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Yes, I think the critical takeaway from that video is "Don't shoot at high ISOs in slo-mo. It looks terrible."

It seems we'll know soon enough is Canon is ready to respond. http://www.canonrumors.com/2014/07/canon-to-make-a-big-splash-at-photokina-cr2/ Depending on whether or not the announcements are a disappointment and if that new sensor tech is really "revolutionary" we may see Canon repeating the cycle again... or not.

Cheers Andy - again you're a fountain of interesting lens suggestions! Just got to find one now in the UK! Will also check out that Canon FD you just suggested.

Well, as an owner of both 7D a a6000, I believe the video functions of the a6000 would make your life much easier. - 60D has a mic input but no headphone jack, which renders the mic input useless (recording without monitoring??) unless you install ML and use a miniUSB to jack adapter to monitor through the AVout of the 60D. For paid work I personally would never use a hacked camera, and the 60D is not the most recommendable ML camera for raw video, not to mention the hassle of raw file mangement and workflow. - Exposure is hard to judge with the good ol' Canon DSLRs. The meter is just a reference that won't tell you if part of the frame is overexposed. Zebras on the a6000 make it easier. The AVCHD is not the best codec, but keep in mind not all implementations of the codec are the same (Sony FS700 vs. Olympus EM-10, for example). The AVCHD footage from the a6000 is at least as gradeable as the quicktime h.264 from the 60D. - I use legacy Nikon and Tamron glass + Samyang Cine Lenses on the a6000 and they are much easier to adapt to the Sony e-mount via speedbooster than to the EOS mount. I can't speak about AF speed beacuase I hardly use it, but I can tell you that having focus peaking is a must for video (in the Canon you have to either measure exposure and focus distance first or eyeball everything). As for the a6000 EVF, I like it for stills but for video is not so comfortable and I still prefer to use a kinotehnik loupe (120 €) on the lcd screen (which you would also need on the 60D). Canon batteries last longer, but Sony's are smaller and you can easily fit 3 in your pocket So unless you really go the ML way (which is not my cup of tea), the only advantage of the Canon is body sturdiness. Though the a6000 is well built, it is so tiny that it doesn't feel nearly as robust as a Canon body with its large grip and big buttons, but I guess that's a matter of taste. Fully rigged with separate audio recording or on a tripod the difference is not so noticeable.

Andy...thanks so much for your advice...found a very nice version of your original Tokina 28-70 in Florida...Excited to get this and excellent price!

Andy, I may have the opportunity to pick up some Nikkor manual lenses. Haven't seen them yet so don't know exact names of them Looking at these for m43 video Nikkor 24mm f2.8 Nikkor 35mm f1.2 Nikkor 50mm f1.4 Is there a speed booster that can be used with these manual Nikkor lenses? Also, if these are in good condition, how much would they be worth? Glad to have someone so knowledgeable to ask questions about older lenses.

This Lomo is so heavy that a clamp would just tear the taking lens apart. Rail support is needed.

BTW this is not shot at T1.3 and T1.5 or only their noses would be in focus , this is more like 2.8 - 4 region (or even 5.6 as this is full frame 5D ) in reality or the focus puller would not be able to track them at all! (Act of Valor shot on 5D had to stick to 5.6 of they could not keep pulling focus accurately enough on full frame , they scrapped all the 2 weeks they shot at f2.8 at the start of the filming schedule as it was all too soft!) I'm not seeing anything here I couldnt do on the Nikon 28-70mm f2.8 Bourne lens with a speedbooster at a fraction of the cost too, its a full production you are watching here not just the lens , set design , lighting design , costumes props , atmosphere and acting all add to the final look as does the grade , the glass is nice but its not creating the look the Director is creating the whole look with all his choises to make this happen. Just buying these lenses will not suddenly make your films look like this!!

This is a full production with lights, crew, make up, dolly, focus puller. Nice job but I'm not seeing anything I wouldn't expect to see from this type of setup. If you put these lenses on and start filming your cats in your lounge room in whatever light you will get a much different look :P

There is more to shots than the camera and the lenses. If yourself would shoot beside that guy with the 5dmkiii and some old MF lenses you would get almost the same results(minus the focus pulling,etc...).

Not sure I can place much faith in this one; stills resolution is much higher, so the lenses actually have to work harder. Cine lenses advantages are in areas other than resolution.

Bullshit, the d810 still skips lines so the DR in videomode is far way from those 14.8 stops you get with stills.

Turns out a lot of stuff I have was shot on an Alexa, so I thought I'd post two very different shows, 3 examples, to show how a wide range of final skin tone grades is typical. I think the main thing with the Alexa is it's flexibility, due in large part to how close they've come to a 2k film master in dynamic range, log-c profile, motion blur, sensor noise etc. In some cases all the stuff about pleasing skin tones is gone in favor of a dark, colder and often noisy look. In #1 you can see the softness of the 2k image - not just color science - helps with softening skin, concealing lines and make-up. In #2 you can see how grainy and dark the image can look - the cold fill light - the camera sensor isn't too dense. #3 almost no skin tone left in final grade. The motion blur overall looks like a film shutter. I have lots of examples of chase scenes, fights or explosions where this is really apparent. It's the opposite of the high density and sharp, but smaller sensor of the GH4, or the 4k with low bit depth, more compression of the A7s. Making an "Alexa-ish" LUT for the A7s couldn't hurt, but the image is still going to be totally different, especially with motion. But it doesn't really matter because soon we're all gonna be dead from Ebola, was just informed, have not yet verified. look at how blown out the neon sign is.. and no banding in the shadows.

Watched the video and thought to myself, love the creativity but quality doesn't do the camera any justice at all.

As these user names seemed familiar to me, and I felt I had seen useful and helpful post from these guys in the past I decided to see what kind of trouble the were causing. Of baltic's 8 posts I would consider 7 o them to be helpful normal discussions, this being the only exception. And of Nog's 13 posts I didn't find any that were looking to cause trouble, the were all offering opinions, help, or information. This was by far his most troublesome post. Baltic's fanboy comment was out of line and I don't agree with telling someone what kind of videos they should make, but is that single post ban worthy? As for Nog, unless you removed all of his troublesome posts so I was not able to find them he absolutely didn't deserve getting banned for that statement. Do you really feel that is trouble making? I am a huge fan of your site and the work that you do, I check in here almost daily since it is one of the best sources for information on anamorphics which is a large interest of mine. But I have to say that banning these individuals, especially Nog in this way is more damaging for the community than anything they did. Am I missing something here?

The adapter came in yesterday and I am impressed so far. The device was well protected and it fits my BMPCC really well. Something about the focus peaking has struck me as odd. It seems focus peaking is working better with the adapter than without it. I'll try to do some test videos that I can share soon.

Use it to project your anamorphic videos