Davey

Budget?
Native lenses or adapted?
AF or legacy?
Favorite FL's?
Too many options without knowing more specifics.

I planned to use my G7 and Metabones Speedbooster XL with the Tokina 11-16 f2.8 however I have found a cheaper and lighter lens combo that still allows me to achieve decent low light performance and won't place any long term stress on the gimbal motors with a heavy load! There is no doubt the Crane can handle these moderately heavy loads, but this is a killer little combo for a gimbal of this size or smaller.
The lens I ordered was the Rokinon/Samyang 12mm F2.0 lens MFT mount. I've found it well constructed, very lightweight at just 270g and has little to no distortion or chroma, also takes filters. The lens has decent reviews, and at $300usd (often less) and given its weight I much prefer it over the heavier and bulkier Panasonic 12-35 f2.8, Tokina 11-16 f2.8 or Sigma 18-35mm f1.8 lenses with a speedbooster.
There's a tiny bit of footage in this promotional video above that I shot in Sydney recently, most at night. This was the first and only time I have used the Crane, I didnt get a chance to balance the gimbal very well or calibrate it. The footage is noticeably not perfect but i'm super impressed on it's performance straight out of the box first use, i'm sure them little bumps in the footage will be smoothed out once I calibrate it and balance carefully next time. 
Cannot wait to fine tune this thing and get some heavy testing shooting some weddings next month, seems like it will be the perfect low light lens/gimbal combo for weddings. 

When they finished the money, no?? ;-D

I was under the impression transcoding can reduce quality though, when it comes to h264 and that premiere is supposed to natively handle it fine? Is this incorrect 
Sorry I don't use FCP X.  

Well, not if people criticize videoquality based on that 720p bad rip upload (of their already questionable 4K original video). That's free badvertising.

Only lasted a few seconds and switched off. Abysmal.
You want to see some of the rubbish that passes for Professional Wedding Videography in the UK. Yet many have hundreds of clients and have to turn people away. They charge £650 to £750 and you would be just as well off using the footage from the CCTV. Everything on sticks, except a few slider shots of flowers and champagne glasses, no emotion, no storyline, crap music, yet they are raking in £35k a year. 
I can't even get a gig for free.

Only lasted a few seconds and switched off. Abysmal.
You want to see some of the rubbish that passes for Professional Wedding Videography in the UK. Yet many have hundreds of clients and have to turn people away. They charge £650 to £750 and you would be just as well off using the footage from the CCTV. Everything on sticks, except a few slider shots of flowers and champagne glasses, no emotion, no storyline, crap music, yet they are raking in £35k a year. 
I can't even get a gig for free.

There's also been some talk of A6300 overheating varying by sample, so there's no need to slam Max for being honest about his experience.

It's like a conspiracy of cooperation. 

It's like a conspiracy of cooperation. 

Terrible idea, this is how you'll loose probably a few gigs if the card fails.
Dont put all your eggs in a single basket!

For now they can't talk pretty much about anything at all, so I'm guessing they are not that close to final product. It seems to me that the announcement was made too early just to have a flagship model presented at Photokina and to send a message to potential customers to be patient and not run to Olympus, Sony or Fuji.
http://www.newsshooter.com/2016/09/20/photokina-2016-panasonic-gh5-questions/

As puzzling as it is to release a top spec'd A-mount camera, I commend Sony for STILL supporting a legacy mount, and rewarding long-term users with a current body.
Samsung could learn a thing or two from this practice!

Yes it does look like they have managed to fuck it up.

Of course it looks good, it's pretty close to the 1dc, clog be damned.
But slow motion (and cute music) are naturally crowd pleasers. A bit of a cheap trick, really. 
24P, under challenging light, with movement, capturing motion - those are the stress tests. 

The head is detachable - they are sold separately.

I second that, @mercer, you might want to copyright your slogan!
 

I want the camera now.
You know what, I can see somebody nicking that - might want to copyright that catchphrase. There are millions of ways that slogan can be used; not unlike "If Carlsberg did...."

A story without words about the demobilized soldier watching with drone for the neighbors

Inspired by Fargo (TV series)
Budget: 15$

All work in Davinci Resolve Studio 12
Shot on Canon 5D Mark III with Magic Lantern (ML RAW) and DJI Phantom 3
Thank you for watching

Hello, my friends. Check out my review of this light. The Aputure Amaran AL-M9
https://www.youtube.com/watch?v=3efWnuNk_nk&feature=youtu.be

It's funny you say that, because I was just watching a video on vimeo and I was like damn this looks good. Went into the comment section and to my amazement the guy who made the movie mentions that turns PP off and leaves everything at stock settings. Here is the video:
 

After three years of hoping to get one, I finally purchased a used 1DC.  I have been through many of the cameras that seem popular on this forum (5d raw, NX1, a7s, C300, C100, XC10) but there is something about the image of the 1DC that I find unsurpassed in the under $15k+ category.  I did consider the 1DX II, and I think it looks great, but the used 1DC was cheaper and a little more to my taste "film stock" wise (although DPAF is something I really wish I had). 
In particular when I think of the 1DC image I think of the work of Camille Marotte on Vimeo.  It has that unique mix of vibrant yet mature color, layered with the gentle roll off of C Log on top of 4k resolution that just looks so organic and cinematic to me (obviously we all have our opinions about these things). What I find interesting is that if you read through Marotte's comments below his videos (some of it is in French) he says that to capture the brighter high contrast scenes he will take his shutter up to 4,000 (he is often shooting wide open at 1.2 or 1.4 handheld) and that he never uses NDs because they distort the colors and image too much.  This breaking of the shutter "rule" seems so contrary to everything I have heard I wanted to get your thoughts on the technique.   Does anyone else do this? Thanks.
 

Looks great to me...always worth colour correcting footage yourself to see what's what.
30 sec ballpark correction in Colorista from ProRes : 

 

I would expect that Adobe and FCPX are on the ball this time. Most of those converters for h.265 when the NX1 came out were software variants of a Chinese spam company.

Sign me up for the Gh5 even if  IBIS is all they bring to the table.
 
Right now with my current gear  - Gh4 and Olympus 7-14, Panasonic 12-35 and 35 - 100 - and the venerable Voigtlander 25  - Sliders, steadicams, panasonic's AMAZING native codec (it really is under rated) and the turbo editing speed of FCPX ..
 
-I reckon i could be QUICKLY creating great content for the next 5 years without any need of an update. 
 
Its nice to have too many stories to tell, a ton of forward bookings from clients and no new gear acquisition syndrome!