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With Sony you never know, they breed like rabbits but in the end you can't wait forever, if you are planning to get the a7s tomorrow and it does what you expect from it just start using it and don't visit the internet anymore so you won't be disappointed if the a7sII is announced in 2 days.

Hi, I am selling this great, well looked after 4K package. I'm sure if you are looking, you know the power of this combo! Everything you need other than glass. Located in Bewdley, near Birmingham. Reason for sale, moving to RED Dragon. Package total new is £8467 (according to prices on CVP).... Looking for offers around £6500 FS700 £4435 Metabones EF to E mount - £328 Odyssey 7Q £1449 2 x 256GB SSDs - £672 Sony RAW Upgrade - £496 PEC Charge Plate - £37 SSD Lead - £20 H-SDI Lead - £20 2 x NP-F970 - 2 x £115 2 x NP-F770 - 2 x £40 Manfrotto 503 head and tripod- £700

Here is another Promo we recently shot with a set of Kowas (40, 50, 75, 100mm) that I though some people might like to see. Any thoughts or feedback welcome.

​Don't get me wrong, the nebula is a great product but it is not as convenient as IBIS. Even though nebula s smaller than a shoulder rig, it still is something that you will have to carry around in a large bag and assemble it with the camera before you shoot. That is a great way to miss the moment with children. And as the video illustrates there is no way to focus it while in use so you are limited to a large DoF and only if the light/camera allows it.

​hehe, I will

​Just buy and shoot...

​I love the IBIS and with some effort the EM1 can deliver nice video especially for close up's (at least for my needs) But the Sony A7S took over the leading role and I am very happy with that..but ohh I would like to see a stronger codec and 24p on the EM1..The EM1 is smal, light and easy, great for traveling and playing second violin. In a few weeks I am on my way to Berlin, it would be nice to have some new firmware in the EM1.

​Well if you want usable video without a rig, the new E-M5ii will be the choice. I don't shoot professionally and a rig is not something I carry with me every day. Moreover, a rig does not make it easy to follow children around. Don't underestimate a perfectly usable video in a small run&gun camera. If you are a professional, think of it as a secondary camera which will get you shots that your main cam sitting on a rig will never be able to, most probably because it will not be with you all the time.

Each camera has a certain things it does well. The GH2 was great and I just can't get myself to part with it. The GH4 takes it to a whole different level, love it. The BMPCC is really exciting once you get passed the issue of powering it. They're all great, but having a bunch of full manual lenses and the Veydra set coming up... IBIS is quite a valuable feature to have as well. Now, the E-M1 was the only one really nailing that, but as a hybrid shooter, living in a PAL region, wanting to use the camera for filming stuff as well, being stuck with 30p only... it's something you'd happily see getting changed. And I've been praying to several gods to make it happen. So when a E-M5II comes out that gives me that more video friendly vari-angle display and a more usable video mode with various framerates... that for me does it, it is what I had aspired the E-M1 to be for my personal use. Of course... it's still wait-and-see how this plays out. But I wouldn't mind getting rid of the E-M1 in favor of the E-M5II the way things are looking out right now.

Exactly!! Selling my E-M1. Wish Olympus would release both their flagships at once, to save me the eBay fees time and time again How long will I be an E-M5 II owner before I am an E-M1 II 4K owner!? Looking forward to it though, at least it is interesting, unlike a Canon!

@jcs your link didn't work, here is the corrected link http://www.hingsberg.com/index.php/2014/06/f55-matches-arri-alexas-color/ edit: i see, it was including the comma at the end

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.

​Film really separated the men from the boys. I did a two year portfolio project, 35mm 320T tungsten film pushed 3 stops, then duped (in my enlarger with a flash unit taped to the condenser) to 8x10 velvia or EPP (the shot above is the same technique). Multiple exposures on glass sheets with a different focus point for each layer, and different lights for each exposure. Three to five exposures per frame. No comps of course, Photoshop still shipped on floppy discs back then (I learned Photoshop from version 2.0 - came on like seven floppies and the manual was like a phone book!) - one shot (with brackets). I went through a lot of tungsten Polaroid pack film (which only came in 64T but I was shooting 320T at 3000 asa). Polaroids shot with a Nikon and Forscher fiber-optic back and layers of ND. Bracket like hell and cross your fingers. Came out gorgeous. The worst part about film shooting? Trying to sleep after a $20k shoot with the film at the lab, no snip tests til morning. You try to sleep with that hanging over your head! What happens when you push 320T 3 stops (don't worry, it's no longer manufactured):

First off, nice tutorial on imaging basics posted on dvxuser and elsewhere. Now on to my Q's. Were you some what scientific in your testing methods? , For the Epic Dragon what compression settings, which olpf, your debayer settings and gamma, iso or asa rating (set for optimal latitude or?), the scene captured and its dynamic range, nd filters with or without ir, resolving power of the lens, type of lighting ie.. plasma led, fluorescent, tungsten. color temp ? For Canon 1dc, c log or picture style? over iso 400? and were all other applicable settings the same for both cams? Then what size screen and its resolution did you view the images on? at 1:1 for both? Was your working colorspace for broadcast or cinema or was it srgb? On to the grade. Did you try to color match to each other, throw on a lut or ? This is especially important in the 1dc's case. The 1dc log looks great and you can push it around quite a bit, but the chroma noise comes quickly once colors are saturated, (Had the 1dc since it came out, and see it regularly, but for small screen and web, not an issue) Ppro also definitely causes problems for the 1dc. I didn't take time to figure out the problem like Andrew, I just found it didn't look as good as in other software and moved on early last year. 2- Different mfgs use different amounts of noise removal. Take the Fuji's as an example. Everyone (including me) loves their colors and raves about them. Look on any of the major review site comparison images and you will see very little noise, even when compared to some of the best sensors available at any price. The fine detail is also gone. It looks nice, but soft. Notice the 1dc is softer than other 4k cams. Very pleasing. (perfect imho). Draw your own conclusions. 3- Depends upon settings above as well as being subjective 5- Dxo (if you believe them) rate Epic as the best they have ever tested. 14.8ev and color bit depth on par with medium format Phase one. Other proper tests including the one I mentioned in my earlier post clearly show otherwise, and the often quoted and outspoken Shane Hurlburt completely disagrees. (subscribed to his inner circle and not impressed) Andrews blog is far better. 6-Straight out of cam most seem to agree. Much better options for making the epic pretty though. 8- 1dc definely has banding on smooth gradients , (even in non adobe products) Add some noise and most of the time your okay 9- ff6k on the Dragon is 1.25 (roughly) so it is actually minutely larger than the 1dc. 19 megapixels as well. 18 for 1dc " that's not important to me if the 1dc gives me no need to grade at all" Lets be reasonable. Can you honestly say you would make a movie (other than a doc or reality) where you wouldn't have it graded?

Given the 1DC price drop, it would appear Canon may be about to release a new 4K DSLR. Everyone on this forum would love to see a 4K 5D4(k). Having a high-end FF still camera combined with 4K and great color science in a single camera is very appealing. Especially if one has invested heavily in EF lenses. Sony and Panasonic have listened to us and given us great new cameras: the A7S and GH4. We have responded by buying them- lots of them. If Canon doesn't want our money, no sweat. The A7S II will likely have 4K internal, less rolling shutter, improved autofocus (perhaps with 'fancy pixels'), and improved color science (and possibly even IBIS). Case in point: if Sony can make the F55 match Alexa with a software upgrade (perhaps only with LUTs), and when the F65 beats Alexa at the high end in color science, it's clear Sony can 'bring it' with color science to the consumer market if they want to. The A7S can already closely match the 5D3 (RAW) with a bit of work with camera set up and post adjustments. A software update can make color processing more foolproof (as in the case of Canon cameras: tuned to make skin tones look good with little effort). While Sony's ergonomics and software GUI's are market trailing (I'm sure some folks at Apple are looking for new challenges and career opportunities!), their sensors are market leading. It would be cool to see the Alexa 65 compared to the F65 (65 vs 65). I was curious why Netflix went with the F55 for Marco Polo, which didn't look very good in the first episode but got better looking as time went on. I understand different teams were used, perhaps Sony provided support as well. Why would they use the F55 over the Alexa? With budgets shrinking, it appears to be more value for the dollar. Once it was clear the F55 could match the Alexa in a skin tone test: http://www.hingsberg.com/index.php/2014/06/f55-matches-arri-alexas-color/, and the F65 can exceed the Alexa in overall color (Oblivion & Lucy), it became clear Sony is in the position to take the lead from Canon and ARRI. Rumors of Canon using Sony sensors for the 5Dx, if true, would further the trend. Nikon is already using Sony sensors. Black Magic and Red also provide interesting options. For the types of shoots most of us do, a highly compressed, high quality codec which can be edited in real-time is ideal. Again, Sony leads here with 422 10-bit XAVC and 420 8-bit XAVC-S. These are simply marketing names for different flavors of the H.264 standard- nothing proprietary. H.264 also supports 444 up to 14-bits (the Hi444P spec). With high-quality hardware debayering in-camera (or a non-Bayer sensor) and Hi444p (perhaps even just Hi422P), there's no practical advantage to RAW or ProRes for most applications using modern computers. GPU power keeps increasing- any advantage to ProRes in terms of decoding is rapidly going away (ProRes is a marketing name for 10/12-bit 422/444 MJPEG). Someday we'll have great 'all around cameras'. For now, grab the 5Dx or Nikon Dxxx for stills (even the A7S for extreme low light), and any of a number of great cameras for video.

I sold my FS700 and bought a KineMINI, and I'm very happy I did. The only thing I miss are the ND filters. Cineform in 4K would be nice, because the trascoding takes a while, but at least we have Cineform in 1080p, 2K, 3K, and S16mm crop mode. Hopefully they update the codec to 64bit, like Rob said. Maybe we can get some higher frame rates too in 4K. The controls are much easier to manage than the FS700. At first the wheel was a little weird, but now it's very easy to manage. For me, it works great as a run and gun type camera too… definitely more ergonomic than the FS700, especially with a V-mount battery on back. You can mount an audio recorder(plugged into KineMini) on one side(1/4 20 mounts on both sides) and a wireless receiver on the other with quick release plates, and it works great.

​Not vist the internet anymore?.......that's....that's not possible.

Good points - though this was really "inspired" by newbies who seem to think c-stands are the only pro stand out there. And every stand I listed has a baby pin and will take a standard grip head & arm; the juniors have pop-up baby pins with Jr. receivers, and would have you prepared for that first 1.2k HMI you buy from eBay. @Ieeys, I'm in the US and used US links and only posted items with free US shipping, but many of these should be available on your side of the pond. I have plenty of $50 black steel light stands, many that came with flo's, etc, and they're handy and lightweight. Once you try to boom even a small card with 'em, not so great. Again, I'm suggesting people new to all of this become aware that their heavy-stand dollars can be better spent than just c-stands. For the same investment (or a few bucks more, or even a good deal less) you can get a lot more stand with more versatility. There are times on a complex shoot (especially product shots) where only a c-stand will fit in that maze of tripod-leg stands - that seems to really be their intended use. Those of us with a product background have been there - the jewelry tabletop with a forest of chrome all around it, a stylist and client trying to get their heads in with a camera on an arm and a giant softbox overhead... I've even loved those little "mini" c's at those times - with the 18" footprint! This shot took every light stand I owned (film days, shot on EPP) - and I ended up grabbing two microphone stands (products on individual sheets of glass, etc)

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

If you read the comments there you'll find out that the one you're linking to, some of the parts it consists out of are plastic. I also have Ginirigs stuff. All metal everything. Just threw two examples together real quick for ya. The first one below is one of these offset dual rod setups, is more rigid and well-built than all the really cheap stuff and much more modular. So you can get some parts from Lanparte for example and throw it on there. Yeah, haven't thrown any counterweights on it, but it's easy to adapt to. With a small lens it's nice 'n easy, but that 80-200mm for example does get to you a little. Follow focus is the Kamerar one (FF3 if I remember correctly). 2nd one is more of a run 'n gun thing (ABCRig). It's more of a cage with handle that has some shoulder rig abilities than a shoulder rig per se. It's nice 'n basic though.

This is a short fashion film that a few friends and I made recently for a graduate of the National College of Art & Design in Dublin, Ireland. It was a non-commercial gig that we did with no money by calling in some favors. We filmed in two different locations, one in Dublin and another in Tullamore over the course of one day. A lot of the shots are available light with diff or bounce. The opening sequence in the science lab was lit with a couple of redheads and daylight. Small LED lights were used in places. It was mainly shot on Samyang Cine lenses 35mm & 85mm and a Canon 50mm f1.4. Everything was shot raw either in 1080p 25fps or 50fps at a lower res. ProRes files were made in Resolve using the cinelog lut. The edit and grade was handled by the director. The original plan was to relink and for me to grade in Resolve but I moved to NYC recently so the director working from the ProRes files was the easiest solution. Thanks for watching, some other stuff shot on everything from 16mm film to Red can be seen on my site: www.richardtwomey.com