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One thing, the distortion on faces comes because of perspective not because of distortions of the lens. Just try to close one eye and get close to the face of someone, your brain corrects any distortion but the perspective is still there and it will look akward. This is why some people say that wideangle closeups are "intimate". Let's say that the most natural perspective is with the 50mm. A shot done with a 50mm on FullFrame will be natural because when viewed in a normal sized screen/viewing-distance relation it has the same perspective as your eyes watching the scene through a rectangle and being at the same place where the camera is placed. When going above 50mm it gets a closeup, or the way you would remember something where you concentraded on details while sitting away in a confortable distance.

​Good choice. I'll leave the art part up to you rather than lecture on that like certain other members like to do...

​1080p 30/24 fps is excellent in the camera, 60fps in FF mode does have some aliasing though (wide shots). If doing wide shots in 60fps I would put the camera is APS-C mode which is almost perfectly clean. A7s is a beautiful camera with great dynamic range, a very very good balance of price vs quality, especially when compared to much more expensive cinema cameras.

I like the Philips BDM4065UC (haven't used it, but looks pretty ok for the price). €750, VA-panel, 40" - No, it's not a tv http://www.tftcentral.co.uk/reviews/philips_bdm4065uc.htm BenQ BL3201PT also seems a nice 'budget' option. 32", IPS-panel (srgb), around €900 http://orwww2.benq.com/product/monitor/bl3201pt/

You can definitely tell a large difference on a desk where viewing distances are tiny. I also enjoy the extra real estate for editing and my OS. Going back to 2.5K feels cramped and much softer. The Mac makes it easier on your eyes with the retina scaling options. I don't recommend reading the web on a 27" 4K display at 1:1.

I got the LG 17:9 4K 31" and I find 4K leaps and bounds better than the 30" 2560x1600 I've had before. It's like stated before, switching from an old mobile phone to a new one with 4 times the resolution. It's so much less pixely. I also love the screen estate, I now run three browsers next to each other. UI scaling isn't that big of a deal on Win 8.1 anymore. Mac is a bit more problematic though, I've heard. Dunno bout the Dell, but the LG I can almost wholeheartedly recommend (the red shift off to the sides is a bit annoying, but as far as I understand the only top alternatives are the Eizos, which means a few hundred bucks more for the model without Adobe RGB and a few thousand once the model with the 10 bit panel and Color Management comes out (no option for me).

​Right. It's the same sort of idea as with photos like this: A lot of people use the term 'lens compression' or 'telephoto compression,' when a more appropriate term would be 'perspective compression.' It's not anything about the lens itself that is compressing the image like this (except that it allows you to get 'close'), it's how far away you are from the subject. It's a small difference and doesn't make too much of a difference when shooting (you're not going to stand 200 feet away with a 28mm and crop it look like it was shot with a 200mm), but it's a good thing to know.

It's weird and it almost looks to me "doug gerber" is someone advertising for Ray Romans workshop or just trying to bring it to our attention, Doug posted the exact same question on dvinfo.net which I answered but right after that the entire message was deleted from the board which is very unusual since only someone with a admin status can do that, also there he was a first time poster. It might be a coincidence but Ray has a new workshop about to start and he is advertising for that on dvinfo. Maybe I"m just being paranoia...

​Sounds like the wrong holes. take your thumb and finger and pinch the back lip of the FM lens opening and twist counter-clockwise. It sounds like the helicoid is wound closed (normal for shipping). When the lens turns it will extend to reveal the 4 hex screws that you use to clamp onto the cinelux body or mounting tube.

​I ordered one, thanks for the tip. Just got a Mac Pro and this looks like it will be a sweet photo and video editing monitor Chris

Has nobody tried it with the Proskar-16 anamorphic yet?

I remember vividly 4K was rumored by that very site to be coming. Just to backpeddle on that stating the source however may not be that legit. Finally, it was taken back but things looked as if the video mode would be approved quite significantly... well, in the end all we got for video ironically was a dust & scratches filter... such a pity, the E-M1 is a dream of a camera in most aspects and I wouldn't require 'em to give us 4K at all, but we've yet to see 24 and 25p which kinda was anticipated by quite a few people... and perhaps they could squeeze a little bit more out of the sensor performance (bitrate/codec) wise. But I have a feeling they have a fear of being known for great video...

Here's a pic of my rig as it is today.

​I own this one. I like it a lot, well made, strong. It's a bit heavy since everything is metal no plastic. Did not like the shoulder pad however. I got this one instead and I love it: http://www.shapewlb.com/en/product/products/accessories/shoulder-pad/adjustable-composite-shoulder-pad_53.aspx?id_page_parent=132 with the counterweight: http://www.shapewlb.com/en/product/products/accessories/shoulder-pad/counter-weight_55.aspx?id_page_parent=132 With my other accessory's I have perfect balance on my shoulder, I can let go of the camera and it stays. But yeah, I can recommend the gini rig

​Thanks Andrew, and all the other members who took the effort to give me advice..I decided to buy the Sony A7S and will start with my old (FD, 28, 35, 55) lenses. I have a good feeling that I made the right choice, maybe someday I will film in 4K, but for now I will use the 1080. Happy! ​

​ It's incredible how many people ignore the importance of lighting when making "filmic" images, or any images for that matter. Lighting is more important than the camera, it can make the image of a "sub-standard" camera look much better than "the best camera ever" that was used without additional lighting. Obviously. Sony A7S is the best choice IMO (for your needs). Regardless of its's high sensitivity, don't ignore a set of lights either

Here is a 2015 test comparing different strengths of Ultracon, low con etc... Some of the filters look drastic, but If you open multiple browser windows side x side and pause the test on Clean, Ultracon, lowcon etc.. you can make a better comparison. Keep in mind small vs large viewing screens and different focal lengths change the strength of a filters look. I use Schnieder Digicon a bit, as it lowers highlights by adding black specs in the filter. As you can see in the test, it is almost like an optical log. I also have used Hollywood Blackmagic to take the digital edge off, but it isn't included in the test. Curious how it compares to Glimmer Glass? http://vimeo.com/116316115

This is the one I use: http://kamerar.com/products/shoulder-rig-counter-weight It's pretty much perfect.

*OT*: Funny thing that Resolve 11.1.4 (available on the App Store) now adds even better interoperability with FCP X. It now (allegedly, had no time yet to test it) fully understands compound clips, synched clips and all retiming operations within FCP X. 11.1.4 does not yet show up on the official BM site. Just a sidenote ...