HockeyFan12

I've used these – they work. The tolerances seem good, too, infinity focus is maintained and the focus scale is accurate, which is rare imo with adapters.
But the rear elements will be far enough back that you don't want to mount the lenses on anything with a mirror. 
Also the focus ring placement is annoying with these lenses. 😕
Lastly, I believe these are only compatible with Arri S mount lenses that have a helical. Cookes, for instance, do not, and rotate within the mount. Which is why a simple screw on PL mount converter doesn't work with Cooke Speed Panchros and you need something more like the Visual Products or Les Bosher adapters. Rafcamera sells one, too.
But for PL mount only and not EF. 
But if your lenses have helical focusing (some Schneider, Zeiss, most zooms, etc. I think) I think you're good with the adapters at the link above.

Yeah, it's pretty crazy that in some ways (not weight or battery life, admittedly) that the Alexa is the easiest thing to use next to an iPhone. Simple intuitive interface, simple workflows in post. 
Makes me miss the simplicity of t2i neutral, which always looked good. 

Yeah, it's pretty crazy that in some ways (not weight or battery life, admittedly) that the Alexa is the easiest thing to use next to an iPhone. Simple intuitive interface, simple workflows in post. 
Makes me miss the simplicity of t2i neutral, which always looked good. 

Yeah, it's pretty crazy that in some ways (not weight or battery life, admittedly) that the Alexa is the easiest thing to use next to an iPhone. Simple intuitive interface, simple workflows in post. 
Makes me miss the simplicity of t2i neutral, which always looked good. 

I think I prefer the look of Sigma fp footage over the S1 but they seem like they couldn’t be much more different given they’re both L mount and have similar sensors.
S1 V Log dynamic range is outstanding imo and might as well be Alexa-level. The HEVC 6K codec is robust. At base ISO (640) there’s +6 stops of highlight dynamic range (dynamic range over 18% gray) to Arri’s +7.3.
Whereas at base 100 ISO I think the fp has about +2.5 stops of highlight dynamic range and 8 bit raw doesn't let you dig too deep into the shadows either. It also has more aliasing. And no IBIS or EVF.
But where the S1 falls short imo is in color and texture, where the fp seems to excel. I’m not saying the S1 is terrible here, but the color isn’t as nice to me subjectively and the HEVC codec smooths out the noise.
So to me the fp is the ideal A cam for someone (not me) and the S1 is the ideal B cam or low budget production cam for almost anyone. It’s technically on par with Venice or Alexa except for the skew imo and is wildly versatile. 
(At least with Resolve's highlight algorithm enabled, I think the P4K and P6K are almost on par with an Alexa technically, too, and have nice color and texture to the image. But ergonomically I worry they aren’t so hot. FX3 seems nice and maybe the best deal out there but somewhat expensive.)
I have found this to be true in post, too. The bigger the job, the better the resources, the easier it usually is. But one-man-band stuff can pay better I guess, and affords more flexibility I suppose.

The funny thing is, the bigger budget shoots I have been on, getting to use larger, nicer cinema cams, I usually also have a whole team of art design, beautiful set dec, gaffers and grip lighting everything so nicely, photogenic pro talent, hmu artists... By the time I get around to hitting the red button everything already looks incredible. Lighting is dialed, everything pre-planned, I don't really feel like I need the DR and flexibility of the high-end cine gear because it already looks incredible in-camera, and still would with much cheaper gear. 
Contrast that with lower budget, run-and-gun stuff, that's when I'm going to potentially miss white balance or not be lighting as well and having to push the camera harder. 
My point being, it's kind of ironic that on higher end work everything is so dialed in around the camera that raw, extreme DR, amazing color science, etc., is kind of a moot point, and it's on low budget work that I often really wish I could have that level of quality and flexibility to make up for other areas that are lacking. 

Alexa Classic will give you 1 stop more dynamic range, better rolling shutter and a lot more weight 🙂 , compared to Panasonic S Series. cined.com has the measurements of Alexa Classic and some of Panasonic S Series in their reviews section. Nobody will notice 1 stop of difference in DR, when export format is REC709 with only 6 to 7 stops of DR. Difference in rolling shutter may be noticeable.
Alexa codecs are ProRes at 1080p and ArriRaw at 2.8K. You'll get 95% of Alexa image quality with Panasonic S1/S5/S1H and a lot more in terms of IBIS, some sort of autofocus, much larger lens selection, 6K RAW, etc. There are even LUTs that will give you ARRI look / color science or at least very close to it.     
 
Some people don't realize that movies shot on Alexa are a result of the work done by a lot of high skilled professionals including colorists. Some just want to have this legendary weapon at their side. Can't blame them 🙂  But it will cost more than 4K in the long run, that's for sure. It's good to have this experience if you want to enter the industry at the higher end (movies, commercials, etc.).

@HockeyFan12 I think others have mentioned online that it does not allow highlight recovery.

I use V30 as well with no problems in 4k 60p, 4k 24p, and 6k hevc. 

Thanks! On the S1H for 400Mbit ALL-I I think V90 is basically a necessity. But I think the 6K HEVC is half the bitrate so I was hoping to cheap out a bit since I only have an S1...

No I think the F3 image is nicer, unless you need 4k.

It's tied with the Sony FS5 mk. I as the worst built camcorder I have ever handled. Absolutely a wonderful image. Varicam 35 quality in a compact form factor. Plenty of warm color rendering and lively skintones. It eats the FS7's lunch in this department. But the thing was built like a fortune cookie and the EF mount was non-sensical.
Panasonic has all the ingredients available for a top-tier modern cinema camera. 6K full frame sensor. Dual native ISO. 10-bit codecs. Refined RAW workflow. L-mount with an evolving lineup of lenses from quality manufacturers. Decades of broadcast camera experience and reasonable ergonomics. All it takes is the will to put it together in a compact modular package. $8K or less. Do it, Panasonic. Do it.

I have a fair bit of experience creating patterns and slashes on backgrounds, and unless the desired pattern is complex, you might be better off just cutting what you need out of foamcor and just casting a shadow.  Slashes are easy to make with zero spill using bardoors and/or blackwrap.  With foamcor patterns the spill is not that big of a problem, if you are careful with your doors/snoot and if you leave a big border around the pattern.
If you really need to go with a projection fixture, consider a used Source 4 ellipsoidal.  They have a nice punch and go for as low as US$175 on Ebay (sometimes with the pattern holder included).  In addition, they take standard theatrical patterns -- there are zillions of them.  If you anticipate working mostly in close quarters, get the 36-degree lens (or the 50-degree lens).
 
 

Rolling shutter. But it's actually probably about the same, I've been using the 3:2 mode which has more.

+1
For me it's 
any CAMERA that you can load or thread Kodak film in .. image combined with art..fantastic

I own an S1 and an Alexa Plus and work with Alexa XT and Amira (and occasionally Alexa LF and Venice) footage for my day job work. Technically the gap is narrow. S1 footage reminds me of cleaner Venice footage... but with more skew.
The Alexa is really grainy but has a nice texture. Some people denoise it some people add noise to it but for whatever reason I like the noise texture as is most of the time too.
Venice has a nice texture, too. Great camera.

Yeah if shooting with vintage glass its a great budget option. There aren't many super wide lenses for 35mm film cameras as you don't need it, but with APSC 24mm doesn't quite cut it on the wide end. 

For cinema lenses you have tons of options as S35 has been the standard for most of film history, not that any of us can afford a S35 cine lens haha. 

True if you use ONLY Resolve color space transform from V-Log to Rec709. Magenta cast is easy to correct. You can do it once then save it and apply it on all clips. Or use corrective LUTs. Leeming Luts  is one good option. In his review of Panasonic S1, Gerald Undone showed that once corrective LUT is applied, colors on vector scope match. See at 12:59
https://www.youtube.com/watch?v=CphwVNgX32s
Here is another solution:
https://www.youtube.com/watch?v=fWzJG-822Iw
Having in mind you can shoot RAW with Panasonic S1 and adjust the colors as you wish, that's not a camera limitation but  your personal preference.
Like Blackmagic cameras and own one. What Panasonic S1 have and  BMPCC 4K (and even 6K) doesn't is full frame sensor. Not because am full frame or bokeh fanatic, S35 is more than enough for me. But because of lenses. Most lenses in photography before digital era are  Leica 35mm format (full frame). It's nice to use the lens at it's focal length as it was designed to be used and not with a crop factor. For example Helios 44M is 58mm in full frame land at a focal length close to what we call normal. In S35 it is a telephoto lens. And so on. Full frame camera makes my life easier when shooting with vintage and modern FF lenses, specially at the wide end. With speed boosters you can close to FF on Blackmagic but not exactly match. Still a small  problem. Also with FF you build a lens collection once and never worry again when new cameras arrive.

Yes.  Fringing can sometimes be an issue with some ellipsoidal fixtures.  Instruments that use lenses made for slide/film projectors usually exhibit minimal fringing.
 
Use an open-face tungsten or HMI source with a snoot.  Add a tube of blackwrap if the snoot is too short.  That should eliminate most of your spill, and the open-face filament/arc will give you sharp shadows if the fixture is set to full flood.
 
Both open-face and Fresnel fixtures always give their sharpest shadows on full flood.

If you do use a cookie, try to move it as far from the light as possible (without it being in frame) and having it be as large as possible. The light is probably sharper at full flood than full spot (if you're using a fresnel lens) and you can use black wrap around the light instead of a flag.... maybe.... I'd just get the projector. 😕 

I suspect that even a Bowens mount COB LED is too soft a source for a modifier right in front of it to cut a sharp-edged shadow.
Short of using a really big cookie just off frame, I suspect the shadow will always be too soft because it's unfocused. Unless you can back it way up. The projector kits let you focus the shadow so distance is less of an issue. Some of the projection kits have chromatic abberation but that's the only way to approach this without going totally crazy imo. The Joleko type light is also SUPER useful because you can cut out a 4x4 piece of foamcore/bead board, angle it however you want on a c-stand or just tape it to the ceiling, and bounce a light into it, cut the edges using the blades in the projector, and use it as a soft light source (assuming no fog in the room). Of course with thin LED flex lights this isn't quite as unique as it once was.
Experiment with making a homemade cookie by cutting holes in an old cardboard box. Forget spill or whatever, just see how big it needs to be and at what distance to make shadows that are sharp enough. Maybe it's possible, not sure.

Brooo that is who I am getting the Alexa from. 

In HEVC 6K I think the S1 has highlight dynamic range similar to the Venice, but is cleaner in the shadows because it's more compressed. I never got into the Red ecosystem but some people seem to love it. The Dragon image is nice but it has just okay highlight dynamic range and it's also really noisy, but nice texture to the noise and the color has improved.
This guy's channel is pretty spot on I think:
https://www.youtube.com/c/Jsfilmz/playlists
 
 

I own an S1 and an Alexa Plus and work with Alexa XT and Amira (and occasionally Alexa LF and Venice) footage for my day job work. Technically the gap is narrow. S1 footage reminds me of cleaner Venice footage... but with more skew.
The Alexa is really grainy but has a nice texture. Some people denoise it some people add noise to it but for whatever reason I like the noise texture as is most of the time too.
Venice has a nice texture, too. Great camera.

There is a shit ton of noise in ProRes RAW! I did a shoot in the daytime and I had to run it through Neat Video for a few fucking days because it was for a corporate client that had been spoiled by the S1H noise free image. That was the first, and maybe the last time I use ProRes RAW on corporate work.