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I got a good offer on a 5D MKiii recently, but despite the raw and overall superior image to 600D I've just stuck with the latter for a few things that are coming up because I know it, and the cost won't improve the product enough.   I could also borrow a BMD M4/3 for these shoots, but still, it's an unknown factor and delivery is PAL SD (yes, SD!), so I think the 600 will be fine.   I that situation 4K and raw are overkill, I just want to make the piece and deliver it as quickly and efficiently as possible, quality is not the priority, and would go un-noticed. Five friends who barely shoot ever own 550Ds that I can borrow as other angles! FIVE! That's market share...   When it's my own work however, music videos and films and so on, I'd like the best I quality can get, but still within reason. I love raw manipulation, so much freedom, but right now the idea of having multiple terrabytes of rushes and a long, long workflow feels like it'd slow me down a lot, plus it's expensive to deal with and presents archiving problems...   Shoot ratios on music promo and narrative are both high. Documentary can be insane, 100:1... there I'd probably use an RX100 (and a million batteries) but raw would be project suicide with current technology.   If ML could code RAW compression (down to 10-bit from 14-bit colour, some lossless compression) into the 5D MKiii it may become more practical, but now it's pretty mental to handle, and I keep reading about lost clips and so on.   I think that's why out of all the BMD owners I know, none have actually embarked on a truly ambitious full project with raw.   ***   The last short film I did was for Virgin Media Shorts, I used the 600D with hacked high bitrates and antialiasing filter and I'm happy with it. Sure it's a limited look, but so is certain film stock. I had to work so quickly, I just couldn't have done it with a glitchy camera, too much weight and rigging, or a demonic workflow. I just ran with the look and gave it a grungy psuedo 16mm feel.   If I could've had an Alexa look from a small DSLR box (as BMD promises), complete with compressed ProRes or DNxHD, then it would be the best option, but right now I hear a lot of grumbling from those using those cameras in the heat of battle so I'm keeping clear.   I loved Upstream Colour.... you could tell it was an 8-bit cam and quickly shot in places because the colours were different on every shot, sometimes in the same scene, but it worked with the piece, the confusion and surreal settings, it all added to it.   I think the key is working with what you have. If you have a camera that makes footage look like video, work with that look, if you try and make it look like Red Epic, you end up looking cheap, and so on...   I see a few films shot on Epic where they've tried to emulate film stock and the result is actually too sharp to be believable, so it works both ways.

nice lens cool angles  iscorama is easy but ya canna beata baby moller : )

in old hollywood times the camera dept,the camera rental companies did not bother with achromatic correction. harrison and harrison,mitchells and tiffen made do with single element close up. in fact many rentals got local companies to make pretty shit close up optics. i nose cos i worked at technovision,jdc and panavision. in film they had a big team structure spherical or scope they did not shoot wide open unless they could help it. if they had to shoot a stop down from open the lovely quality camera optics could take it. using shit plate window glass close up on anamorphic was not an issue the folks shootin had plenty a lights and nice heavy f stops correcting any nasties we was messin with achromatic close up in the 1980s. 2 big 2 expensive and 2 heavy once you got over 80mm a joke when you got to 130-150mm. not needed. today compact digical cams are different the folks are different most are shooting without lights, no gaffers and sparks,shooting wide open some with seriously shit anamorphics. where did most of the tokina come from,who got them,who tested them,who purchased most of the worlds stock from various warehouses around the world. who sold them,who bored folks with the info it is true these optics will help you. who got abuse from no it all schmucks saying single element is good enough doublets are not needed you are talking shit. me. most of the tokina around the world came from me,shipped from london. how can the tokina made nearly 10 years ago be in original box like new cos i purchase everything new old stock. sold them at £75 sterling then the fewer i had the higher the price went. i now have 3 left out of 300 hundred. so sorry for calling you a tit but your crap about you lecturing some copy cat china company about what to do did not come from you from an original concept, it came from my insight. the improvement of optex,century with tokina came from my experiments. did i twitter blog about it or shoot a shit noisy vampy video no. i experimented played and fiddled and sold some stuff with a cast iron guarantee of improvements. the fact they are making a +0.4 shows again that china has zero original idea. nearly always based on idea theft or takeover. i gave up my anamorphic build quite a while ago because i have high standards and was aiming for the stars. i now understand that this is not important a hill will do. what is more important is the hype of the new and how pretty the promo film looks. since letus and slr are being so lazy on the design side i will knock up some interesting nick nacks that should be pretty nice reply.

Well, that is my point, if you are skilful and ambitious enough, it will not look like crap.   I'd prefer a GH3, some good lighting and, say, a cheap Movi alternative... Than a RED Epic Dragon with just a tripod.

  That is why I am watching the Kinefinity line very closely. Frankly, I hope it does very well.