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The torchLED works great on stands. It comes with a ball head with hotshoe and 1/4 20. B&h sells one that also comes with a high capacity battery and charger for free. From what you said earlier, I gathered this would be a good tool for you - just a little something extra to add some fill, a background light, or hair light... It is also very small and can fit in your bag with little fuss. You should be thinking of this light as something to either augment existing light, or be aided by it.

    Above: the Epic with anamorphic lens In the second and final part of this mini-shootout with the Epic and Blackmagic Cinema Camera, we take a look at the resolution chart.

Can anybody testify that the Zeiss Distagon's are some of the best for HD vs. Canon or Nikkor?  Been really thinking of getting a cine kit of the PrimeCircle's.  The Zeiss cine CP.2's cover Full Frame and the extra blades offer a smoother oval bokeh...however, significantly more expensive than the modded Distagon's.   Eventually Full Frame (HD+) video will get better with DSLR's.  So the glass investment is worth it imo.  Hard to decide on the Distagon's vs. the CP2s.  Any links?

I love making short slice-of-life films.  This camera/lens combo is about as light and small as you're going to get at this aperture and sensor size.  Easy to bring along on nights out without looking like a tool.   Nobody I was filming seemed to even know I was there.  Maybe that's not such a good thing...   https://vimeo.com/59377520    

  A real world test is definitely an aim. Just need to find the time.

Yep Alan is great guy and the adapters are top notch

I think that it's less of a company and more of a one-man operation. Alan makes these and sells them out of his home. I don't think that he's in an unhealthy relationship with the internet like so many of us are so it can take some time before he gets back to you. It's well worth the wait; the quality of these adapters is superb.

I got excellent experience with these company ... The clamps are just superior. I also send a PM last week and didn't have an answer yet. I'm sure you will get a response , but you will have to wait. Be patience, the clamps are really good. I shot a short film last week with one redstan. It allows to shoot with confidence without worries. It's light and strong, so your lens is save. I think Redstan is out of town. As I said , I tried to contact him and also send cash through paypal, but don't have an answer yet. I'm not worried, because I made trade before and everything was fantastic. Just be patience. Cheers!

Bought a Nikon D5200 yesterday - This thing is really surprising me... appears the new Toshiba sensor in the Nikon D5200 fixes moire. There's nothing like the problems here that plague the D600 and D800 full frame sensors. There's still a tiny bit of aliasing but no more than on the GH2. It is giving really nice Canon C300 approaching detail in 1080p, all on a $800 DSLR. You can dial it down really flat in-camera too, though I prefer to shoot graded in camera with a standard picture profile.   In producing footage for the review I have found it to be in the same league as the mighty GH3 for video so far. Here's a 100% crop of a 1080p frame grab shot in 25p mode. The picture profile on the GH3 was slightly flatter in-camera so ignore the contrast difference, just look at the detail. Really nice!  

Hi Andrew, great start to the Epic / BMCC comparisons. I had one to play with over the weekend and shot about 1TB worth of footage. Its scary how quick that happens. I work in VFX so a lot of the plates were to work on later in resolve and Nuke, such as some green screen tests, low light and plates for some matte painting work. Everything you found I agree with, I hope once the MFT arrives I'll be able to dial in perfect exposure more easily but we'll see.   As for file work flows Ive been bringing them into nuke ass raw DNG then exporting to a 12bit DPX file with either the Alexa LogC colorspace or Cineon. This maintains the data for me without having to have nuke decompress the raw file every frame. Also the log colorspace keeps all of the DR. This is our workflow for the Alexa so Im just mirroring that. If resolve could spit out Cineon I would first go in there but from what Ive seen its export is Rec709?