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Here is the narrative music video 'Don't Stop' that I have directed & shot with my lovely BMCC : + few DNGs to play with : https://dl.dropboxusercontent.com/u/...tStop_DNGs.zip Lenses used : 21 & 35mm Zeiss CP.2 - Tokina 11-16 + Mikkro Nikkor 55mm AI-S Softwares used : Resolve 9 - FCPX - After Effect and Mocha Pro I would love to get some feedback ----- Produced & directed by MARC LINNHOFF - marclinnhoff.com Music by BROAD RUSH get the full version here : hook-up.fr/broad-rush-dont-stop/ Backstage photos from P-mod : flickriver.com/photos/p-mod/sets/72157633312056426/ Starring : Joffrey Schmidt - Clarisse Hagenmuller - Denis Jelly - Nina Schouler - Pierre Riff Camera & post-production : Marc Linnhoff Lighting : Ludovic Haas - Dom Pichard/P-mod Make up : Anne-K Lejeal - Elsa Parmentier Special thanks to Yoko Tsuji, Jacques Roth, Tsaki, Arnaud Masson, Jessi & Michel..

I am upgrading from my loathsome Canon 550D and will have approximately £5000 by December. The recent price drop in the Black Magic (MFT for me!) has finally convinced me after debating the merits of the Sony FS100 with myself but for the price and image compared to the BMCC it seems like common sense to me. I had my hopes set on the FS700 but for it's price tag I'll seldom be able to purchase anything else which is pointless and having rented the FS700 for my past two films I think it's time I avoid high speed for an entire production, I have a tendency to be far too indulgent with it.    Anyway, I want to purchase a rig for studio styled use, matte box, follow focus etc. I want to know how many SSD's I will need (bare in mind I will predominately shoot pro res unless for a short film). I will also be buying an external battery, naturally.    I also need to sell my 27" 2.8 GHz intel core i5 mac as it's incompatible with Davinci Resolve. I am begrudgingly moving from Mac to PC sheerly for the processing power bang-to-buck and will have to shell out even more money. How much would a PC capable of processing the 2.5k raw cost including all it's components such as graphics cards etc?    With that money I will also be purchasing a jib as it proved invaluable in my previous short in achieving fluid camera motion which really dicks all over pans and fixed tripod shots.    Forgive me if this post seems clumsy, I am still getting to grips with using a forum (as I rarely become members of ones) but was very encouraged after reading the discussions on this site regarding anamorphic adapters etc. It seems like a lot of knowledgable and helpful filmmakers actively use this service. 

Hi everyone, I try to find a panasonic LA7200 for my BMCC, and during my research i have found that century optics have an anamorphic adapter, but i can't find any video with the BMCC. I'm new in anamorphic world so i need your help to tell me if this adapter can work with the BMCC     And i want to use 24mm, 35mm 50mm and 85mm on it, do you think it's possible ?   I have read a lot of things, i understand the concept of shooting anamorphic, but i never had the chance to shoot with it, so it's a little bit difficult to understand everything. http://www.adorama.com/Reviews/pwr/prod ... Mount.html Thank you for your time.   Pierre  

I kind of get the idea there is more to it then just laziness on their part. They must grasp the simple fact that they would sell some more camera's to another audience if they'd include 25p/24p. And it can't be that much work.   Is it some kind of agreement with Panasonic to leave the video features to them in return for some favor by them? Just a conspiracy theory... but I find it hard to believe it's something they simply 'overlook' every time.

"Moire reduction" image processor.   Shame about the codec. For sake of a couple of lines of firmware code they have lost a bunch of customers.   Nice stills camera though. If only Canon's were this 'ahead of the technology curve' and if only the Olympus had a full frame sensor. That would be the perfect camera almost.   I have higher hopes for Sony. Big 4K push. Full frame NEX with Olympus 5 axis stabilisation.   As a side note - nice marketing and web design from Olympus. At least someone in their US web design team has a clue if not in their video specs department, if indeed they even have a department.

So that's a grand they've lost from me, and from pretty much everyone else who uses SLRs primarily for video.    That stablisation is unique  in IL cameras, yet they hold the camera back by not allowing a lower frame rate....   Totally, bizarre decision!

This animation is almost what I had in mind: http://www.pierretoscani.com/images/echo_shortpres/Figure-18-anim-UK.swf   www.pierretoscani.com/images/echo_shortpres/Figure-18-anim-UK.swf   The main difference is that I wanted to put the Cam Ring on the outside, not the inside. http://www.lensrentals.com/blog/media/2013/01/helicoidsml.jpg This is how i planned it.   The anim represents a single focus system.   My friend does magic with aluminium so once I have the design he could probably machine the parts in a week. I am open to any suggestions about the project.

That comparison footage is largely useless, because it's almost all shallow DOF with few distant small details.  We need to see things like distant windows in buildings, and objects in those windows, in order to judge true resolving power.  When a leaf takes up half the screen, the resolution of its edges isn't impressive.   Why do you think those movies shot entirely on DV were dominated by close-ups?

This is interesting and very true about lots of the equipment we "professionals" use.  Want to see something really scary?? (my best Dan Akroid voice from the twilight zone) No, but seriously??  Take that geiger reader and put next to / up to a wireless follow focus system such as the Bartech....   Get ready to run away very fast in the other direction. It's seriously scary how much unhealthy radiation that thing puts out, and any of the microwave based wireless devices.  You can go through "your healthy amount of radiation in a year"  in a matter of hours using a Bartech..  But seriously, all you AC's out there, at least know what you're willingly putting your brain next to for days/ weeks at a time.     And thats my PSA for the day.   ******************************************

I did some shots of the Duck Boats in Boston to try out my new Revo Rig. As you'll see,  It wasn't quite stable enough for the 100mm shots.   The company liked the video and posted it on their Facebook and Twitter.   https://vimeo.com/73272837

https://vimeo.com/71650199     BMCC raw, graded in Resolve and Primiere  Rokinon 24mm, Canon 100mm Macro. Music: "Fractal Universe" by Mat Zo Sunset on the Charles looking at Boston from Cambridge. This started as an idea to see if i could get some rolling shutter grossness (from fast pans), and moire from all the buildings, but the camera did pretty well. I tried out a bunch of different grades and LUTs to give it some variety.

Hey guys,   Made up my mind to sell some of my gear. PM me if interested in any of the following.   Kowa 16H 2X anamorphic adapter - good condition Canon FD 20mm f2.8, 35mm f2, 50mm f1.4, 85mm f1.2 lenses - all in good condition Canon FD to MFT adapter - new Slr Magic 12mm f1.6 - new Slr Magic 25mm f0.95 - new Voigtlander 17.5mm f0.95 - new   Thanks!

Hi! I have 550D and I need cheap and great lences for video and photo (a bit). I hope you'll share your experience and help me and ones who are looking for good cheap glass to find the best :rolleyes: My purposes: Shooting macro. Something like Canon 100 2.8 macro. Probably, fix lens, about 100-135mm, fast aperture, sharp. Telephoto. A kind of replacement for 70-200. About F/3.5 or so, better with constant aperture, but not sure It's possible. Sharp. Whide-angle. Not fish eye (!) something like 15mm, 2.8. All that on m42 mount. Wating for you answers!