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It was well shot, but the original was so pretentious and narcissistic, many thought it was a parody. This parody though, manages to parody it:

Yeah that's why I'm still filming on mini-dv. No point to upgrade if something better is just going to be released eventually.

I funded that... Got the Platinum version. Roll on February and fingers crossed :)

the whole Carl Zeiss Distagon 'Hollywood' look is all referanced to Super 35mm film field of view (in dslr terms thats APSC or micro 4/3 WITH a speedbooster to give a Super 35mm Field of view) The Carl Zeiss Distagon f2 28mm lens has this reputation and the nick name 'Hollywood' in referance to it giving a similar look to a 27mm Carl Zeiss Master Prime Cinema Lens or a Zeiss Ultra prime 28mm The Zeiss Master Primes is in fact a 27mm lens not a 28mm like the Distagon. It's is David Fincher's favourite lens and used alot on all of his films plus DOPs like Roger Deakins use Zeiss Master Primes alot and large postions of the James Bond film Skyfall where shot on a Zeiss 27mm Master Prime. To get the 'Hollywood' look with the Carl Zeiss Distagon 28mm f2 you need to shoot with it WIDE OPEN at f2 Its a very good expensive lens because it is sharp wide open at f2 - it is very very usable there! If you shoot with this lens at f5.6 it just looks like any other 28mm lens - BUT VERY SHARP! The 'look' is wide open at f2. The other month I was fliming with a 2 camera set up and I wanted the same lens on both cameras. I only have one Zeiss 28mm lens I was using on camera 1 on a Lens Turbo speesbooster on a g6 so I came up with a very good alternative for camera 2 that looks practically the same as the Zeiss. Here is how I did it- poor mans Distagon 28mm f2 you take a Canon new FD (nFD) 28mm f2.8 and put it on an RJ canon fd - micro 4/3 speed booster - this gives you the Super 35mm field of view like you need and makes the lens f2 which gives you that look - the speed booster also sharpens the lens so its now of similar sharpness to the Zeiss . When I cut between camera 1 and camera 2 in the edit it worked great both looked the same! The Canon fd lens has the same warm look and great blacks like the Zeiss and its now f2!! So there you have it Hollywood 28mm f2 lens look on the cheap !! If you are serious about getting a Hollywood look on all your footage the three focal lengths you need to be using they are 28mm , 40mm and 70mm all shot at f2 all the time in a Suoer 35mm field of view (so APSC or Micro 4/3 on a speedbooster) 28mm for the wides 70mm for all the close up head shots and 40mm for all the rest the coverage shots (use a 50mm lens if you don't have a 40mm lens and take 3 steps backwards!! haha that ususally gives the same look) and for all of you that read about me harping on about the Nikon 28-70mm f2.8 'Bourne' zoom lens will see it covers all those focal lengths I have mentioned above in just one lens - instant Hollywood in one lens !! stick it on a speed booster and that makes it the all magic f2 you need to get the 'look'

Sony Active Pixel Color Sampling is coming and it is completely different to anything else. It solves the low light performance issues with global shutter sensors, makes ultra high frame rates possible and scraps the traditional bayer RGB filter altogether. Read the full article here

That's not the only solution. Another solution is to not buy into the Apple ecosystem.

Hardly. 35mm 8-perf (film runs through gate horizontally, not vertically, the frame size equals full frame 36mm x 24 mm) could have had perhaps 5k, but never a theater print (4-perf, with considerable widescreen-crop), and definitely not when projected, because all those little analog tolerances added, and what was left was way under 1k. Digital projection in 2k meant an immediate improvement, though not a very spectacular one. And that 4k means four times the resolution of 2k doesn't mean that the images now look four times as good. It's rather that you recognize limitations of resolution caused by too big images later. 4k images can be projected bigger, that's all there is to it. Take 640p as an example: If you watch a Youtube clip in this original size - according to the pixels of your display - it looks the same as the HD-version. Only if you toggle it full screen you will see the shortcoming of the smaller resolution. But take the appropriate resolution as a given.

yes thats the way to think now speedboosters are so good and so cheap - you dont need to spend £800 on just one Zeiss lens anymore!

Pretty much. The speed booster give you an extra stop of light, so an f2.8 become something similar to an f2, and an f1.8 would be something like f1.2 or f1. Depends on the speed booster (expensive booster tend to use better glass) you can achieve extra sharpness as well.

You can check out my extensive test using the metabones speedbooster on a GH4 + SLR Magic Anamorphot. You can see the clear difference in FOV and a little with depth of field.

If you can use a DC coupler with the LX100 then such a battery pack could be used. I've made a similar rig for my Canon ELPH 300 (for long time-lapses) and a pair of 18650 (3.7v) batteries in a parallel battery holder (essentially a 2 cell battery pack). I also wired another connector with an inline 3.7 volt BUCK converter so I could use a small sealed 12v battery for extremely long power needs. The point is to supply the correct voltage with the correct connector tip and polarity for the DC coupler. The cameras battery level indicator in all likelihood will be inaccurate though.

Yeah, this is a problem for me too. It is so clearly a scam. That said, it has not been without it's benefits. It has cut my ebay spending by about 90% since this absurd gouging has taken place. At this point, if I see the global shipping program on the ad, I just click off. It is the seller's way of saying they do not want to sell internationally.

The Panasonic battery is 7.2V so may need a special battery - not sure what connector the dc coupler provides is. Maybe something like this with an additional plug adapter; http://www.amazon.com/Venom-3300mAh-6-Cell-Battery-Universal/dp/B0007U9OF0

Some companies are going to bring out some cameras next year that are going to be better than previous cameras and one companies' camera will be better than another companies' camera but only in this way not that way and anyway some people will prefer the other companies' camera nevertheless and anyway everybody will complain about everything except of course the latest thing but only for five minutes and then it will be crap again like all the others except the ones that are your favourite not mine and then it will all start again every five f*cking minutes and nobody will have enough time to make a decent or interesting f*cking film because by the time the film is half made you will be devastated by how "last-month" your camera is and none of the twelve other cameras you have in your back pocket will cut it either but you don't want to give Canikonysonic your money because they are responsible for all the troubles of the world so you just start juggling with all seventeen of your outmoded cameras hoping to collect spare change from passers-by to pay for the perfect camera while you wait patiently for THE ONE to descend from the arse of the Great Camera God in the Sky and lord help him if it's not the right price or it has too many goblins in the shadows or isn't as sharp as the razor blade you will massacre innocents with if anyone says "content is king" again or is in some other aspect different to another current quite good camera or a camera in the imagination of one or two video forum users. Amen.

Quality video is never coming back to the DSLR line.   That is precisely what the Cinema EOS line is for.   And you must pay the asking price for it, or get a Sony.

Canon. Can. Non. Non-can. No can do. Cannot. Can't. Just sayin'.

The tongue of the wise commends knowledge, but the mouths of fools pour out folly.

Beware false prophets.

Tokina RMC 28-85mm f4 - low contrast lens that flares like crazy - loads of filmic character. The 'Helios' of zoom lenses!! '' target='_blank'>> '' target='_blank'>> the other 2 zooms that are part of the RMC range also have alot of character the TOKINA RMC 28-70MM f4 and the Tokina RMC 25-50mm f4 stick them on speedboosters and they are very usable f2.8 zooms!

This was shot in 8bits on a canon c300 and has won awards,

Why would anyone get the C100 Mk II when for less than £2k more you can get an FS7?   FS7 UK price - http://cvp.com/index.php?t=product/sony_pxw-fs7   C100 Mk II - http://cvp.com/index.php?t=product/canon_eos-c100-mark-ii

All three were Cinelux WA, Canon 50mm 1.8, and a GH2. Very sharp, very crisp and defined flares. No longer own this and kind regret getting rid of it. Own a version 2 Hypergonar now, which in comparison has much less crisp but very long flares. I would say the Cinelux is more clinical and the Hypergonar more filmic and organic.