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Hey Zak, this won't be very helpful for your purposes, but here's a vid I made using the Trump 58 (everthing that's not slomo). This was without any aperture inserts. Small mattebox with Tiffen colorcore 1.2 irnd with most shots around T8 on the F35. I was hoping to do some side by sides with canon/rokinons as they are a well known entity, but no way to mount them on the f35. By the time my 1dc is fixed you might just have your Trump in hand.

Thanks for the info! Nice. I love the 12-40mm f/2.8, picked it over the 12-35mm f/2.8 OIS although it flourishes on the E-M1 where it really thrives on that sensor stabilization. With the GH2 and cheap chinese classic glidecam-type thingy it was just too much trouble to get the stabilization down though. These gimbal stabilizers then really give some renewed possibilities. Italy is my southern neighbour, so atleast no import tax surprises! Hum. You've given me some food for thought with this... Thanks for the share. Great job on the footage out of the GH4 and style/tone of the piece too, I'm digging the vibe!

It's very easy to use: I'm lucky enough to live 1,5 hours from the SturdyShot's builder (he's in Rome), so I went personally to try it and I bought it. He balanced it mechanically for my GH4 and Olympus 12-40 f/2.8, then for the same camera and Panasonic Leica 25 f/1.4. After that he used the software to give the 3 motors the exact power for my rig and he suggest to not change lenses, unless doing the mechanical balance again (by myself, because I can't go every time to Rome). The batteries lasts for 60-70 minutes, he gave me 2. So I had plenty of time shooting with one and only at the end of the day I had to use the second. The software parameters are quite easy to change, so you can improve your setting after some days of use. Of course I used the camera's LCD It's not so cheap, but I bought it because the builder is very serious and if I broke he can repair it quickly, in one day

Had a chance to try it out yet? Would love to see it in action (and I've run out of videos to watch on Vimeo).

Looks good, Jazz! I take it you like it!? It's the one we didn't hear much about, but seems quite nice. Did you actually used the flip-out screen for that (I believe most handheld gimbal stabilizers block the way in order to be able to do that, but the MiniSturdyFlight put the arm on the right (which imho is the right way to do it) side)? What's balancing/tweaking like? A breeze or a pain in the butt?

It's nice enough...Nothing that couldn't be done with a Phantom and HD-3D gimbal.... The issue is the camera (fisheye, arrgggh!)... Hopefully they follow DJI and bring out a tiny m43 camera. The fact that they own cineform raw makes my special area tingle at the thought.

I was thinking to buy the Nebula, then I tried the MiniSturdyFlight from SturdyShots, a nice 3-axis gimbal built in Italy. This is the first shot I made with this little monster (Not all the shots are with it, some are handheld)

From researching the history of ML Raw, the workflow does seem to be getting easier, if I could just get rid of the pink dots and get the damn audio to record more than one consecutive shot before the dreaded "threads failed to start" message. With mlv, the workflow is really quite quick, it just requires the time to sit and go through all the clips. The specs of ML Raw Viewer states you can put clips into a queue, but I have not been successful with it. I used Raw Magic yesterday instead of MLV Mystic to make my dngs and that worked fairly well... So we'll see. Luckily I'm a glutton for punishment and will tirelessly waste hours of my life until I figure this out.

You're killing me I almost bought another EOS-M yesterday! Then I remembered "almost every step along the way". However, it would be easier now because ML RAW Viewer is one piece of killer software. http://www.magiclantern.fm/forum/index.php?topic=9560.0 If only ML worked on the EOS-M 2 and/or 3, then there would be a future. Anyway, the guy who did ML Raw Viewer might put in the code to deal with the focus pixels IF there was enough demand. Or maybe we could find someone to port the code. (My serious programming days are over, just too old, when I try to flip the bozo-bit it ends up flipping me!). Between PDR and my thing, a good dev should be able to do it in a day or two. Again, need the demand. Mercer, you're probably all lone Anybody else out there?

I used WideDR. The client requested "good sound connections" and "fresh faced" people. Even though I'm far more experienced with the FS7, I chose the C300 because of the "living" skintones. Peaking on the C300 is awesome, far better than Sony! I've flirted with the idea of getting an FS5, but I know the image very well in XAVC-L and it's not great really. I expect the BM Ursa 4.6k to have outstanding colour. This is a massive advantage over other cameras in it's price range. My gut feeling is they have a big, big winner on their hands here.

if you are using any of of the default s log profiles that use s gamut you MUST use a proper lut built for that version of slog or you can get yellow and magenta color shifts. Color in s gamut is totally different than rec709 and these profiles are not forgiving. It is not the gamma curve it is the s gamut it is a much wider color space crammed in a 8bit file . The A7s always had something a little off with the color for sure but most of the really bad color out there were from people not handling s log/s gamut properly. The slog 3 on the new Sony cameras is reported to be much better that the s log2 on the A7s. Putting it another way s gamut and just grading in resolve is like have data in meters working with it like it is in feet and then wondering why your calculations are off.

I wrapped up over three days of shooting on Sunday and have done some little experiments since. Wanted to share some thoughts.. Firstly I have to say that I am finding it hard to find much of a dynamic range difference between it and the Nikon d5500 - and by extension the Panasonic GX7. Secondly I find the colours and tonality of the d5500 Flat to actually be preferable to CLog. And the Wide DR profile is rubbish really. It's not much different to a standard profile on other dslr's. However I have tweaked a few settings in Clog and am now getting a much better image. The main changes are to change the "Setup Level" under "Other Functions" to 0. And under "Color Matrix" set the "Phase" to +18. Now the blacks are no longer raised and the colours are much more natural and pleasing. I have not found any mention of these two settings on the internet though strangely. Good news is that I no longer think it necessary to use an external recorder because I found that Neat Video 4 completely removes all the colour noise and other compression artefacts. It's really fucking magic. Finally the resolution and noise performance lives up to my expectations. And the inbuilt exposure and focus aids are great, as well as the dual-pixel AF. Basically it's just an awesome camera to use. If I could just get a little more latitude in the highlights...

I have the RX100 IV and really like it.My only real issue is the short battery life,I brought 3 extra batteries just to feel comfortable.The low light performance is good,the noise is more of a fine grain. I just did a test and from what I can see the clear image zoom doesn't seem to degrade quality much. I haven't attempt to shoot anything of real length,meaning 4 to 5 minute takes so I haven't suffered any overheating.The 1080p is so good I barely shoot 4k but it's nice to know it's there if I need brief clips. It's region switchable.

How were you grading footage from the A7sII? If shooting any of the default slog modes that use s-gamut you must us a lut to transform it back to rec709. Using curves and boosting saturation will cause bad color shifts since the footage is not in the same color space.

Yeah, I was gonna say, f35 and f65 look like some of the best cameras ever, depending on your needs a bit

Man the F55 and F65 look great... Not a bargain to have one at home but i think they look great. Love their colors and film like abilities.

I feel the same. I would like to like Sony so much. Specs/$ is amazing but the result isnt. BMD, Bolex, Canon and lately Nikon delivers the footage I want. So Im done trying. Ive had 8 different Sony cameras. Feels enough

Cool. I've not updated the firmware yet but I can definitely say that focus peaking is inaccurate on current firmware. You really need a focus aid with this camera, especially at the 200mm end. I'm disappointed with the peaking. I've gone from editing C300 footage to RX10 II footage in a few days... it's a weird experience. When people say Sony colour is weird, I wouldn't argue that.

I think Canon is acting pretentious, it reminds me a lot of Nokia. In the early 2000's/late 90's it was unthinkable buying a phone that wasnt Nokia, every other phone was "crap", so they kept doing the same thing, phones barely upgraded between generations and in a very short period of time, Iphones came and smartphones....and no Nokia has 1-3% market share. Canon is getting left behind, and when they decide "its time to move" it may be too late, because you need time for try and error, and they will loose so much ground (I suspect by this time, next year, they will have lost probably 50%). The rebel line is good enough for beginners/enthusiasts, but even that market is getting shadowed by the uprising of Iphones and other samsungs. IMO they deserve everything that its coming, they spend most of their time crippling their own equipment so that they can protect their overpriced cinema line. *I upgraded to the NX1 about 2 months ago, and even though im still getting used to it, I dont consider going back to a dslr. Might get an a7 or a7s if the price is right (around 500-700€ thats what im willing to spend).

Shall I rename this forum DVXrefugees? Personally, I wear my ban as a badge of honour.

DVX user - been around forever. Odd mix of experienced guys and newbie-kids posting about how to screw more junk onto their "rigs". There are guys in the audio forum that really, really know their stuff and are very helpful. Key & Peele's DP posts long, detailed breakdowns of how many of those skits are shot, immense amount of ideas for doing quality work very quickly. And then a zillion posts about "should I get this amazon 3-light 100 watt flo setup to shoot my zombie feature film". So, kind of the usual. I've posted my DIY HMI projects there and gotten into some good discussions; there's a ton of stuff there going back for years if you search.

Red was pretty important in the shift of the industry. They effectively, along with the Canon 5d Mark II lowered the price by hundreds of thousands of dollars of cinema cameras. They also kind of spurred the movement where younger nontraditional people could advance faster to positions of directors of photography. So they have that to thank for - and I own two red one mx. They are a fascinating company. Jim Jinnard is a fascinating leader - he is like the weird billionare guy on "Silicon Valley" or like Mark Cuban - and he made the company pretty exciting. He is like the Commandant from "Beasts of Nowhere" - kind of a bully, but a father figure. But now it seems like Blackmagic design is disrupting the system with Resolve and their cameras. Also now Sony is back into the game. And Arri has survived the transition to digital from film. I think on a nerdy level it's all pretty interesting.

Ecstasy is about intensity. There should be no strange visuals or sounds, but everything should look like from a happy ad. It also depends on the circumstances. If you are going to a club, you will be deeply immersed in the music and move under the impression that your body can do everything. You will be constantly smiling. If you are sitting alone at home, in subdued light, with headphones on and listening to any kind of music, you will hear every note like for the first time, as if it was written exclusively for you. The best way to show the effect is the behavior of the guy who took it. In a group of sober people he will appear irritatingly, inappropriately (well, this is relative, isn't it?) and sometimes annoyingly happy. Many who have made own experiences will know what's going on, most will see his ecstasy as the manic side of a bipolar disorder.

This makes me very happy to see because aspects of your lens mirror what I ordered from Rich a week ago. I placed an order for a Trump 58 set and will be picking up the 38 and 88 soon too. Could very well shoot my third feature with it, a sci-fi revenge thriller. Can't wait!

Totally disagree guys... sorry. This last video looks blue and yellow... It's not a matter of taste but i've never seen needles from pine that are blue, or grass that is blue... blue trees, blue mushrooms... Maybe a smurf i've seen blue one time... An entire movie like this and i'm sick after 30 minutes... This footage does'nt look natural at all. I try to put style when it is needed ONLY. Breaking bad is yellowish to give that desert so much present. Idem for Sicario, truly strong yellows... But in a forest, blues are non sense for me... I think grading is more like a discrete thing and these impulz luts are not made in that direction... Sorry, maybe a tough labor day today...

I am a die-hard Moeller fan... For me nothing comes close in terms of sharpness, imagequality, color, flare. These are so versatile and wonderful built. They have so much character. Maybe the difference is they were made for filming and the 16mm version could work on FF like any Kowa. I would definately go for Moeller 16/32 with Rangefinder if I had the money. On the other way they are so easy to handle... you don't need a rangefinder