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This point carries an incredible amount of weight. I was grading some XAVC-L files today for a corporate via FS7. They were well lit, framed nicely. Only thing is, I didn't like the image at all. It felt kinda plastic and sterile, no matter how much grading I'd put into it. But it certainly did the job it's supposed to do. CVP contacted me today regarding the URSA Mini 4.6k and other BM products regarding my pre-order status. They said : "We have no idea when these items will ship. We contact Blackmagic on a regular basis and they never reply. We are so sorry about their terrible conduct." Just so you know. So I'm in the market for a major camera purchase. Seems like I've got plenty of time to review this.

Right off the bat, I know projection lenses are a bit of a no, no in terms of shooting anamorphic (especially on this site), but I just had to impulse buy this Schneider projection lens on eBay when it was valued for £80. I am having trouble lining up the anamorphic lens with my primes; in some cases I get nice crisp images, and sometimes I get visible distortion after 'expanding' the 4:3 footage horizontally. Are there any sure-fire ways to make sure the alignment is top notch? here's a video I shot as a test, let me know if you notice any glaring errors: I know, it's YouTube so it's compressed, but at this point I'm mostly worried about my 'tunnel vision' and not seeing the distortion properly Feedback is greatly appreciated! Thanks!!!! Francois

Well that took a bloody long time! But I've just this minute completed my new reel and site. It's not "announced" until Monday.... social media campaigns etc blah blah. But it's live! Check them here: View my new showreel and website! Some info Each and every image - I shot, lit, edited, graded. A little directing. Very involved in creative ideas. Core crew was mostly 4-5 regular people in these productions (Director, DOP, Production Manager, Spark, Make Up Artist). For the geeks - cameras used are Sony F55, FS7, FS700, RED Epic, GH3, BM Pocket. All images are music videos, but going for commercial/corporate work aggressively into the next year. (and still many music videos). The aim is to have 100% new material for Showreel 2016. Max creativity required. Anyway, if you like it or don't like it, whatever. Just thought I'd share.

BM in capable hands produce awesome results! It's a pity they harm themselves with this stupid way of presenting products when they are not ready!

Hi guys, I have just finished my first showreel of some commercial projects I did this year. What do you think and what is your suggestions about showing others what you can do? Do you think that this showreel can attract some potential customers who want promotional videos for their companies? What are your showreels you use to propagate yourself?

I'd go for the C100 Mk II. I've used the Sony FS7 a lot and if you're using Slog3 + Monitor LUT's there's quite a steep learning curve - might be a risky one if you're just throwing it in there without the prior experience. The C100 Mk II is reliable, light, produces lovely images and is simple to use straight out the box. Not 4k, but it's a downscale to 1080p anyways.

It's not the fact that canon lenses are too clinical, boring or overly sharp. It's the fact that they've been used for decades by working photographers, and have the 'look' of a 'working photographer' rather than a 'working cinematographer'. If they'd been used extensively for motion picture then we'd associate them with motion picture, however their look cries out 'working photographer turned videographer'. I imagine if Philip Bloom remade himself into a true motion picture cinematographer, and was booked to shoot Ridley Scott's next film he'd be looking at lenses that can only be obtain via rental means (rather than a god to the still photographer turned videographer crowd- which has been very profitable for him as a businessman). You get a lot more cinematography masterclass bookings from FS7 owners with a set of Ef-L lenses and a speed booster than you do from the guys who simply specify cooke, panavision or arri lenses - most of which are optically inferior to Canon L lenses. shooting s35mm crop mode and using some old Lomo oct18 primes (clean) will command a lot more of a motion picture aesthetic. and a 28, 35, 50 and 75mm set + Emount to OCT18 adaptor can be had for less than the cost of the 24-105!

I personally like the look of Canon lenses. The clean, modern look appeals to me (depending on the project). The 24-105, however, is probably the lowest tier L lens they have. I think renting a set of primes would really do you well. 24, 50, and 135 (or 85) would be a solid combo. The FS7 is not that bad to use. There are certainly much better designed cameras and menu systems, but once you wrap your head around where everything is (and set up your user menu), it's workable. It can definitely shoot solid handheld out of the box, but can get to be a little painful after hours and hours of shooting on your shoulder. I've been working on a show recently that has the Zacuto recoil built onto the FS7 and it's been a dream to shoot with. Recording times for XQD cards. You could lock it down on a manfrotto tripod, but you'd want to keep and eye (or hand) on it at all times. If you do decide do go with the FS7, I highly recommend renting this Master class by Doug Jensen. It's a hefty $85, but you get six hours of detailed lessons on how and why to set up the camera in certain ways. I watched the whole thing before starting the show I'm on and was up and running with the FS7 right away.

It'll more than likely be your lens choice rather than the camera that is determining how professional the aesthetic is. The image jump from the a7s to the fs7 wont be worth the extra expense. spending the rental costs on some proper lenses, with no zooms, and no canon L series lenses, and particularly not the 24-70! AT ALL will immediately make the image look more professional. An Amira is all for nothing if the user is fitting canon lenses on there and imparting the look of an everyday news photographer lens set. The fact that glass hasn't been brought into your criteria is a very clear indicator of where you need to focus your attention IMO.

FS7 is nice, but the menu system is pretty bad, and it's not ideal for situations where you're under the gun and have to move fast. The camera has to shut down and reboot to change any major settings. If it's a corporate shoot where you have time to setup for each shot then yeah, I'd say it's a good option.

Makes sense. Well, I almost purchased a C300 last year for exactly the same purpose that I got the XC10 now (cheaper and more portable than the F55). I would be quite annoyed if I would have. Btw, I delivered (sundown / rather low-light) 4K b-roll footage from a regional event to a well-known Austrian broadcaster a while ago and everyone thought it was from the F55... 'nuff said.

You need to watch the presentation for the surface book. They are pushing it as perfect for editing 4k video. They transfer a 3gb file in like 4 seconds, then edit it in Adobe premiere pro. They showed it driving 3 4k screens at once. Plus it can handle 4k h.265 files without transcoding as it uses Skylake. Microsoft claim it is twice as fast as the MacBook pro.

That Minolta 1.7 lens was my first vintage lens as well, it's lovely. One of the biggest temptations with the new Sony cameras is that IBIS so I can use old lenses handheld.

Haha..I think you're right!

Fair enough. The 85mm vs 50/55mm debate has been going on for 6 decades. It really is a tough call. That is true about 6K, however, the Otus line (glass elements) take this line to another level above and beyond the Milvus. Bob, the Milvus lenses are full frame. I think they look great but for pure performance the full frame Otus (near Master Prime level which is S35) is superior. Now if I could figure out what focal length..and here comes the 28mm at the end of the month.

Nice skintones! Sony sensors/color science do best in natural or full spectrum light. Footage shot with artificial light would be helpful (this is where Canon, ARRI etc., tend to hold up better). Curious how SLog2 was handled in PP CC (new Lumetri panel+Slog2 LUT or ?). Overall nice image quality though slomo looked softer/more aliased than FS700 (internal recording). A nice test would be side-by-side FS700/FS5/FS7 slomo.

Exactly. And yet I love tons of lenses on different lens mounts, I won't just pick Nikon Ai-s lenses only, or the Canon FDs.. My first vintage lens was the Minolta Rokkor MD 50mm f/1.7. They send it to me with an XG-1 body. Then a 28mm f/2.8 MD as well, followed by Pentax with the Asahi (not Takumar) 50mm f/1.4 which to this day has one of my favorite looks! Then a rollercoaster ride with all the Zenit lenses in M39/M42 mount. Bunch of other stray cats wanting to get adopted. No one mount or brand in particular... to me it really is not about the mount, it's all about the glass and look.

Great composition! What camera/scope setup are you using?

I think you'll find that the viewfinder is an optional extra on the 2015 model.

Stop being a troll and just answer the questions you keep dodging. Lots of talk but every time you get called out you run away scared. Its all pretty lame and at this point nothing but spam.

and alternate is the Russian Tair 135mm f2.8 is a killer sharp lens that is very very good ..and cheap on ebay I highly recomend it - mine gets alot of use!!