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Zack, in recorded history ONLY 1 guy recorded a Rock Concert with an On-Board Camera light. He was lynched by the band and the crowd, and nobody knows what they did to the camera. Hehehe

A used GH3. I'm sure you can get one for € 500,00 or less. Video is much, much better than a 550D! Check out one of my latest shoots with the GH3. I'm still impressed with what it can do and it is already 3 years old technology.

I was only joking cause I wish they added this functionality to the A7rii. Renaming things we want as "issues" seems to grab Sony's attention. Although black spots is more of an actual issue.

i had a nex 7 which is a little bigger than the a6000 and i fit it in my jacket pocket with the 20mm f2.8

Is he going to be doing paid work or is it just for himself? If its paid, then he'll be on stage, in the pit & anywhere else he can get a good shot - so he'll be able to take full advantage of any lighting setup on stage. If he's used to Canon, then it might be worth trying to source a cheap 2nd hand 5D2 (saw a 2nd hand 7D go for £350, so 5D2 can't be far behind) - then he's always got the option to shoot RAW if he wants. And for the Moire-ists amongst you, really in those settings no one is going to be looking for that. Forget AF for Concerts, Theatre or Ballet - the camera will just get confussed & you might find yourself in a neverending search battle! I'll go with Matt on this one - BMPCC. Once the new Micros come out, i'm sure he could pick up a cheap Pocket cam. Its a lot better than people think or realise in low light & any noise generated is film-like, not nasty DSLR-like. All he'd need is a few batteries or cheap power pack (Anker), a few cards, a cheap RJ Focal Reducer & a simple rig (I use an old Krasnogorsk Pistol Grip/Shoulder mount & a £10 viewfinder from my 60D). This is the last concert I recorded, in ProRes HQ (should've recorded it in PR LT Video DR mode)

GM1

Used g6.

You can assign magnify to the centre button using custom keys in the main menu. They do indeed have work to do on ergonomics though. Samsung got it surprisingly right with the NX1, a few quirks aside.

The only problem of the LX100, besides the "penis-factor" ;-) is that it's zoom is short (size does matter sometimes!). At Iso 1600 (which is pretty clean) and f2 you can work even the darkest shows. The OIS will help too! Of course there are much better solutions, not under 800€, everything else will be compromised too!!!

Veydra 16mm.

Hey Guys, Wondering if anyone who still shoots ML RAW would like to discuss and give suggestions on their workflow? I've been shooting RAW on my 5d2 with a VAF for a while now, mainly for personal projects. It's so much work but it's fun for me because there's so much more to play with. It's intimidating, but that's why I only use it for my own projects, not for any of the freelance work I do. Right now, I've been using MLRawViewer to view files, and cr2hdr to export to .dng files. I don't use Resolve, so my workflow is importing each sequence into AE where I grade/apply LUTs, export to ProRes and edit in Premiere. It's a pain, because once I start sequencing together I notice the subtle differences in the grades. Then I have to go back to the clips in AE and re-export. Is there any way to speed this process up? I tried using dynamic link to edit my first test below, but playback in Premiere with a ton of linked sequences was almost impossible. Also, what LUTs would you guys recommend? I've been using visioncolor and they seem to be pretty nice. I just have a hard time being consistent with my grade when I have to go back to ACR and make subtle tweaks (not knowing what the result will be once the LUT is applied). Thanks for any help!

You know what i tried Resolve 9 and 11 by the past and didn't like it at all... In the 12th version, don't know why, i can use it flawless... Everything is clear, waveforms and parade by the hand in a second, UI perfectly clear and simple. And the editor is just at least as good as premiere (from what i can remember...). After a long period doing everything in AE (editing, compositing and grading) i switched to Resolve 12 and wow... Give it a try, just watch some simple tutos just to get in mind the main features and i think you'll love it. With RAW files from 5D serie, it's beautiful hot the DNG are easy to work with. And the export is just simple too, clear and simple. EFFICIENCY !!!!!

Well, if you want to stick around 14mm, there is that Panasonic/Leica Objektiv DG Summilux 15mm 1.7: http://www.panasonic.com/uk/consumer/cameras-camcorders/lumix-g-lenses/h-x015e.html ... the one DJI reworked as kitlens for their X5. Could be worth checking out. Follow focus... did you take a look at Kamerar's FF-3 yet? Might just suit your needs: http://kamerar.com/products/kamerar-ff-1-follow-focus-w-15mm-quick-release-rods-clamp .

Having owned both the D5300 and GH4 for an equal amount of time (overlapping briefly before I sold the D5300), I'm certain that the GH4 is not superior to the D5300. In 4K I would say it's about equal all things considered. The GH4 really lives up to its reputation as an awful low light performer. In 4K at 1600 the noise makes detail look like 720p, and colour goes out of the window. The D5300 I was a little happier taking to 1600 but compression artefacts are much worse and the noise is ugly, so I'd call it a draw personally. True the BMPCC only goes up to 1600, but even in ProRes HQ you can lift by about one stop footage that has been unavoidably exposed far to the right and get pretty decent results. The codec means that neat video works wonders too. The other thing I don't see talked about much is the importance of dynamic range for a lot of low light situations. I'm going to be shooting a light festival on Thursday night and when I first took the job on, I was really panicking about the cameras I have and was seriously considering renting a C100 or A7S. But after tests I'm actually glad I have a BMPCC. Because if there are lights in the shot (as there very often are in low light situations), good dynamic range, strong codec and highlight rolloff is vital. With the GH4, such scenes are split into crushed areas and/or blown areas, whereas the Pocket can reveal detail in the shadows (yes it's noisy but the grain is fine and detail is in there) and highlights of a night scene. Also if you know how to extract it you can get bold colours from low light scenes with the BMPCC. This. This is what I've been thinking all along and it relates to what I said above. So yeah the D5300/5500 or alternatively a Panny G7. If you watch The Camera Store's video review of the G7, they show plain as day that it's noticeably superior to the GH4 in low light (making it definitely equal to the D5300 IMO). 4K means your friend can both crop in if lens options are limited, and apply noise reduction if necessary. My lens suggestion would be a Chinese (Turbo or whatever) speed booster and the Tamron 17-50mm f/2.8 Mark I (the non-VC version). Though autofocus is obviously off the table with that. The Leica 25mm f/1.4 (which I got for about $300 new on eBay) could be a good choice considering the crop of 4K and the ability to zoom in post. That would give autofocus too. Go to HD for a "normal" 50mm equiv. field of view. In fact the more I think about it the better I think G7 + Leica 25mm 1.4 would work.

Perhaps I should point out the very obvious fact that "concerts, theatre, ballet etc..." all have stage lighting, to varying degrees obviously, but its still there & sometimes it can be very powerful. I've found that I'm stopping down the lens or turning down the ISO more often than not at concerts etc... So it does beg the question of how much of a low light performer do you really need?

I'm with Bioskop! Just go for a decent lens, it's already hard enough dealing with usual anamorphic quirks, there's no reason to add some more to the mix.

I have one pre-ordered from a place that Aaron Green recommended. I'm most excited by the global shutter option. There is something about the way it renders motion that makes a subtle difference. And of course, I look forward to shooting raw and prores without the need for an outboard recorder/monitor. I've been running around with a GH4 and Odyssey 7Q+ and it can be a bit unwieldy when I'm on my own. I have assembled everything I need to shoot with it collecting in a box. some purchased, most I already had -- cage, cards, cables, 502 monitor, speedbooster, ND, follow focus, tokina 11-16, sigma 18-35 + 50mm, and Rich at Dog Schidt Optiks is crafting a Trump 58 set with the 38 and 88 attachments for me which i can't wait to pair with the bmmcc. Hopefully it ships this month. I also picked up this fantastic monopod by Sirui. bought it for the Micro but have been using it with my GH4 in the meantime and I love it.

The Church was right all this years!!! ;-DD

Tugela... If someone's test (that has cost you nothing) is not to your very specific way... Go rent the cameras and do your own. It's pretty simple.

If you by digital mean renting an Alexa its probably about the same or cheaper. In sweden film is much cheaper than renting something like an Alexa.

Hey Guys! I wanted to show you a short film I shot on the Sony A6000. A great video camera on a budget in my opinion It is my first short film, and it was all shot and edited in one day, I didnt have more time. Lenses I used were the Tamron 17-50mm 2.8, Helios 44-2 and a cctv 35mm 1.7 Hope you Guys enjoy it ! Please let me know what you think about it I shot it for the Sony professional competition, so if you enjoy it, please like it on youtube. thanks !! Cheers from Germany Micha

http://youtu.be/ttl-kF8Rbuo