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You guys are acting like a bunch of kids. It's really painful to watch.

​I'm part of the choir, preacher; lost my strong desire for gear ownership years ago. Couldn't see the point of it at the level I'm at. To keep your metaphor going: I just need to practice my fade away jump shot because too many of my videos have been clanging off the rim lately.

​the "Red Fail" - the newest camera from Red. Coming soon. No prototype yet but please upgrade and pay $10k - it will be worth it, I swear. Higher frame rates even though for 94% of what you do you only need slo mo at around 48 FPS and the current camera can go already up to 180 FPS or the FS7 can do this for only 7 grand. 10 stops of dynamic range when detail comes out of shadows. 320 ISO. Gets grainy past 640 iso. Very very loud fan between takes. Awkward button placement. Only one hd-sdi out. Weird motion cadence during slow motion. Comes with embarrassing cult-like message board groupies who have over 6000 posts - and do lots of "yes that's great" posts. Run by CEO who personally calls out cinematographers on his "farewell" message board. Embarrassing logo that would be at home at a yuppie biker-themed restaurant in the midwest. New president of company is former message board admin.

After now doing about 6 jobs on the Red Epic Dragon and about 28 jobs on the Red One MX the more I see that the Red One MX’s motion cadence in slo motion feels better. Also the Red One MX has better heat dissipation and multiple hd-sdi out connectors which is very useful. Also line and mic in options via xlr. Also the colorspace of Red MX doesn’t seem too much different than Red Dragon - definitely not enough to justify the $30,000 price difference. I feel that the Red Dragon definitely has nicer highlight roll off - that is for sure - and less boot up times and higher frame rates and the ability to shoot full frame - but is it enough to justify the $30000 price difference? That's a lot of money that could go towards lighting, lenses, etc. To me, not really as an owner. To rent, sure - why not get a camera that is better and is only $500 a day more to rent. And further proof that owning a new camera is not smart. Just buy an older camera, figure out it’s quirks and flaws and strengths and go from there. Learn how to light, compose, and grade better. No matter how good your shoes are, you still will only get better at basketball if you practice. Same with cinematography.

This kinda reminds me of this:

Gamma DR? Why do you like this over the previous settings? I try not to drop contrast to much, because at higher ISO values it absolutely kills the skin tones for me. My Current Preferred: 1080p Gamma DR Sharpness -9 Contrast -4 Master Black Level +8 4K Gamma DR Sharpness -10 Contrast -5 Master Black Level +10

I do think Ed's post reflects a time that's been a long time coming, has arrived, but some may not have adapted to it yet. And ics is right on target too. Basically, the gear is beyond good enough and it's so cheap that anyone from almost any economic class can acquire one. Let's be honest. If you have the chops you could make a smartphone movie as artistic as anything out there. Maybe not likely, but possible. In the past with video equipment, having a new gear really could make significant difference. Investing in that gear was cost prohibitive for beginners. These days, since just about anyone can afford the stuff, the only thing that's really going to make significantly noticeable improvement to a video production is one's skill and artistic level. Yes, the pros will always have better cameras and lenses and many will covet that rare exclusivity. However, the divide between low and high is now, practically speaking, indistinguishable. If I had a time machine I'd love to go back and drop a GM1, lens mounting adapters, and a laptop on Kubrick or Leone's production facility's front door and let them have at it. Something tells me they and their crew would do alright.

​as long as it can shoot 6k

Oh my god, it worked! Thank you so much Jimmy! One more question, about the wav file. Do I just have to add it manually after or is there some other trick to it? Again, what a relief, thanks so much!

True. I also think that it takes a while, longer than people think, before one's skills outgrow even something as modest as a 7D or GH2.

I didn't have the time to read the 16 page thread on something I didn't yet even own. Although I did mention I'd be using it with my Kowa 8Z in just about every email to you, with not a single correction from you until after it arrived. And as late as the 30th Jan was ready to "dust it off" on your advice... Not very nice to blame me for being unprofessional and for not having the right anamorphic to fit it. You were supposed to send the FM with the Cinelux, which is what I was expecting to review... pretty impossible otherwise. That's what you said would happen! The blog certainly isn't a market, although sometimes it feels like one. ​Mindaugas at the Anamorphic Shop is first to admit the project has benefited from this forum and my members... Yet you still cannot find within yourselves the gratitude to properly inform me, to not mislead me, or even to send me the proper kit so that the review is not impossible.

Not for now, I think we have to wail to next AMD R9 300 cards for full hardware support. Release on April-June 2015.

​I was actually using the Glass from a 72mm Filter. (which is smaller than the Filter diameter itself)

Shot and directed it.

Hello Cosimo, I'm not on Facebook but feel free to repost anything you consider useful.

A variation on the Flare inducing UV-Filter method established by Hans Punk. To get the Filter as close as possible to the back of the Cinelux I placed just the Filter-Glass inside the Step-Up Ring which is coupling my Lens with the Focus Module. 68mm Filter-Glass fits perfectly inside a 52mm to 72mm Step-Up Ring and leaves enough play to screw it firmly to the FM.

Between shoots, it might be wise to air-out all of your camera gear in a room with low humidity. Lens fungus is no fun! Lacking an area with low humidity, you could keep your gear in a dry container/case along with plenty of new desiccant packets (or some other form of desiccant/dehumidifier). Avoid leather cases, as leather tends to harbor fungus more than most synthetic materials.

Hi! I've got couple orders for a follow focus gear for the FM lens. Made few pieces, and accepting preorders currently to see if I should make larger next bunch now. Please contact me if you need one. http://rafcamera.com/en/accessories/ff-gears/gear-fm-lens-88-107-32mm Thanks.

Don't you have any editing software at all? If not, you can download Adobe Premiere Pro and use the free trial for 30 days.

​as soon as i sell my house i am getting 2 of them

Is there any test footage of these units out there yet?

Hey Guys. Thanks for the kind words, and thanks for the kind write up Andrew. It's funny, this blog post and the comments about the brand name being immature coincide with my current direction as it is. ​I'll answer this rather stale and grumpy response first:) - 1. The name sums up exactly how the lenses would be considered by traditional photographers and technicians. 2. Yes I guess it was a bit of a joke at the time. 2.5years ago I started offering the lenses specifically to be used with the Iscorama in order allow a more vintage look - since I always found results from my iscorama were a little clinical when comapred to smaller and cheaper optics which might not have had the sharpness of the iscorama, but have a charming quality due to their limitations. I never intended on making more than about 5-10 of these. for a few people who shared my own feelings of the iscorama. I wanted the lomo look, but the sharpness and ease of use of the 'rama. 3. It did get your attention, as well as a load of bloggers. Though as far as I remember this was never a marketing strategy, but a bit of a childish joke since the concept was never meant to be anything more than that. If I hadn;t chosen such a ridiculous name, bloggers wouldn't have blogged it and I imagine i wouldn;t be pumping huge amounts of money into developing new optics - I'd be doing 2 weeks work a month making prototypes for dyson vacuum cleaners and doing occasional photography work. 4. As I've said, the name was never a marketing decision. It just so happens that the majority of users 'get' the fact that they're buying carefully ruined lenses. 5. The guys who make the effort to look into it deeper are the ones who seem to be enjoying the little lenses I'm making. This passion meant they were willing to pre order a wide angle attachment meaning manufacture could go ahead. No other manufacturer would even entertain developing and manufacturing a wide angle attachment of such quality. 6. Not a rebrand, but I believe the 'brand' will likely soon be a lo-fi division of a more traditional company name. Since the newly developed optics like the FF38 and FF88 as well as the TRUMP lenses I feel deserve to live within a slightly more respectful label since they couldn;t be further from shit IMO.

There is another handheld gimbal coming but with 32bit controller and dual IMU

I'm thinking an Oly E-M5 II and my $35 Merlin-knock-off will work good (enough) for me. Will test this out next week. Figure if I'm going to spend $1.5K for stabilization, maybe having a camera that does 80% of the work might be a better bet. I was able to produce simple and short handheld dolly shots with the old M5 just by doing a little tai-chi body control, so I'm encouraged that the new and improved Oly 5-axis will offer capability to elegantly handle more assertive movements. I like the idea of being able to grab steady cam level shots with small and very portable rigging...or no rigging at all.

I thought this might be in reference to your dvxuser fullframe thread

I have the DJI Ronin and can tell you the build quality on it is top notch. I met another shooter who had the Came (forgot which model) and he said he ended up returning it because it didn't work for him. I let him try my Ronin and he said the overall quality versus the Came is night and day. I don't have experience with Came gimbals at all so I can't really comment on it. Also one thing you need to consider is that Came is overseas, so if you have issues and need to return, it's going to be a headache. As for the Ronin, the rig is VERY HEAVY. Unless you have the arm strength of a NFL player, I don't see anyone lasting a day or even half with this rig alone. I have both the Blackmagic Production 4K and Pocket cameras... and even on a stripped down load (Pocket + DP4), I don't see myself lasting half a day with it. I just ordered Atlas 2 rod camera support the other day so going to see how that goes. With the Atlas, I should be able to last all day with the Ronin. Having said all this, the Ronin is simply amazing. When I first received it, it took me 10minutes to have it up and running. Now it only takes me less than a few minutes. Side note.... I was at Photo Plus Expo last week and had a chance to toy with Freefly Movi and Defy gimbals and both are lighter than the Ronin, but the prices are also higher.