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full time freelance editor here. I bounce around at a couple different companies whose clients are the major studios. for example, I cut this piece for the mummy. the pay is great, frankly. i have been doing this sort of work for about ten years. I have also directed two features. the most recent was distributed internationally by paramount three years ago and we're still seeing good money from it. I don't spend more than I can afford on cameras and lenses, but am fortunate to be in a pretty good financial situation. No debt at all. My wife and I do not have kids. She also happens to be a film editor so she has an appreciation for my gear lust. But yeah, short version is that I work professionally editing and directing, and some of that income supports my personal collection of camera bodies, lenses, and support gear that i use more for fun, personal side projects that keep me sane.

I own a video production company that specializes in automotive. We have a string of long-term clients in retail as well as editorial. Here's one of the shows we shoot for Motor Trend: Our (my) gear purchases usually revolve around solving problems: better slow-motion, more mobile, faster lenses to address low-light, better mounts for a specific rig shot, drones because... well, drones are awesome (I went out and got my FAA part 107 certification). Though I like new tech, I don't buy something unless it addresses a specific need.

You guys made me laugh hard. You are the same people who said years ago that FHD was completely enough and that 4K was useless, when we were telling you it is not about the people having 4K TV to watch your 4K movie, but about the cropping, stabilisation, noise, resampling, and so on that allows you also to have a lot nicer FHD image. Soon the same will be true for 8K to the 4K content we will deliver. You are the same people that said the 12mpx of the D700 were absolutely plenty enough for photography, that more was absolutely useless unless you print on a wall, where I am using 24-42mpx sensors all the time and benefit all day from their cropping capabilities, better noise, better details even seen on my 15" laptop. Anyway, just like 90% of the people on earth, you are reluctant to change and with people like you we would still be using nokia keyboard phones. Thanks god the 10% do exist. Can't wait for 8K 1000FPS 14 bit 400mbps x.268 to arrive in my hands! Stay with your 480p cameras! No insult in my message, take it with humor

One day Canon's rep can explain to me why there is 300MBit 4:2:2 on the £1400 XC10 but just 100Mbit 4:2:0 on the £7500 C200

On Digic 4 cameras the 10bit/12bit raw mode is corrupted in full sensor mode, every other image is pink. reddeercity in ml forums is working hard to solve this problem with his 5D2. In crop mode all of the cameras are working in 10/12bit, they just need a little black level adjustment with exiftool (or maybe this is solved with the last MLV DUMP?) The secret of the 5D3 4K is not just the 10/12 bit mode but the new lossless raw compression feature. It's possibile to use 14 bit raw mode with 54% compression rate which is more effective then the 10 bit mode alone. It can be combined with 12 bit to get even smaller file sizes (or higher continous resolutions). The strange thing is with 10 bit the compression is not that effective. The downside: the live view is unusable right now if you use compression, and the recording could stop if the image information exceeds the card's max write rate. So the efficiency of the compression level is flexible. 3,5K continous recording is possibile if you are using higher ISO values (lower dynamic range, less steps in the highlights, more compression possibile) with the 5D3 such as ISO800+ The MLVFS just updated few weeks ago to handle to compressed raw The compression is an original canon feature and it could work with any camera from 5D2 through 600D but it's in the alpa stage in development right now.

Heads up to users of the 72mm version of the SLR Magic Rangefinder (the discontinued one without distance markings)... The rear 72mm attachment ring on mine had some rotational play. I decided to see if I could remove it. I succeeded, turned out the connector was a step ring glued on! Underneath a 77mm thread, just like the one with distance markings. See pictures. Trying to remove the step ring (at your own risk ;-)) might be worth it as it brings the RF closer to the attached anamorphic glass, benefiting vignetting. Conclusion: both versions of the Rangefinder are mechanically the same. The budget version just misses distance markings and got a step ring tacked on (!).

Good to know. The 35mm F2 IS by the way is a gem.

Weird @Ebrahim Saadawi hasn't chimed in yet. He knows some stuff in this area

All your lens are belong to us.

LOL that is funny because it is soooo true. I am sitting in a mall to post this as I have run out of credit with my (prepaid) internet and using free Wifi, wearing a shirt and jumper I purchased from a charity shop (they were absolute bargains and it is the same place I got a couple of pretty good tripods for $5 Australian each). And am (in part) looking for lenses on Ebay while here!

I like this - http://www.magiclantern.fm/forum/index.php?topic=18949.0 Martin has done a superb job. It converts to ProRes or Cinema DNG, you just drag and drop the MLV clips direct from your card into the app window. Select the gamma curve, i.e. Canon LOG. Select the touch-up options, for example to remove focus pixels on cameras with phase-detect AF on the CMOS sensor and aliasing around highlights. Go to File, Export, choose flavour of ProRes. And it's fast!

Do you know how to convert it into a Hardcore DNA as well?

48fps Raw, no squeze 7D https://drive.google.com/drive/folders/0Bz5n0qYxIkVOMnJMeWhkU3pMVjQ

It's not an official build or a nightly on their site. Yes it is confusing at first. I found mine deep in a forum post at ML, with a link to dropbox / google drive. I'll try and dig it out again or upload the ZIP. Great. But seen as the max res on the EOS M is 1728x694 without going to with a very heavy crop factor, I suppose lossless is more useful on the 5D3. On the 700D, the max Super 35mm recording mode resolution is 1728x1156, which is a lot better than EOS M but still not quite 3K is it Great that it works on those cameras though. Is there a build of it working (or even semi-working) on the 70D or 100D? Think it was NikFreak on the Magic Lantern forums that did the 70D build with 10bit raw but can't find the link there now. (Took me hours to find it in the first place!) It had some issues, so don't expect 100% reliability. It's experimental and based on 6 month old version of Magic Lantern. I'll be trying it for the first time tomorrow when my 70D arrives from WEX. £510 for a used body in good condition, not bad! A lot cheaper than getting a C200 innit?! magiclantern-Nightly.2017Jan06.70D112.zip

A) Fricassee of fresh air for lunch B) Got old and had some money down the couch over the years (who am I kidding, I cant afford a couch).

100D is missing from the experimental builds too, sometimes you have to look on the forum amongst the 1000's of posts for someone who has compiled his own build with 10bit in it. See if you can find one for the 5D Mark II and 7D In the mean time I've updated the article to say the DIGIC IV cameras don't do 10bit. These are all compact flash so 10bit missing is no big deal... they can do 14bit just fine up to near the maximum of the sensor.

Here it is in action The taking lens I got with my cinelux is a Schneider 75mm f/2 Super I had to focus the anamorphic and moving the camera back and forth to get sharp focus.

Hi Andrew I just don't understand the snark factor around here. My A99II just arrived this weekend (I got a good deal on a perfectly clean open box copy from one of my favorite retailers for $2720, complete with a full manufacturers warranty). I am upgrading from my A77II (soon to be on eBay), am I am focused on stills, for which this camera is just absolutely lovely....Here are a few first impressions: 1. It is almost the exact same size as my A77II, but has more weight to it. I really like how it balances in my hand. It strikes me that it is a larger body than the A7 series (for obvious reasons), but it's smaller smaller than most (all??) full frame DSLRs. I get the sense that the SLTs are kind of this weird blend/middle ground between DSLRs and mirrorless cameras (probably unintentionally). 2. Menus are better organized, but good heavens, there are a lot of features. The layout reminds me a lot of my Olympus E-M1 (which I sold) in a way because it is powerful and infinitely customizable (tons of features and buttons), but on the other hand -- it can be really overwhelming. That said, I am much more comfortable with the A99II so far, because I have been using the A77II for the last several years, and there is enough similarity to be familiar. 3. I have the Zeiss 50mm F1.4 --- and it just shines on this camera. It is a nice size on this body, and it makes some gorgeous images. I still have to test out my other A-mount lenses on this (some of which will be sold off, since money is an object...). Do you have the Sigma Art 18-35 F1.8 in A-mount? Have you tried it on the A99II in Super 35 mode? (I have it as my go-to for my A77II, and was planning to sell it, but I may reconsider if it is a video shooter "must have".) For what it's worth, thanks for all your work, and for sharing your excitement and passion.

I have a Super Cinelux Anamorphic 2X MC, I can try when I come home and let you know

You're in luck mate, looks like the gen2 is just finished and available from the creator (luca) here: https://m.facebook.com/NXL-284084538620105/

I did try it, you can attach it with a M42 adapter, M42 reverse ring, M42 Helicoid and Step up/down rings with a clamp. You need the helicoid to be able to focus the system. The only problem being that the "taking" lens is usually arount 75 or 90mm which isn't wide enough IMO. Here is a picture of the system (with a single focus solution) that I tried the idea with : https://goo.gl/photos/a5uBojn7vj2bR2HV6 Do try it, it is quite a fun experience

Just to chime in, I have found the 22 on my eos m1 to be an awesome little lens, and the 18-55 is pretty good too I reckon

The dog is kicking it in the summer sun

You can thank having slightly less screwed up IP laws than the USA!

Never a smart idea to buy a camera on the promise of what is to come in the future. Plus by the time it comes out, there will be even more other alternative options.

What do you mean by "frame shutter"? I can set my frame rates and shutter speeds without issue. Also, I finally picked up a blackmagic video assist for my F3! Still need to do some more tests, but @BenEricson is right: beautiful, clean images that are very hard to make fall apart. The Assist has some quirks, like selecting "lines" to get peaking instead of the "peaking" option, but is otherwise well-featured and amazing value for money. Looking forward to shooting some 10-bit on something worth sharing!

I haven't needed it on the A7SII yet, but I shot this a couple months ago with the A99II, the dual-channel receiver and two transmitters. (The interview portion, not the intro.)

Can you still buy short ends? That used to be a great way to save on film costs, of course you were limited to what stock they had available at the time.

I have a 7D, you can record full sensor Raw in 24p continuously. You can also shoot in a 48fps mode in a wide screen aspect ratio without any need to desqueeze in post.

Canon 17-55mm F2.8 at least has stabiliser, so maybe for video that is more useful than F1.8... Would be a nice lens on Speed Booster too if we ever persuade Christina out of her Canon love affair

To clarify again - someone misstated that the Sigma 18-35mm doesn't have a filter thread. That's, of course, is worng. Of course it does - it takes 72mm threads and is the best lens IMO of any suggested here.

@Christina Ava Can confirm this. Can also confirm this lens deserves all the praise it gets. Buy used for even more of a steal (although a small investment in the Sigma USB dock is recommended). Suprised no-one mentions the very cheap Canon 10-18mm with IS. You gotta mod the EF-s mount, but that should be easy. See below.

Thank you for the information but let's keep it organized, OK? :-)

I edited this Mummy trailer:

Just put your thumb behind the cap and pull, it clicks off... And you can put it back on again. Can't confirm if this works with all EF-S lenses but it does with this one and it's easy.

You just don't "patch" 4K video, are you nuts?! It needs different hardware, thermal solutions, and a lot of different things. 4K isn't just a name, is a very demanding procedure with much more information and needs top of the line processors, chips, cooling solutions, input/output, etc. Also, I don't understand how you go from the 6D to C200, and back and forth! You have to know what you really want, access the market, and then go buy whatever works for you. An entry level full frame camera, and a middling S35 cinema camera are very far apart. Check the XC series, great little cameras there, or the JVC LS300, if you do not want to pay much. the 6D you are describing for 2000$ would have cut 2/3 of 5D sales instantly. The problem was the 5DmkIV. It is a "lesser" (to a degree) video camera, so everything below that have to have much worst specs than a 3500$ - middle tier, to be honest - photo camera. In my opinion these cameras aren't true hybrids (so, I don't care), are 80-90% photo cameras, and that is fine with me, and I look elsewhere. The only big hope for Canon is the M series, and they are very far behind completion there too (and with new cameras such the 6DmkII, I do not see a real great M camera any time soon.) P.S I just bought another NX1, 28megapxls and 1.5X crop factor. It also has 4K, 120frames slow mo etc.

I have two jobs, one which is not great but pays well. The other one being making videos. So basically, I have one job making money, and the other one spending it ! (But I always keep my expenses low by using older gear and going thrifting every week-end :D)

Don't forget the subterfuge involved. Last morning in Berlin so suggest going to the flea market as I'd been reading about there being lots of interesting locally produced jewellery available there. Just sat in cafe reviewing the only locally produced gems that were actually bought.

Andrew must have an exceptional copy of the 35G or he likes the wide open softness this lens exhibits. I shot the original A99 for awhile and it was the worst A-mount lens I tried out of all the G and Zeiss lenses. Every copy I tried was soft at apertures wider than f/4 - for me the IQ was just to poor, even at heavily discounted used prices. The 24-70 was clearly sharper at the same apertures, so that's what I shot with most of the time. In fact my copy of the 24-70 was so good it almost never left my camera in the 3 months I owned it. With the A99II bump to 42mp and actual 4k/1080p resolution in video its flaws will be more obvious. Its smaller and lighter than other 35/1.4's because its was released in 1998 and its optical design is not competitive with modern designs in terms of sharpness and aberrations, the E-mount 35/1.4 is a modern optic and far superior in every measurable metric - thus the lens is larger. The overheating bugs me too. Sony has a beast with the A99II, but it needs a few refinements and a few lens refreshes to make it viable for me. Some discount the AF issue, but for one-man-band, run-and-gun stuff, AF is a valuable tool. The workarounds are silly, Sony can fix all the issues. I just don't think the A-mount sells enough to dedicate significant resources to make the needed improvements when compared to the E-mount - which is clearly driving the robust imaging sales we've seen over the last couple years. Disabling the aperture is not a viable workaround if you want to use the lens at more than one aperture without having to take it apart every time. Are you getting two channels of audio directly into the camera on the A7sII as well? If so, that pretty convenient. I'm thinking about switching back to Sony from Fuji and this would be another reason to make a move for me. Thanks.

Why couldn't you use a vND with the 18-35? It has a normal filter thread.

5DMK3 Raw 3k upscaled to 4k. The first shots are filmed in a mirror's reflection so they are not as sharp. I really hope the C200's raw is similar to this.

I'd rather watch a David Lynch film shot on DV over anything made by anyone on this board. But that's just my opinion.

Recommended wide glass

Hi Germy1979 there is over 950 posts here regarding the X-T2,as well as other threads

Spot on..... I've filmed entire paid music videos on a GoPro because that was the vibe, attaching a small camera to everything POV style. In a studio, I've used the FS7 only because it was a tripod and I need chromakey slow motion at an affordable rate. I filmed my biggest ever project... on an A7S II. There was no chance to do lighting, we had to run around all sorts of locations and grab shots on the spot. I used the old C300, even though I had three other Sony cameras. The interviewer was adamant about "natural, organic, really good looking skin" in the interview. The video above, I used the A6500 with one lens to stay very discreet on the streets and still get a high IQ with a minimum fuss. Yesterday I used the FS5 and Inferno in ProRes as we set up 4 scenes in a very controlled space and needed very high resolution, high bit rate compositions as the colour management was very difficult with all the multi-colour neon signs knocking around. That said, the EOSHD vibe is certainly favoured to small mirrorless, and most of the work we show here is very "street", minimal kit and run n gun. I find it a much more enjoyable experience shooting like this, because it's very liberating. Creativity is the quality of the idea. Choose the best way to get the best out of the idea. In Hollywood, it's a huge crew behind 3 Arri Alexas. For a lot of us, it's a GH5 with a Zhiyun Crane and a GoPro with no permits. Whatever works best given the material.

@HockeyFan12 "Nothing against pros, but being one sucks. You're answering to your client, to your budget, to your crew's limitations, to the clock, to the director, to the brand, to the malfunctioning and expensive and heavy gear. Yeesh. Why aspire to that life when you can, you know, have fun and tell the stories you want to tell? If you're a pro, I get why you do why you do. You're paid to. If you're not one, stop living in the worst of both worlds. Go hack a 5D or grab a go pro. Shoot something cool. No one is stopping you but your own insecurities about your gear." I know what you mean, but every little, silly, ordinary job can be something creative, something not a lot of people working in banks, insurance or in offices can claim. I have travelled extensively to my home country, and elsewhere, gathering condensed "wisdom" of the people and the places around (staying in a small village for 3-4 days and after 15-20 interviews you know everything about the people there and their history). In every job you have to give similar answers. If you are a car mechanic, you have clients, you have a budget for your shop/rent/insurance/tools/how much you charge/assistant(s)/etc, and if you do a mistake you can kill someone on the road, at least our mistakes aren't that dangerous. What you suggest is go back to our caves, palm painting and eat roots, because it is too much to be a pilot, or a doctor. Better pray to the Spirits of the forests for good health and not eaten by a bear! It is a job with a huge array of specialization, you can be a grip, a director, a writer, a sound man (my favorite!), and you can work in advertisement, movies, weddings, documentaries (my favorite!), you have to have, artistic, technical, communication skills and mix and match different people, equipment, techniques. It is a stressful industry, but I am ok I never followed the Engineering career I started in University; I would be richer, for sure, but I wouldn't be me. @ntblowz It is the most reliable AF system on video right now. It is a tool, you don't use it 24/7, but in some specific situations it can save you some time. AF systems aren't 100% reliable yet, but I would say Canon's is around 79%, in a few years that will go above 90%, but I do not see 99% to be possible any time soon, there are just too many variables. C100mk II is my favorite camera.

Get a GH5 if rolling shutter is a concern. Or shoot in full frame 4K mode on the A7R II which does pixel binning rather than a full sensor readout in that mode, so less rolling shutter. X70 has a completely different aesthetic to the A7S II... Does that not matter to you?!

It might just be me but it sounds like alot to ask for imo. Its like asking Apple to include a tripod with the iPhone or that the C200 should include an external flash just because it can capture jpeg frames. Its a DSLR not a video camera. And Im not a video camera shooter per say. My XT2 is my only personal video camera and Im greatfull for its 4K. But I would have liked it at HD. And I would consider without any video at all. (Im debating switching it for an Xpro-2. Or sell it all together and just use my SD Quattro which has no video at all and get a video camera for video.)

Mmmmm....yes and no. It takes the command and protects highlights for sure. But it does this by shifting everything a bit to the left of Karl Marx. I need to look at it again to see if its salvageable with the prodding device but haven't got round to it yet. Yes but if it is shit then at least it can now be shit but with a much flatter profile

Neither. Get yourself a Panasonic G80