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doing some camera tests for an upcoming feature and thought i'd share the results (after some not as ideal results from my first shoot) full write up here if you're interested (with before/afters), but the main points: 12800 iso exposed skin around %60 ire on fill side used alisters one stop over film lut denoised %30 in neat video (may eventually remove denoising as the grain isn't that unappealing) shot with nikon zooms. some snippets from the dailies in 4k:

You would probably be better off going with a typical tungsten kit, unless there is a special reason that you want to use batteries. Tungsten fixtures are not as efficient as LEDs nor ballasted sources, but tungsten has a much lower "piastre-to-footcandle" ratio, and the color spectrum of tungsten is as pure as you will ever need. In addition, tungsten lights are generally easier to control (focusing, dimming, cutting, etc.) than LEDs and Fluorescents. On the whole, tungstens have more "punch" than LEDs. Just look at the photometric data charts of some of the LEDs and compare them to those of the tungsten fixtures. Be mindful to compare the readings from same distance and with the same beam angle. By the way, some manufacturers mislead regarding their beam angles. The standard way to get a beam angle is to delineate it at the point at which the brightness drops one stop (50%) from the maximum level (usually at the center of the beam). If the manufacturer doesn't specify how the beam is delineated, there's no telling what the "actual" beam angle is, unless you can test the unit yourself. If you aren't too particular about the double shadow from cuts into the side of the beam, you will probably be happier with open-faced focusing lights, instead of Fresnels/refractive-focus units. Open-faced fixtures are usually lighter, more compact, more rugged and less expensive than their lensed counterparts. Open faced sources usually have more output, as well.

I believe they must be talking about sampling rate, but since you are going to record it on the Zoom H6 at 48kHz, the resulting .wav file is going to be 48kHz -honestly, I doubt anyone can really tell the difference between 44.1khz and 48khz in terms of audio quality-. The only concern you may have would be comaptibility. Since your files are going to be sampled at 48khz, you should have no problem. Still, I usually edit in Premiere and it automatically conforms all video and audio files to the settings of the sequence/timeline, and I have used both 44.1 and 48khz sources in the same timeline without any drifting, distortion or noise. Having said that, if you are going to do a proper sound mix, the sound technician will conform the files to whatever sampling rate he considers before mixing. Some mix at 96khz even though the delivered file will be sampled down to 48khz. Again, keep in mind not all sounds are as complex: if you have background music from a band in a scene taking place in a club, that music will probably include several instruments, it will be muted down and with several effects (reverb, etc). In that case, the technician may decide to have extra overhead to avoid any degradation. But human speech will always be recorded as clean as possible, and it's basically a mono stream at no more than 4-5khz.

For sync use a real clapper board or an app. Use your cellphone for audio- quality is good enough if on a budget. Shooting at 60p provides audio when not in VFR mode- that isn't slow enough? In your NLE, sync the audio spike for the clapper sound to the visual of the clapper closing (or screen flash if using an app).

Canon FD set - very very good all round lenses and cheap Yashica ML set superb as good as the Zeiss C/Y just alot cheaper Contax Zeiss set - modern lens look great colours and blacks - bloody sharp Nikon AIS set - Killer!! Russian set - Helios Tair Volna etc etc - character tastic and a curve ball really good cheap set is Miranda .....yes Miranda made by Cosina - really really cheap about £15 each and very very good !! edit one more I forgot is Fujinon C - mount lens set - made in Japan bloody good glass - very fast and cheap - need modding to make work on Micro 4/3 but almost Distagon good.....but faster so superb in low light f1.425mm 35mm 50mm 75mm all very small and light but with Fujinons stunning glass in them .Ill remind you that Fujinon make cinema lenses - Alura etc so are very very good....195

Here is confirmation that the Kowa for Bell &Howell (after partial dis-assembly) will fit inside the ORIGINAL FM lens mounting tube ( not the new FM Collar 24 which has a smaller 55mm internal diameter). The aluminium tube pictured is the basic version of the mounting collar that came with the first batch of FM lenses, I cannot 100% confirm if other kowa models such as Kowa 16H/8Z will fit exactly the same, as I do not currently own that lens type, but the dis-assembly process will be identical to my previous video:https://vimeo.com/115331343 If you are a new FM lens customer and do not receive the original/ larger mounting tube and want to mount this kowa type, you could ask Anamorphic Shop for advice...or simply cut the correct sized tube yourself: http://www.ebay.co.uk/itm/2-75-70mm-0-5metre-500mm-Long-T304-Stainless-Steel-Exhaust-Repair-Tube-Pipe/251270459252?_trksid=p2047675.c100005.m1851&_trkparms=aid%3D222007%26algo%3DSIC.MBE%26ao%3D1%26asc%3D20140122125356%26meid%3D256b0a78fb8149c69fcf994f2410a88c%26pid%3D100005%26rk%3D1%26rkt%3D6%26sd%3D280769110571&rt=nc