelligence in spades. 

From my knowledge, the base kernel of Windows 7, 8, and 10, is Windows NT, and should be able to execute, install and understand both Resolve and Camera Utility no problem.

When I was building systems and Windows 8 came out, being a closed-source OS, I, and my fellow system builders, couldn't really tear apart the OS and look at the kernel changes, however, after trialing Windows 7 against Windows 8 with a handful of system builds I did, it seemed the only raw, real-world difference I could see were that boot times seemed quicker on 8 (I'm talking a handful of seconds here, 5 to 10 seconds - at most). If I were to guess, I'd say this probably has to do with the low-level system-state - it seems Windows 8 doesn't do a cold-boot like Windows 7 does - it seems to hibernate rather than absolutely clear all cache/RAM/virtual memory. However, I am not as versed in low-level software as I am in hardware, so I may be wrong.
Anyway, I hope we get official clarification on Resolve/Camera Utility regarding Windows 7 64bit

And you're merely cherry-picking from my post. Read my whole post. I was stressing that speed and performance has more to do with hardware, and drivers written for said hardware, than with the OS. Even if I were to compare Windows 7 64bit to Windows 10 64bit, there is essentially no difference - they are both based on the hybrid Windows NT kernel (albeit with the added ability of addressing the x86-64 instruction set). I have been building very high-performance PC's, for myself and many others, for two decades now - from my experience, I find Windows 7 64bit to be far more stable and less taxing on memory.
Further, your understanding of the "industry" is incorrect - Windows 7 is, and will remain for some time, the most popular version of Windows in the world. The "industry" you mention isn't stupid - they are not going to drop support for the world's most popular and used OS, believe me. In fact, Windows 7 was so popular, and remains popular, that Microsoft had to forcibly end OEM distribution recently because people were still asking for it over Windows 10.

Regardless, Windows 7 64bit will be supported until 2020 with updates and service packs. - whether you want to believe me or not, I don't mind, but at their core, Windows 7 and 10 are essentially the same thing - they are both based on Windows NT and employ the hybrid NT kernel - minus a few GUI changes and features (such as Cortana), which digital artists don't really need at all.

Ultimately, when it comes to NLE's, and thanks to stream processing, graphics drivers from Nvidia and AMD/ATI, and the higher-bandwidth RAM they employ, are far more important than what OS they are running on.

After a while you get to see through all of that over embellishment - it's the tone of the writer that is the biggest give away.
I lost all interest in him ages ago & I do believe it was his post about using ETTR on 8-bit DSLR footage that was the final straw - everyone knows you ETTR with RAW & only RAW, shit I wouldn't do it with ProRes HQ let alone DSLR codecs. (I'll stand corrected if that post wasn't him, but I think i'm right).
It's sad really, but there are a lot of lonely people out there that need validation. However, the only problem with not telling the truth, is that you WILL slip up sooner or later.
God I miss ZACH, at least we all know where we stand with him!

Tungsten vs LED... umm, like always it depends on workflows... cableless mobility and low heat are the big ones for me (my tungsten lights are rotting in the cupboard). LED cri is up there now, and running something like an Aputure 120T on a V-lock battery makes a lot of sense to me. The days of... hiding cables/ endless sauna sessions/ wearing gloves all the time/ having someone at the fusebox/ using generators... are over, and I don't miss them at all. Higher price seems like the only true "Con" for the latest LEDs, but I think they worth every penny. That's my two cents.

This is why I like the UM46k so much. Set to Film mode with Rec 709 LUT, and shoot. It's nearly impossible to botch exposure or color. 

That film is damned talented, a great find, pressing all the right emotional buttons with just images and sound alone, no words, just really nice audio/visual poetry. Loved it.
The Digital Bolex also has one of the most 'emotional' images in the same sense... incredible colour, dynamic range and a sensor size perfectly matched to pre-1980's Super 16mm vintage lenses.
I just wish the D16 cost $999 and was available in great quantity... but that in a way is not the point of it. It is a camera that has a habit of getting into a disproportionately high number of talented hands, which means they're building a really special community around it.
Also, it's one of the few cameras you can shoot jerky handheld footage with and it still looks great, for whatever reason - the CCD and global shutter having a hand in that magic motion candace of course.

I picked mine up last week, and I've not had the chance to shoot anything worth showing, but I'm loving the form factor. I frankensteined a rig together out of bits I had thinking I would get a cage or something, but it turned out so well that I'm keeping it the way it is. 

It's basically built on a long Manfrotto plate, with a bunch of rod clamps and 1/4in screws, with a single 15mm rod that runs over the top where I mount my DP4. The DP4 has side 1/4in sockets so I've put a hot shoe screw on one side with a rubber washer which holds it in place via friction, so I can change the angle of the screen with one hand. I also broke out the soldering iron and made an expansion box with an on/off button for stop/start, and two push buttons to control other stuff (I've mapped mine to white balance and shutter angle). I've put a handle on the right hand side and it's really comfortable to use at chest level. I can also mount my Atomos Power Station to the back, which makes for a nicer balance if I'm using a heavier lens. With the Power Station you can even pop it on the shoulder... for a short time (the Power Station sits on the shoulder, there's no padding or anything but it's totally doable for a few minutes at a time).

Hopefully I can get out there this weekend and use this thing!

From today's shoot with the Micro in bright california sun. Still amazes me how much detail is retained, especially with all that white in the frame. This is for a client so I can't leave them up indefinitely, but for now...

So, no then. lol.     Thanks, that is useful information.

Blackmagic Design have announced an affordable 4K recorder and 7″ monitor. Unlike the existing solutions on the market, the View Assist 4K records to UHS-2 SD cards and costs under $1k.
Read the full blog post

thats the developmental name of RED® TOMBSTONE PILEDRIVER™® – 8K for $80k coming soon

You can buy stick-on buttons in various colours that will likely fit.  maybe look for stick on rubber feet for hi-fi furniture and the like.
http://www.ebay.co.uk/itm/16x-Round-Rubber-Foot-Self-Adhesive-Black-Feet-RF05-Size-6mm-WIDE-x-3mm-HIGH-/191688158450?hash=item2ca1812cf2:g:3i0AAOxyPc5SAhXY
 

Never use the current buy it now prices as a guide.  an auction of an F3 tends to end at half the buy it now numbers.   Mine came with a rod/riser setup, a top plate, a nikon adaptor, a 16gb sxs (over 1hrs recording of the pretty damn rugged 35mbs xdcam codec), and a sxs-sdxc adaptor, vlock battery plate, 2x sony U30 batteries.  I paid just over £1000 and looking back since a few similar setups have gone for less!  Mine was a earlier unit which was 'unlocked' with the paid firmware rather than the later units which were unlocked as standard.  If i recall there is a slight difference - the paid firmware is marginally better when it comes to external capabilities?  not 100% sure on this.
Even unrigged i can stick the F3 on my shoulder and monitor with the built in screen - which is bright and easy to view in bright conditions.    It's so lightweight, yet feels solid.  
Now the magic happens when you grab a fz to oct18 adaptor and start using the multitude of lomo lenses which are copies of early arri/zeiss s35mm format lenses and go for less than the average vintage slr lens!    
Also, from looking at the image from the F3 it appears that on paper the DR might be less than that of the A7s etc, but in reality the peaked highlight rolloff is way more filmic than the new range of dslr's that outdo it on paper.  
 

Not really. 
Some clients ask for 4K, but they just ask because it's the latest technological buzzword they see advertised. 
Slow motion gets asked for a lot, as does certain styles of lighting. 

I've been using the em100/EM5II for real estate "profile" videos.  Lots of talking heads and such.  Short shoots that last an hour or so.  I've done close to 40 of them so far.  While that real estate stuff isn't on my vimeo page, this one below is very similar in style and used the same em100/EM5II set-up:
 
I don't have the EM5II spec sheet in front of me. I don't know what Ω it prefers, but it plays nice enough with the Sennheiser.  I'm not going to say it is wonderful audio. I've got gear that does better, but it's not horrible either --and it works well enough for me to use it without any stress that it's going to fail.

Yup, its a great camera. What the critics always forgett is that the competitors cant touch it. Closest is the Sony AX100 and that has what, 0.2 backwards steps of DR?
Imo videomakers have this wierd thought that Canons products are aimed at Indy Art Videos. When its probably the last thing they care about.

Despite the recent global shutter disappointment the BMMCC is still very tempting. Add in the essentials of a speedbooster and decent monitor/ EVF and it's the same sort of price range as the other cameras mentioned. 
5dMk3 raw makes sense in theory but I've just never seen anything from it that really wowed me. As someone who is fairly inexperienced and hasn't played with a lot of cameras that counts for a lot. Same goes for the 1DC. The two C300 Blue movies are a couple of my faves of the last 10 years, and despite knowing it's the talent and story that really makes it, you can't help but feel swayed! Currently happy shooting Vision colour on my 6D, but don't feel like I'd miss the full-frame look and would gladly swap it for the "cinematic" motion of the BM. The 1.75x crop (I think..?) of the Speedbooster might mean rethinking my 35, 50, 85 prime lenses though, which is something that gives me pause.  
 

From looking at the sensor manufacturers website they list the new version of the bmpcc sensor with switchable global shutter and capability to do 60p.  It would be my assumption that the sensor within the bmmcc is definitely this new unit - capable of doing 60p, so will likely also have the global shutter, but not enable-able.  I expect rather than a problem with physically implementing the global shutter to work, they're probably not happy with the hit it takes on low light and dynamic range when enabled and have been working on ways to process the readout.  I see no other existing camera that makes use of this sensor (in consumer or industrial camera applications) so I assume bm are the guinea pigs.  Lets hope they work it out and enable the gs function at a later date.  the moment it's confirmed for the future I'll be back on the potential customer list! 

He'd be fun at winetastings.

So yep... I've been shooting with the A7SII pretty extensively on a bunch of music videos. 
This particular video is narrative-only, shot in Whitby UK within 6 hours with a crew of 5 people including make up artist. 
My duties? I wrote the idea, shot, lit, graded and edited the video in FCPX. 
Most of the video was shot in natural light. One night scene was lit with Lupolux Dual LEDs and Scorpion Lights, powered by batteries (lifesaver!). The sun was going down quick and we used the A7SII up until ISO 12,800. 
Picture profiles were custom Slog2 profile and also custom Cine2, shot in 4k 25fps. 
We used the Sony CLM-FHD monitor on the camera (very useful). Would never used the camera without a monitor again unless desperate. Camera remains light and easy to use. 
Gimbal shots were on the Ronin-M, with the full IBIS activated with the Sony Vario-Tessar 24-70mm - operated in upright mode. Fantastic combination. 
Handheld lenses were Sigma 18-35mm (used at 35mm), Samyang 14mm and Helios 44-2 85mm (bloody well hard lens to focus!). 
This video wouldn't of been possible to shoot in 6 hours without the A7SII. The aesthetic helped the video with it's murky look, and the portability with IBIS was awesome. Helped keep us on our toes and be creative with the shots. 
Issues? I went through 9 batteries and er, the zip on my coat broke and er... I got a wet ass?... that's about it. 
I'll let you guys decide what you think the story is about and all that jazz. 
Hope you enjoy it!!
 

I've bought/rented the a7s, a7sii, a7rii, fs5 and the fs7 recently. The only one I've kept is the fs7- with firmware 3.0 it feels finally like a finished product. I'm glad I didn't buy it when it first came out . It's a fantastic camera once you manage to understand the menus and overcome the ergonomics. The images are fantastic and xavc-I is a great codec in 10 bit.
The rest are good but just didn't seem to give me the performance for the money. I've actually really enjoyed using Panasonic cameras again because of the easy to use menus, touch screens etc. They seem to have a similar concept as canon - obviously they don't have anything to really compete with a c100 but their prosumer range is very good for the money. 
Unfortuantely my clients require/love slow mo or I would be all over the canon cinema line. Give me a c200 with 1080p, 120fps, 10 bit and the ergonomics of the c100 and I'd happily pay £5000-6000 for it. The 1dxii looks great but I really need nds, xlrs etc too .