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The first music video I shot on FS7 and edited on FCPX is now available to see.  The features of the camera were to use 4k 50fps to punch in and slow down the footage at certain moments, and use the 150fps in 1080p for dramatic effect. I don't think this video shows off the resolution/colour as such - but the creative options available with higher frame rates (lacking so badly in all things Canon).  The brief was to go with a unique, dark, grungy, imperfect and grainy look to suit the intensity of the track - this is very much an "editors" video and it might give you a headache - it's flashing all over the place! The GH3 was used on the projection scenes. We ran out of budget.  I have a 2nd video being edited now which is a pop track with a Maltese singer - this one is looking beautiful. It shows all the best features of the FS7. Out in 2 weeks.  My opinion on the camera.... best camera release since I can remember. Still, the menus and buttons are crap. Can't have it all! Watch now and protect your ears!!!    

This grew out of a discussion over on DVX user, thought I'd add it here if anyone is interested. A poster asked "what is the best c-stand" and my reply was "usually, not a c-stand". C stands are designed to get small lights and flags into a maze of light stand feet. They're not intended for overheads or big 2K fresnels. They tip easily, they're hard to pack, and the way the column meets the base at a single point makes them even more prone to tipping. For some reason, "c-stand" has become a sort of knee-jerk must-have for people starting to build a kit. I like having c-stands, but especially on a tight budget, I'd shop for stands that are more versatile, can hold more weight with greater stability, are easier to pack, and could reasonably be used for, say, an 8x8 overhead in calm conditions, and (hopefully) cost the same or less. Something that can take an XL softbox or a big octagon without 3 sandbags and prayer. I'm comparing stands here to the Avenger Turtle-Base (unless you are 100% studio, you really don't want 1-piece C-stands - I feel they're a pain to pack). And turtles do give you the floor-stand option with a butt plug. Yet I'd take a Beefy Baby over a c-stand any day, in most cases. So - Stands in the $200 or less range you should consider. In the US, all the stands below can be found with free US shipping. There's probably a few more choices out there, but here's what's top of my radar: BEST VALUE: Matthews Steel Kit Stand 25 lb load, 37" footprint - 9.5 ft. tall (Actually better height, load and footprint than the Beefy Baby) $87, free shipping Not as heavy steel as Beefy Babies (and thus lighter to pack)... and, DUDE, eighty seven bucks!! That's two c-stands!! THE KING OF AFFORDABLE STANDS: Kupo Master Combo HD $156 88 freaking pounds max. load! 55" footprint! ELEVEN FEET high. baby pin AND junior receiver. Leveling leg! Cons: a very very wide footprint (very stable) that might be overkill on a tiny set. OR SAVE A FEW BUCKS: Kupo Master Combo Alu Senior Stand $144 26.5 lb load at a maximum height of 12' 4". Footprint: 46" - still pretty big. Aluminum construction, a triple function universal head and a leveling leg. THE KNEE JERK C-STAND, (most agree) THE BEST VERSION AVAILABLE: Avenger turtle base c-stand $169 9.8' feet height, 3' footprint, 22 lb max load, baby pin. Anyone who puts 22 lbs. on a fully extendedd c-stand may be asking for trouble though... If you shoot strictly in the studio, you can save some money and get 1-piece (non turtle) c-stands. Which are a pain to pack. If you use turtle base stands, you should invest in some butt plugs at $20 or so each. Makes a great floor-level stand. Or buy the narrower turtle base and a butt plug. BEST ALTERNATES TO THE C-STAND In addition to that $87 Steel Kit Stand... Matthews Beefy Beefy Double Riser $173 8.5' height, 22 lb max load 33" footprint. An industry standard. Essentially same price as the best c-stand. (Was manufactured with a 12' aluminum column for some time, and those show up cheap on the used market - I wouldn't extend those fully or use in the wind, as the column is weaker than steel. I have two of the aluminum stands and I feel the column could buckle with enough stress. Great lightweight stand to get smaller flags up very high though, great for big softboxes at reasonable heights.) Matthews Beefy Beefy Triple Riser $203 12 ft height, 20 lbs max load 33" footprint. A killer stand. WANT WHEELS ON A KILLER STAND? Kupo Junior Roller $199 17 lb max load - 45" footprint - 8.8' high With super useful and good-sized braking wheels - bigger wheels than the Matthews roller in fact, which don't have brakes (well, mine don't). (Avenger roller is same price, 1 foot shorter, only 28" footprint.) The giant footprint of the Kupo roller suggests it could be used for smaller overheads in calm conditions if big height isn't needed. This type of stand is a dynamite thing to have - I use them for microphone booms, they're sturdy and reposition fast, rarely need sand bags.

Well.. That escalated quickly. Lol. I miss these threads.. They can go from zero to gearslutz in 2.1 sec. Cracks me up.. There's always that "one guy". This site rules. Personally it's the only one that's ever posted anything consistently relevant to what I want to know. Hearing how Roger Deakins likes his eggs is nice on the other sites, but not very interesting.

​Very old argument, from 2009 in fact! Move along please.

Super 35 is closest to APS-C, which has a 1.5x crop (or 1.6x for Canon). So to get a 50mm full frame focal length, you must use about a 35mm lens on the s35 or APS-C camera. The reason super 35 is called that (rather than super 25 or something related to its actual dimensions) is because it uses the same film stock as 35mm SLR's but the image is only captured on a portion of it. This is as opposed to something like 16mm film where the actual film stock is smaller. And Super 16mm uses a wider portion of that film stock (to give a wider aspect ratio) which would otherwise have been reserved for the soundtrack.

You said it's your friends first camera and he is a 100% novice but at the same time you ask if a certain camera is right for cinema, I think he first needs to learn the basics of shooting video and the cheapest camera he can find will be more then fine for that purpose, you can shoot "cinema" with a second hand 550d and one 35mm lens if you want, he first needs to learn how to tell a story.

Ok, I'll admit, I'm drooling over the Bolex Body Gloves... est price for the non-gold version? And will the big one work on a Cinelux with the front flaps?

Nice shots too

who gives a shit

Can you punch in on the footage to 100% HD size with out any loss.. I ask this as i just watched a vidio on this camera and the guy from Sony was saying you should never zoom in the 4k footage as it destroys it.. This is one of the main features i like about 4K that i am doing everyday now. So was wondering if that is a problem with their code for compression that it can not be zoomed in with out problems? Thinking about this camera myself need to save up some first but i want to zoom in to HD size when exporting in HD. I watched some of your other videos to i like what you are doing.

I just hope E-M1 gets the video improvements because I would hate to sell it. Coupled with the 25/T0.95 is a joy to use.

again to my eyes, It's underexposure that creates noise, not high ISOs. - this is my experience also! I have just tested two Minolta-lenses (on my 5dmk2-MLraw) with a external sekonic exposure-meter and I was very surprised by the quality of the pro res 422 Export files! No noise and a film-like grain - with 800/1600 ISO! Precise exposure is definitely a guarantee to avoid Noise - more than ISO Settings! Here´s the test, but the H264 - and Vimeocompression, is a bit disappointing:). -

This was very good. Good music also. Thumbs up! Doesn't play in Germany, due to unsolved copyright something. Had to install Firefox and an addon to see it. Was worth the trouble.

That slo-mo looks niiiice.

Not sure what the confusion is. mm's is mm's. What camera you put a 24mm on matters for FOV, but mm is a measurement. millimeter. People that use s35 sensors/filmstock don't have a different metric system than someone shooting with a full frame, 4x5" film, or a m43 sensor. Forget the cameras anyway. That's actually irrelevant. You're talking about a lens. On your glass it's the distance from the point where light rays converge to the point where they form a sharp image onto the focal plane. 50mm is 1 millimeters plus 49 other millimeters. If you're arguing otherwise you've been misinformed. The idea that film shooters have special math that is unique for them is ... well, not right. This issue really gets convoluted because folks new to all this stuff (and even some pro's apparently) tend to overthink it and conflate various camera terminology. But if you just consider the lens, ultimately it's pretty simple. Which is why, if I was shooting a low budget action film with an ASP-C sensor, I'd tend towards the 40mm lens, as it would be a nice "standard" FOV. Not too wide, not too tight. But nothing wrong with a lens with a bit longer FOV either, you just adapt to what you got and go. I wouldn't burn time worrying about 10mm. I'd worry more about other aspects of film making. Actor and camera blocking, sets, design, stunts, lighting, acting, EDITING. Holy crap, that's the stuff that matters more. Try not to get wrapped up in gear-centric-fetishism on the low end of film making. If all that other stuff is half-assed I don't care what FOV you have, whatever film you're trying to make is going to suck. Make the most of what you have and be creative around your limitations.

Yeh nice work One of the more creative heavy metal music videos Ive seen. What lenses did you use? Also can you tell me anything about how you create the transitions?

Nice work mate. Fixed the embed.

If he is a 100% novice, I would stick to a 1080p solution. A used 550D or 600D is a great inexpensive starting point, and you can get a wide range of glass and accessories. Factor in some ML hacking goodness and it can extend the usefulness of those little workhorse cameras. By the time 4K becomes prevalent enough to really justify, he will probably be yearning for a newer camera, and prices on the current generation of 4k will have dropped significantly. The TV/Monitor sales among consumers aren't there yet for 4k. And unless he intends to go big quick, anything above 1080p is a bit overkill for online distribution at the moment. Another factor to consider: can his current computer/editing setup handle a 4k workflow? or will he need to upgrade that as well? 4K editing can be a hog.

procter, it works just the same as the FM. focus anamorphic to infinity, put it inside the rectilux, attach it to the taking lens, focused to infinity as well. attach this whole thing to the camera. was this the explanation you were looking for?

can we all calm down a bit on this thread , there is no need for anyone to get agressive , John is listing updates on his new products - which lots of people do on here . In a free market there will always be new developments and new products - thats life.