Matthew Hartman

Yeah, I definitely need the paint by numbers version of this color conversation. 

I sure wish this conversation could be a little more laymen.

@Matthew Hartman haha! no it's not, it's all about 20 stops of dynamic range, 9 axis IBIS and millions of ISO!
By the way, a simple ND filter on a window, it costs a few dozen dollars (re-usable of course), and saves you a few thousands dollars of lighting equipment. When I was really young, and starting in the business I covered hundreds of windows with ND filters (and black curtains)!
Of,course I do not expect @Mark Romero 2 to spend 20 hours to cover everything with ND filter, and if you have 20 and 30 minutes, don't worry about the dynamic range, just go there with your gimbal and shoot everything you can! But the difference sometimes, is not the cameras or the equipment, nor the budget, but time.
If you can't take the time (or talk your customers to give you the time), then maybe you can't do it. Certainly not in 30 minutes. But do not worry, if they do not give you the time, then they do not care!

Using compression with moving shots can create some very interesting effects of things moving at different speeds or directions. You can also use it as another way of blurring the background with moving subjects, or even keeping the tight perspective when the subject moves towards or away from the camera. 
Here is one example with a 100mm lens, but there are plenty for you to explore. 
You might not like it but as a cinematographer you should open your mind and be able to use tools to their full extent. 

I hope my gimbal will be enough to stabilise this

Yep. It's a well known trick. 
https://www.bhphotovideo.com/c/product/90629-REG/Rosco_102302104825_E_Colour_210_6_Neutral.html
 
There's no old days about it. It's called real filmmaking. ?

Yep. It's a well known trick. 
https://www.bhphotovideo.com/c/product/90629-REG/Rosco_102302104825_E_Colour_210_6_Neutral.html
 
There's no old days about it. It's called real filmmaking. ?

8bit has very little bandwidth to be pushed around in grade. 8bit cameras are setup by the manufacturer through internal testing to capture the optimum image gradiation for it's respective sensor encoding. Just because an 8bit camera offers log or exposure tools doesn't mean that the image is that mallabe. 
The 8bit HEVC images coming out of my NX1 are vibrant and brilliant stock, and I notice very little artifacts as is. But I have little room to push channels in Lumentri before I break it and see artifacts, banding, macroblocking, noise, etc.
Thankfully, Neat Video comes to the rescue and does a stellar job at cleaning up that mess, which is exactly what it was designed for. When I then view those results on my 10bit monitor, the image holds up rather nicely. 
For those with 8bit systems, don't feel discouraged or left out of the conversation, you have viable options. 

Watched them all. Mesmerized. ? subb'd. 
I also figured out where mojo comes from. From your all's Moms. ?

Yeah, if that effect is an induced seizure. ?

sounds like you guys are talking more about post-production wow factor tricks than actual camera inherent mojo..
it seems shooting super-slomo at super shallow DOF + a LUT gets instant mojo approval yet i believe there's also mojo on the hardware side.
not that many cams have it imo.. it's a mix of color science, motion cadence, dynamic range, sensor type etc..
obvious mojo cams to me are Alexas, BMPCC 2.5K, 5D3 ML Raw, 1DC, Digital Bolex, D750, Fujis..  
of course one shouldn't underestimate the lens pairing either..

LOL!
Yes, if you DON'T look like a complete derp, then you are doing it wrong.
On the other hand, just because one normally looks like a derp doesn't mean one will be naturally good at using a gimbal 

Yep. It's a well known trick. 
https://www.bhphotovideo.com/c/product/90629-REG/Rosco_102302104825_E_Colour_210_6_Neutral.html
 
There's no old days about it. It's called real filmmaking. ?

Well... that is kind of what I thought at first, too. I thought they had to be either bouncing light off the ceiling or bounce off a wall or through a scrim.
But looking at it closely I don't see ANY reflections for either bounced light or shoot through light.
I can see reflections or practical lighting in the ample glass and chrome, but I don't see any telltale signs of bounced / shoot through lighting. There is a ton of glass in the shots (windows, shower doors, mirrors, pictures in glass) and using bounced or scrimmed lighting you would expect to see either direct reflections of the light itself, or reflections of the wall, or the shadow of the camera person.
Yeah, that is basically my fate. Had to photograph a house once where they gave me 20 minutes and I had to shoot while the owner / wife  was having a mental breakdown (she was being forced to sell the house due to a divorce settlement) AND they had five maids (cleaning crew, technically) cleaning the house while I was in there trying to shoot.
So ideally I would like to keep lighting to a minimum.

Yep. It's a well known trick. 
https://www.bhphotovideo.com/c/product/90629-REG/Rosco_102302104825_E_Colour_210_6_Neutral.html
 
There's no old days about it. It's called real filmmaking. ?

@Dan Wake
Please understand that if you've never used a motorized gimbal before, do not use it without some practice first. These things are great, but they're no magic bullet. Keep your knees bent and walk heel to toe. You'll look like a complete derp, but your footage will thank you in post. 

Hey Matt, thanks so much...I really appreciate it! And please feel free to continue sharing with anyone whom you think might find my work useful.
Sorry I couldn't post last week...I was at a photography conference for 4 days and then spent last weekend shooting a new film.  Anyhow, here are some new tracks for everyone:
On my Sci-Fi 6 page:
"A Heist in the Outer Rim" (Looping)
http://soundimage.org/sci-fi-6/
On my City/Urban 2 page:
"Moonlight Break In" (Looping)
http://soundimage.org/city-urban-2/
On my Puzzle Music 3 page:
"Digital Dreaming" (Looping)
http://soundimage.org/puzzle-music-3/
On my Positive Upbeat Page:
"Bouncing Around Town" (Looping)
http://soundimage.org/positive-upbeat/
On my Drama 2 page:
"Trouble in Town" (Looping)
http://soundimage.org/drama-2/
Have a good week!

@Dan Wake
Please understand that if you've never used a motorized gimbal before, do not use it without some practice first. These things are great, but they're no magic bullet. Keep your knees bent and walk heel to toe. You'll look like a complete derp, but your footage will thank you in post. 

One more time in English. 

@Dan Wake
Please understand that if you've never used a motorized gimbal before, do not use it without some practice first. These things are great, but they're no magic bullet. Keep your knees bent and walk heel to toe. You'll look like a complete derp, but your footage will thank you in post. 

@AaronChicago
8 x 4ft crossfades 4 x 2ft crossfades 2 x 4 by 4ft kino shells 2 x 2 by 2ft kino shells 4 x baby pin kino mounts 8 x lamp holders with baby pin 2 x 4 lamp wiring harnesses 2 x 2 lamp wiring harnesses 12 x 1 lamp wiring harnesses I was going to buy carrying cases for the lamps but the housings work ok for transport.
Based in Canada btw. There's only a single seller for the Quasars up here. I think that drives up rental demand.

Agreed! And there is a reason for the high shutter speeds, because you usually double the shutter (180 degree) to match whatever current fps you are shooting at... so 24 is 48, 30 is 60, 60 is 120 & 120 is 240 and so on.... but the trick with Twixtor is that you're doing a hypothetical 240fps, 500fps or 1000fps or more.... but you are only really shooting say 4K @ 60fps so you set the shutter speed to say 1000, 2000 so it works with Twixtor to get that 500fps or 1000fps. Sometimes its better to even set shutter speed at 4000, but think about how much light you are losing.
Also, thanks for the heads up on the new plugin to treat motion blur...
I also agree on this as well... 
Just to be clear, I wasn't promoting Twixtor or other slo-mo softwares, was just responding to @Geoff CB when he said that the creator of the 'Dark Side of the Lens' - "Completely ignores the shutter speed rule, contrasty as hell, warp stabilizer everywhere".
And, as @Matthew Hartman pointed out, that you need to plan for it to be really effective for its intended purposes. I think that the creator of 'Dark Side of the Lens' was intending to use Twixtor to some effect, but its hard to really plan it out on a run and gun - nature type video. So he set it @ 720/60p - recorded as much as possible and as fast as possible with high shutter speeds (or not) and did the rest in post.
Also, "it seems shooting super-slomo at super shallow DOF + a LUT gets instant mojo approval" - I don't know so much to say that... what I can say from the video that I posted with the BMX bikes - yes... there is this cool/awesome factor, but notice that there in lies the problem with Twixtor too. The image quality becomes some blurry soft mess, hence you thought this super shallow DOF, when in fact those rain drops are SFX/CGI add-on courtesy of After Effects and Red Giant's Trapcode Suite, placed there to mask the problem or to get the viewers to set their sights away from the problem  
For those interested in Twixtor, Phillip Bloom has some really good advice on it:
http://philipbloom.net/blog/twixtor/

Be careful with this, it's not verified by Samsung. It's still a rumor. 

Here is another one off "Red Screen Productions" vimeo account
Camera test testing out the Slog2 picture profile on the Sony A7RII and a couple new fresnel lights we got. Shot in 4K in all its glory.
 

@User What a wonderful video - I hadn't seen that one, thank you.  Here's a similar one that I've seen that is also imperfect in quite pleasant ways:
And to add to the Operator vs Camera theme of the thread - the above was shot in an iPhone5, so I don't think anyone will be rushing out to buy this magical hardware to get the look above!
Fascinating - thank you.  Not much has been spoken about lenses in this thread.  I knew the Sigma 18-35 was a favourite but I've not heard it described like this!  I contemplated buying it for my Canon 700D but after doing some tests of IQ I concluded that the codec was just too compressed for the kind of work I wanted to do.  That lens still peaks my attention when it's mentioned, maybe in the future I'll make the decision to buy one and then work out what camera to put on the back of it
I'd be interested in hearing your personal recipe.  Not to copy it (which sounds like it would cost thousands of dollars in lenses!) but to see if there's anything in there I can learn from.  Obviously if this is 'secret sauce' and you'd rather not share then no worries.
On a personal note, I think I've made several strides in the last few days.
Yesterday I found a wonderful combination between C-Log ETTR as recommended by @mercer (thank you again!) and the post workflow described by @Juan Melara in this video here:
I was previously using the custom profile from the XC10 thread that was hammered out in response to finding the ghosting in C-Log from the temporal noise reduction they sneakily add at higher ISOs to bump their lab test scores.  Unfortunately what that meant was that there were no LUTs or camera profiles available for me to use, so I was thrown into the deep end of Log grading in Resolve without a paddle, however shooting in C-Log and then using the above method gets wonderful punchy colours almost effortlessly, but is also flexible enough to correct for my inevitable exposure and white-balance issues.  I've watched my body-weight in YouTube videos from amateurs showing workflows that seemed to work for them but never for me, or pros who did it and made it look easy with test footage shot without the problems that I encounter - none of them had a workflow even remotely like the one Juan uses above.
And on top of that my investigation into YouTube and how to get nice looking video quality out of YouTube has paid off to the point where I now have a workflow without major issues (for the first time since buying the XC and Resolve!) so I'm pretty stoked about that.  Now I think I just need to shoot more and gradually learn what I like