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​They should focus on color.

Testing quick skin tone test - with fujifilm look on Alexa and Sony F35 - seeing if they can intercut. So Amira was on 100mm ultra prime on sticks Sony F35 was handheld with 85mm ultra prime. Opps! Should have both cameras on sticks and with same lens! Being lazy helps no one. Anyway, I found the cameras incredibly similar looking. Hope this little test is useful in some small way to someone out there, anywhere. And if not, I am so sorry I wasted your time. I really am. If I wasted your time, please comment that I wasted your time and I will reply and say, "I''m really sorry I wasted your time." The other thing is that the f35 with odyssey 7q to dpx 12 bit is around a $10,000 solution right now and the Amira is about a $60k solution. Sure the Amira is a much nicer ergonomic system and has built in NDs and has many more nice convenient options, but really - you save $50,000. Because people don't like stuff from 2008. They need stuff from last year. It's kind of nuts how "gear-forward" everyone is. Especially now that most cameras are in the same ballpark of log or RGB recording and resolution and sensor size. Oh well, gotta keep selling the latest and greatest. So you save $50,000 - that's a lot of money. Just by buying something that was once new and cool and expensive but is now forgotten. This is what you can buy with $50,000 you save. A set of nice lenses A house. A really nice car Help save the planet's infrastructure Help save the planet's wealth discrenpancy problem. Shoot a feature film. Bail your friend out of jail. It can buy a lot of great things. Remember kids, the latest technology is nice - but the best stuff from 2008 still holds up. Go ahead, give it a try! It's fun to play with old things!

I don't think this camera will survive. I think you'll get a similar resolution and color out of the blackmagic 4.6k ursa and the AJA upgrade - but cheaper and with pro res options as well and better support. The whole 6k, 7k game is pointless. Look at the Taylor Swift "bad blood" music video shot on the red weapon in 6k - does not look as good as anything shot on the Alexa which is 2k. The motion looks weird on that. I don't know - it's getting to that point I think - where no camera has the edge anymore - it's about options. Poor guys - picked the wrong time to make a new camera. There are so many other areas to make products in filmmaking right now - drone technology - easyrig alternatives, etc etc - why so many trying to go the camera route? Just seems so expensive and risky in this day and age. Especially now that Blackmagic and AJA have entered the ring.

I was looking at the same thing. That is: something for the GH4/BMPCC (perhaps BMMCC/BMMSC). Figured the way to go probably would be the Lilliput 663/O/P2 for the most complete 'cheap' monitor (incl. histogram, waveforms, vectorscope, etc). Up from that the Blackmagic Video Assist as a nice external recorder and monitor combined. But I'm still not sure what the monitoring features specifcally entail. Then the Videodevices PIX-E5H 4K recorder/monitor with PIX-LR XLR audio interface as the crème de la crème solution, with a premium price tag (still believe it's better value compared to a SmallHD 502 + Sidefinder that doesn't record, or Atomos Shogun / Convergent Design Odyssey Q7+ that do record but have the thing of price, size, storage, mainly). But yeah, for the entry level... really budget price, Aputure seems to take it away (their LED units are awesome value too). There have been mutiple threads about this subject ( most recently here and here ). Apparently the Feelworlds aren't that bad either. But I kinda feel like paying a bit more might really get you something quite a bit more useful. Depends on what you do with it and how it would add to your style of shooting. So you have to do some soul searching... still working on that myself. Perhaps by the time the Video Assist is availlable I might finally have an actual need for one.

That looks nice. Fairly light. I had a DP7 for GH4/BM and it was so heavy (1.5 lbs) that I just couldn't take it anymore. I sold it and got a SmallHD 502 which is feather light. It stays on top of smalls cameras with ease. EDIT: The main reason I love using SmallHD with GH4 and BM is the LUT feature. It helps to have a custom LUT to see in the field when shooting LOG or Cine D.

short I did last year with BMPCC/SLRM Anamorphot

I recently saw this ad that was dir​ected and color graded by Matthew Firpo: What caught my attention, was the lovely "creamy" highlights and overal color grading of the video. I've seen this look before in fashion videos and, as a beginner in color grading, always wondered how to create it. So far I have been able to determine that the shadows are raised by about 10IRE and the highlights look to be lowered by around 10IRE. Any more tips on how to replicate such a look? Also, would you overexpose in camera when filming for this? The ad was probably filmed on a Red Dragon in raw. But would a GH4 for example (with it's lower DR) be able to get similar color? All advice welcome!

I can't stand Philip's color grading. It looks like instagram.

FS7 looks pretty filmic to me. But having great brushes won't mean you have talent to paint a masterpiece.

​I definitely read some of your posts before Buying mine Andy! i'm very glad I got them. They're great. ​Yes, that's a pretty good summary of it. I'm still working to get the best out of them on the pocket, but have really liked them so far. I think they're a perfect match. I've just gotten step up rings and everything to leave on them all the time. Now I need to try them using my IR cut filter to get the best out of the pocket

the Penatx 110 lenses are superb - very cinematic in their look - I've written alot of posts about them on this forum over the years - I also add small washers onto the back of the lenses to stop them down (using blutack) this works a treat and also get a set of ND filters for them ....you can get them to fit these tiny lenses then you can shoot ourside full wide open at f2.8 - it doesnt get any more cinematic than that if you tried!! Also stick some nylon fishing wire in the adaptor vertically behind the lens and you can turn them into anamorphic style lenses with ;loads of blue horizontal streak flare !!

Haha, most of them are on the cheap. You should be able to get all of their lenses for less than a hundred, definitely less than a hundred and fifty, if you're patient. There's an 18mm, an 18mm pan focus (which is unnecessary because the 18mm is practically always in focus anyway), a 20-40mm push/pull zoom, a 24mm, a 50mm and a 70mm. The regular adapters run about 20 dollars each but the lenses do not have apertures because it was built into the cameras. I used step up rings and fader nd filters to darken the image. Kevin informed us of the existence of an adapter with a built in aperture, from RJ camera, it costs 75 bucks, but I read from their site that the adapter won't work with 70mm. So with adapters you could easily get the entire set for 200, 250. If you read the reviews, and I will confirm... The best lenses of the lot are the 18mm and the 50mm. You can probably get both of them for less than 50. In fact, I think there's an 18mm on eBay now for $18 or best offer plus shipping... Which is a great price. I'd still pick up the 24mm, it's a decent little lens, little being the key word... This thing is tiny... They all are. Also, you will probably need some kind of lens focus lever, if you pull focus. I have one of those silicone bottle cap openers that were popular a few years back, but a zip tie would probably work as well. Sorry for the long winded answer. Just search Pentax 110 lenses. Or more specific Pentax 110 18mm, Pentax 110 24mm... Etc.

​For that, have a look at http://geizhals.eu/?fs=aputure+vs&in= and eBay, I'd say. Perhaps http://aliexpress.com has some cheap offering.

I don't think the difference from 4.6 to 6k is that negligible for a production environment. But even beyond resolution, the kinemax holds other advantages. Records internally to third party SSDs. Has more frame rate, resolution, and aspect ratio options. Interchangeable mounts. First party speed boosters for full frame look Shoots useable 6400 iso vs. 1600 max. I love the images I'm seeing from this camera. If kinefinity ends up having legitimate customer support, i could definitely see choosing it over blackmagic.

What I dislike about the F35 most:1) spare parts / repairs / reliability. It still is going to cost you like a quarter million dollar camera will. Is like owning a Rolls Royce, even if you get an older model for cheap, it will still make you broke via upkeep. 2) the sheer size of it! Even though its price has got smaller, its size hasn't. You still ideally want the full size crew that a film with a budget for a $250,000 camera would command. Even an URSA Mini would be smaller and easier to work with a small crew (and personally, an URSA Mini seems like about the max size I'd go for). Personally what gets me more excited is my US$150 Panasonic GH1 bodies and looking forward to getting a Panasonic AF100 later this year for hopefully far south of US$1k.

I can comment on the Aputure VS 2 during the coming weekend, - I ordered one a few days ago and it should be delivered this Friday, Like most other monitors it should be pretty much useless due to screen glare when used outside - especially in sunlight. I have some ideas that hopefully will remedy this issue. I will be back and tell you how it turns out.

That was a beautiful grading and commercial - it felt like Arri Alexa or Amira with Ultra prime lenses and yes some filtration on it - shot mostly looks like at a f/2 on the lens to have pop. shadows raised a little. Looks like converted maybe into Cineon and from there a nice film print emulation - we should ask him - I'll ask him. According to Jordan's instagram feed - it was red epic - so that's an amazing skin color grading job out of that! I like to use Hollywood black magic over my lenses 80% of the time. Curious now about the Digital Diffusion FX filters - going to test those out.

SmallHD just announced the 501 monitor, which is a HDMI-only version of the 502, at $899. It's ability to function as an EVF with the upcoming sidefinder is what really makes it attractive to me. Plus the bluetooth joystick control that will also be coming soon.

​I think the new price is probably a 'break even' price.

It would be awesome if someone made a focal reducer for them. It won't happen but it would be cool.

​I've shot a short film with the 110 25mm on a GM1. Even though I don't use that camera except for only certain tasks, I do love it. Great documentary stealth cam. Such an awesome set up with the a110 lenses, As you can tell from my avatar. I like the character of the glass and the f2.8 is, I think, ideal for cinema. Matched with the Panasonic IQ? It's pretty nice. It's truly amazing what you can/could make with that set-up --and you can acquire it via used gear for around $350.

With the back-of-the-envelope math, it still seems like the Ursa Mini - 4k version - is the better bargain. Even the flip-out screen on the Ursa Mini gets you up and running right away, no need for an EVF. @Taranis -- there's no way I'd take that C-Box out in the field. it just doesn't look suited for actual production unless you're in a studio.

this was fun! very good shots and great location.

Very fun!

Lots of fun! Excellent work! I really like that last shot.

Well done!

Hi I like the idea, but I don't see anyone joining...

God I love the look of the Kine cameras. Hope they find success. If I ever get into more feature films (right now mainly doc work) I'll probably invest in them, 3K 16-bit is astounding. Still hoping they find a US Distributor. ​You can find some samples of the Cineform files that the kineMINI produces online, excellent non-raw codec that edits in all editors and has more efficient encoding than ProRes.