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Ah, now i understand! Yes, totally agree - there needs to be a separate section were regular members (+50 posts) can advertise.

https://vimeo.com/73514319   I've just had for few days the prototype of the upcoming SLR Magic 17mm T1.6 lens in micro 4/3 mount. This lens reminds me the one from Voigtlander the 17mm f0.95 I test once (vimeo.com/43570385)   Despite it's a T1.6, the SLR is a very fast lens, and I had to use strong ND filter on it to be able to use it at it's fastest speed at 1/50 shutter speed. This lens is a prototype so I can't show it, but this model looks quite like the 25mm T0.95 from SLR. It has also a no click aperture ring. Most of the shot of the movie are taken at T1.6, and you can see the very good sharpness of the lens, even at its fastest aperture.   SLR Magic told me that : "this is a SLR Magic CINE designation lens and not a HyperPrime lens so it is made for the budget indie filmmaker. It is in the same series as our 35mm T1.4 CINE II lens. Price of the production 17mm T1.6 lens is TBA (to be announced). The SLR Magic CINE 17mm T1.6 will have the same mechanical build as our 35mm T1.4 CINE II lens that repeatable focus. The 35mm T1.4 CINE II lens will be compatible with our upcoming 1.33x Anamorphic adapter but the 17mm T1.6 will not be on the compatible list. Field curvature effects causing softness at extreme when focusing at close focus distance were put into consideration during lens design and edge sharpness should be quite sharp even when wide open. Light falloff during wide open aperture is well controlled."   I have use the OMD E-M5 from Olympus. I've bought recently this camera because I was really impressed by the movie of Andrew Reid, where we can see the proficient internal 5 axis stabilization system.  It was quite hard for me to use this new camera. Two main problems have appeared : 1- I found that the contrast in classic image mode are very strong, the black are too black to my opinion (I've used the Natural mode). Then I decided to change the mode and I've used the Art filter 3 (ton neutre et lumineux, I suppose in english it's "neutral and bright tone") to have less strong blacks. But this mode gives green rendering (and the ND add it too), so I try to color corrected it. That's why you have two mode in this movie, the Art filter 3 is in the countryside and seaside shots. I did light color correction in quite all the clips. 2- The second problem is the using of ND filter on OMD with the stabilization. At the begining of my shooting I was using a variable ND filter from Cokin. The problem is that there is slight vigneting when you are closing it. And this vigneting is moving because of the stabilization. You can see this issue in some of the shot, the traveling with the girl with the yellow bag, for example.Then I decided to use another ND filter, not a variable, the Hoya NDX400. With a constant ND filter, the problem of the "moving vigneting" disappear. But it's less easy to use. Especially with the OMD that has less efficient dynamic range than the GH3. Anyway despite this problems I have discover with my first use of the OMD camera, I'm really impressed by its internal stabilization sytem, for example it allowed me to do these shot from the car in the small roads of north Ireland, with a third part lens such as this SLR Magic 17mm T1.6.  I'm really happy using this lens, it is a good experience and it's useful to have a fast 17mm, especially when you think that 25mm is not enough wide, and 12mm too wide.   Olympus OMD E-M5 SLR Magic 17mm T1.6 (prototype) 1080P 30 "Natural" and "Art 3 bright and neutral" modes Variable Cokin ND filter NDX400 ND filter from Hoya edited on Adobe Premiere CS6 CC on Premiere   Music (mash up) : Midlake "The Courage Of The Other" King Crimson "In The Court Of The Crimson King"  

Look, haven't we already been through this before? This is a shit idea & just clogs up the forum with loads of unnecessary posts advertising stuff - some of it being not that great. There are already loads of Marketplaces online where you can sell your gear quite safely & with proper protection! Just because someone is a member of a forum, doesn't really make them that reliable does it? If you're thinking about cheaper prices or getting perfect lenses, then this place isn't going to be that much better than what's already out there - especially if its all done anonymously online & by post.   On the flip side, if you can meet up in person with someone you've met via a forum, then that is a much better solution.   Furthermore, what we should really be doing is trying to organise Anamorphic Groups that can meet up & chew the fat in person! You know that old fashioned concept of physical human interaction - then a marketplace could develop with reliable witnesses. As it is, there are too many 1-10 Post advertisers that nobody can vouch for or their equipment. Also, just because you meet someone [electronically] via a forum doesn't mean you know them or can vouch for them in any meaningful way.   Just my 2 cents worth 

Yep, that's what i hope too & have got my fingers/toes crossed. Also got the feeling that people are treating the ProRes like RAW when filming when it quite frankly isn't, thus exposing far too much to the right & clipping highlights really badly. This camera might need some real care & attention paid to it when filming. 

I've been shooting on the 50D with ML Raw hack at 1580 x 888 with an anamorphic lens. Here are some stills (just screen grabs off the Avid, not proper exports) Shot with Canon 40mm pancake f2.8 and the Bolex Moller 8/19/1.5 - http://imgur.com/a/nmknn#0

  The first thing you have to think about, working with a camera like the Black Magic Cinema or Pocket Camera ist the power solution and how to split the video signal to serve video village, camera crane and so on.We searched a lot in the internet and found some solutions for HDMI signals.   Full article: CLICK

Hi guys,   Long time reader, first time poster. I have a small production company, we shoot some studio stuff weekly, and venture out making some comedy sketches, and soon we hope to be doing some slightly heavier drama. we always strive to make our stuff look great, but we're a small run-and-gun team. We work out of backpacks with mostly handheld kit.   We need a new camera. One we can sync our H6N into, use in the studio with our Autocue, our Stedicam and take out on shoots. We've narrowed it down to the 700D(T5i), the GH2/3 (? same ?) and the A57. Can you offer any advice?    Important factors are :   Form factor Ease of use and battery life FPS Lens availability usability (Focus peaking would be nice...)   Thank in advance - and before I'm lambasted I know this will have been asked a hundred times, but trawling though all the posts will take an age....

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Haha how much footage and how many cameras do people intend to shoot with on an average shoot?   10 and a data wrangler!? 240 hours worth a day?!   Raw is not that hard for a one or two cam shoot if you're reasonably economical on takes like a good filmmaker is.