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New Kids and Cooking scene modes! Now everyone can count to potato.... Full stats: http://www.ephotozine.com/article/canon-eos-m2-announced-in-japan-23603?utm_source=twitterfeed&utm_medium=twitter&utm_campaign=Feed%3A+Ephotozine+(ePHOTOzine) Yep, it's that sensor again. Sigh...

I believe all independent "creative" project work suffers the same business/financial limitations. 1. The ratio of clients to advertising dollars will be too low to justify advertising/marketing your way to a profitable business. This is why so many buy a lot of equipment and advertising and soon you see their stuff for sale on Ebay. 2. All businesses succeed in either two ways. "Right place and right time" (like you got into music videos when MTV started, or slow-mo video when it became hot, etc). Or two, you are persistent and focused for a enough years to establish yourself. Word of mouth is what gets you clients and it takes time, always more than you expect/want....need ;) 3. You need enough skill to be competent, but after that, too much effort in the art, versus, marketing, it detrimental financially. 4. Ultimately, you're going to need a large client that pays your nut. It might be a Church at a corporate level, or a local utility company, etc. Or maybe a powerful wedding planner, etc. As they say, you'll put in the same time for a $20,000 client as you will a $2,000. To really answer your question, there is no one way corporations or any potential client does things. I don't work in video, but in a similar way. What it took me years to see is that I can't "structure" my services to what I think clients rationally want. Often, if I can do 10 things, and I think item 10 is the hardest, most accomplished, and 1 is the easiest which anyone can do, often the client values 1 the most and 10 the least. You have to let the client pay you for what they value. If the client wants to pay you $10,000 to do 1 and you bill $1,000, hoping they'll do 10 one day, you'll learn the hard way as I did. Charge what the client will pay for what the client wants. Do NOT negotiate their end of the deal. After you determine what you need to charge to stay in business charge that at minimum. Naturally, you'll take jobs where you're paid 1/10th of what you're worth, because you love it. That means you have to let clients pay you 10x what you're worth sometimes to do something that you know a simpleton could do--again, listen to what the clients wants, not what you think they need. Ultimately, your job is to free up the client's time to focus on something else. Yes, you need to do a good job, but you have to keep in mind you're always a part of a larger goal. Well, dog has to be walked so I'll write more later if this thread goes anywhere. Set aside 5 years to build a video business, keep an open mind as to how that my evolve, who your clients may become, what you may end up specializing in, and you'll get there. Just keep in mind you'll make less money than in a corporation. So you have to really value your independence.

Today Metabones release two new Speed Boosters for Blackmagic shooters. I've been using some demo samples for this special review and I'm absolutely stunned. Metabones and Caldwell Optics have given us a Zeiss / Kubrick / NASA special! These adapters are completely new and purpose designed to fit only the Blackmagic cameras. Offering super bright apertures as fast as F0.74 and finally some great wide angle possibilities, I put both new adapters through their paces... Read the full article here

I haven't actually shot much footage with it. I had it as a stills lens only. Some examples (click on the images for a larger view):

http://www.kenrockwell.com/nikon/24f28.htm Just a normal old manual Nikon 24mm f2.8 AI-S lens - v.close focusing & no distortion. So no real catch, apart from you need 95mm or 82mm diopters (Tokina 72mm vignettes) for the Iscorama. I think with the new Speedbooster i'm going to go Nikon, so only really need to get a 28mm & a 50mm.

LOL In 30 years time 'nostalgia' video filters won't be Super-8, they'll be "Canon APS-C". You'll be able to dial in the amount of moire and aliasing you want, lower your 16k resolution down to 720p, and choose your desired levels of mushiness, macroblocking and noise. It'll evoke that dreamy early 21st century feeling better than anything. I can't wait.

I just signed up for dropbox but the links are still giving me a Dropbox 403 error. It it something i'm doing wrong?

I just did a quick explore of low light between the D5200 and new Panasonic GM1.   The GM1 actually is now on par with the D5200 in low light at ISO 1600 and 3200. An improvement on GH3 to say the least!   It's also just as cheap.   It resolves more detail, has a more flexible lens mount and is more feature packed.   The small size is slightly crazy but I highly recommend it. For those undecided on D5300 check it out. With the MFT Speed Booster on this thing you will be getting a D5200 bettering image for sure.

I hope it does work on the Digital Bolex. Bmpc without rolling shutter !

Yep, that's why i mentioned the moire in BM RAW. However, the ProRes, as standard, really is v.good - so much so, that i really don't see the need for RAW on the Pocket (maybe wide landscape shots). Also, in BM Pocket you get Full HD [continuous] Raw recording, no time limits but the card filling up & sound. Having used ML RAW on my 60D, you do notice a little difference between 12 & 14, but really not enough to cry about. Anyways, back to your original post - Did you make a mistake? Probably not. With the 7D you get a 2-in-1 camera: photos, some ML RAW & H264 (you can increase the bit rate with ML), all without Moire & Aliasing. Plenty of stuff has been shot on a 7D - part of Black Swan used a 7D (subway shots). Your gut feeling told you to buy the 7D & there's always going to be that moment of "what if I bought this or that instead" - everyone goes through it. Best cure - Go out & shoot something with it! One tip - use a good Picture Style with it, I found VisionColor to be excellent.