CanonTheBarbarian

Great, so I take it you will show how to do it?        I look forward to learn from you and  obviously you will only use your Canon 5diii and 28 f2 Zeiss.      That is a full band shot from next to the stage with at least six musicians all visible and in focus.    
That wasn't high ISO in my book (it is only ISO 10,000) and was a jpeg as taken and no it is with a Canon 17 TS-E    There was nowhere else I could move for the framing though of course, you will now provide that 28 f2 shot to prove me wrong?   No?

So I guess you're right, Canon the Barbie. 5diii by a landslide. Maybe even the original 5d. Mods can kill the thread now

Danne (Magic Lantern superstar) and I have been working on a log DCP profile for Magic Lantern. At the moment, it's just for the 5D3. But if feedback is positive we will try to roll it out for all Magic Lantern cams.
This profile is for use with an Adobe Camera Raw to After Effects workflow (although it may have other applications). Although other workflows may be faster - Resolve, for example - many people feel that the debayering, colour reproduction and noise control offered by ACR is unparalleled.
The philosophy with this profile is to get the raw linear data into a log curve, so that blacks and whites aren't clipped and there is a relatively equal relationship between stops. Interestingly enough with this profile, and maybe it is unique in this regard, it has very accurate colour. Unlike Sony's S-Log or Panasonic's V-Log it's not necessary to correct for unusual colour reproduction. Just set a good white balance in ACR, apply a curve and colours are (almost!) bang on target.
If you've never used a DCP profile before read more about it here:
https://www.magiclantern.fm/forum/index.php?topic=20710.msg191757;topicseen#msg191757
Here is a ZIP file with the DCP and with two kinds of curves, one clean one with a "filmic" colour cast. You get both as a LUT and as a curve file for your convenience.
DOWNLOAD:
https://bitbucket.org/hyalinejim/ml-log/downloads/
 
ACR default:

 
ML-Log

 
ML-Log + curve

 

In this case I have to disagree... Not only is Spain the fastest growing economy in the EU -after a long and hard economic downturn- but also not every field is the same in every country. Filmmaking/advertising is big and with high rates in certain "not-so-developed" countries; for example, Czech Republic is full of qualified professionals working in international productions making a lot more than the average salary. In some countries, being a small producer or cameraman is a well paid job and in others not so much...
Here -Spain- 1000€ does not get you an experienced DP with Amira, lights, etc. Here, 1200€ gets you a nice DP -not top nor novice- without any gear, and hiring such a DP "mandatorily" involves renting a high end camera, lenses, lights and at least a couple of grips... Spain is not a super booming market in terms of filmmaking such as the UK or France, but it is ahead of most European countries and so are the rates -even if the median salary is lower-.
I'd never work for free unless the project really meant advancing in my career -and when you find such a project, normally it is well budgeted and everyone gets paid-; unpaid work spoils a certain type of client -the scum of the earth- who actually believe they can get that stuff for free. Once you have a portfolio, they are not going to pay you, either; they will keep offering you to work for free and if you decline they will look for someone younger/less experienced/probably worse that will agree to do it for free. In my experience those clients do not appreciate what you do and don't take you seriously. It doesn't matter if you are 21 and inexperienced, you should get paid according to your skills and what you bring to the table; after all your video is going to help them make a profit in some way. Really, if at least they had offered a 100€ flat rate per job they would've shown respect. If you can't afford it, don't buy it; just like you don't try to buy a Red Weapon and offer 500 € you should not conceive hiring somenone for free.
The fact that there are "specialists from the 90's" competing in the same market with kids form bad private media schools -which is true- just broadens that market. Not so long ago a commercial or a corporate video was something that only medium sized or large companies could afford. It was hard to make a corporate video for less than 7000-8000 € and a commercial was minimum triple that amount. Now there are many more products accessible to more companies with faster production and adjusted to the needs of each client. That doesn't mean there's no room for the novice -quite the opposite-, and there are "salary slots" depending on the job, but "for free" should never be one. Here 500 € for a job is not much, it could be an acceptable rate for somenone starting out -keep in mind that every job requires pre-production and post-production-, especially because it is very unlikely that you work every day and you'll have to survive on a couple jobs a month in the beginning.

brb robust and strong body with great ergonomic made for pros, not like sony toys
brb 14 bits 4:4:4 RAW video with motion cadence of gods - AESTHETICS OVERLOAD
brb easy RAW workflow, SSD > MLFS> resolve> ??? > profit (how is that any problem lol)
brb COLORS! I mean lets face it, NOTHING comes close (apart of almighty Leica) 
brb 3,5k RAW video and probably more to come - tour over  
Sony and panny cameras come and go, yet big Mark remains a modern classic, in 20years I will be still producing jooouicy stuff with my Mark while all the sonys a7 mk8 will just paper specs monsters but obsolete.
discuss!
Pic of my battered mk3 with most zeissy glass -contax zeiss (the best there is)
 
CTB APPROVED

brb robust and strong body with great ergonomic made for pros, not like sony toys
brb 14 bits 4:4:4 RAW video with motion cadence of gods - AESTHETICS OVERLOAD
brb easy RAW workflow, SSD > MLFS> resolve> ??? > profit (how is that any problem lol)
brb COLORS! I mean lets face it, NOTHING comes close (apart of almighty Leica) 
brb 3,5k RAW video and probably more to come - tour over  
Sony and panny cameras come and go, yet big Mark remains a modern classic, in 20years I will be still producing jooouicy stuff with my Mark while all the sonys a7 mk8 will just paper specs monsters but obsolete.
discuss!
Pic of my battered mk3 with most zeissy glass -contax zeiss (the best there is)
 
CTB APPROVED