AaronChicago

I talked to the biggest rental house here in Chicago and they said the C300ii and FS7 rent about equal. "Both very popular".

Well I have it looking a little better. The white vignette only pops up when a light source is hitting the lens. See below.

From what I understand Linear 32bit float in AE is more for compositing elements on top of footage. You get more realistic bright whites from CG elements. Not really for tweaking live footage (highlights etc.) It doesn't seem to do anything different than 8bit. This is just my experience though.

Really? When I ordered my clamps from Vid Atlantic they made it sound like 50mm would work on Super35mm. They even have this photo with a Nikkor 50mm (granted its a 5D) http://www.vid-atlantic.com/lensshop/sankorsinger-16d-lens-kit-w-extras

Is the Singer 16-D plus Helios 44-2 58mm a bad combo? It looks like shit. I can't get it to look halfway decent. There's a big white vignette at the bottom. The pinpoint focus at f5.6 10ft away is still soft. Maybe I should try the Singer on the Nikkor 50mm?

Here are 2 videos I shot earlier this summer: The intro and performance were shot with the 4.6K on this one: I have 2 other videos done that I can't post yet but here are a couple of frame grabs:

No way. I've been using the 4.6k with no problems for months. The new 4.0 firmware puts it over the top. 4.6k, 4K DCI, & 3K anamorphic ProRes. Custom LUT display. 2x desqueeze on the 5" LCD. I've finally found a camera that is perfect for what i do.

C100 MkII IMO. Dual Pixel AF, and 1080 60p. The image is very similar. Less of a green tint to the C100mkII. File size is a little more robust on the C300 but it's still 8 bit.

Why sell it if you love it? I think Canon struck gold with that camera. I'd hang on to it.

When I had the FS700 I used a Speedbooster which made it close to full frame. That's one of the things I loved about that camera. I would love for Blackmagic to make an E Mount Ursa Mini, even though we all know it won't happen.

I'll bet its 10bit in 1080 only. Heat would be a real issue for 4K 10 bit wouldn't it?

Great news. That's really all that I would've asked for in the GH4 along with a LUT REC709 preview for V -Log.

I think the GH5 will have some great specs for video. Unlike the 5D mark IV, the GH line is Panasonic's flagship hybrid. The DVX200 is more in camcorder land. The next step up in video is the Varicam LT.

Dammit Google.

It's funny b/c whenever I type a specific camera question into Google I usually end up seeing a link to EOSHD on the first page.

Yeah the Tokina f2.6-2.8 is an older design that has a more vintage coating and is a bit softer. In my opinion it's great for 4K footage.

Frank Glencairn just picked up an old Tokina AT-X-Pro 28-70mm F2.6-2.8 (Angenieux design). Look's interesting. http://bmcuser.com/showthread.php?18216-Poor-man-s-Angenieux-Tokina-AT-X-Pro-28-70mm-F2-6-2-8 http://www.ebay.com/itm/Tokina-AT-X-AF-28-70mm-F-2-6-2-8-AF-Lens-For-Canon-/262569552328?hash=item3d225d69c8:g:KxIAAOSwYSlXgf84

I'm a big fan of binge watching. I've realized that I enjoy shows much more when I watch the full season within 2 days instead of over 12 weeks. I watched seasons 1 and 2 of The Americans in 4 days and loved it. I watched season 3 weekly as it aired live, but couldn't connect to it as much. Looking back the season was great, but having a weekly gap kind of takes you out of the story. I think television can have more depth with characters as well. It's not surprising that writers/directors are flocking to cable TV.

That's disappointing. I actually thought he had attempted to make the bad situation right. Looks like he's still taunting.

That's why movies are so popular. It's an escape from the norms of life.

Good colors are subjective. Accurate colors aren't. I'll agree with you that Sony is one of the worst with natural color reproduction. But you can definitely get some good looking styled colors from Sony. As others mentioned FilmConvert, Impulz, and others make some great film emulations that'll give the footage a nice look. I always had to tweak the reds a bit to make them less orange.

Yeah, moire is still a problem unfortunately. Not nearly as bad as the pocket or BMCC. I'm hoping that Mosaic Engineering will release an OLPF for the 4.6K.

What was your taking lens, and anamorphic lens? Was there a big difference with the rangefinder on and off?

That makes sense. The thing that stresses me out the most about anamorphic is focusing. Would the rangefinder be beneficial or is it not worth it?

I came across this lens used and it's been sitting around. BM just updated to an anamorphic mode on the 4.6K so I wanna try it out. I'm so clueless when it comes to anamorphic. The rear diameter says it's 52mm. So here are my questions: -What adapters would I need to connect it to a 50mm taking lens with a 49mm front thread (Helios) or a 72mm front thread (rokinon)? -The front filter thread says 71mm. What kind of adapter would I need to attach filters that are 72mm? -Would the SLR Magic Rangefinder be useful in this situation as a single focus?