AaronChicago

These setups looks nice.

If Digital Bolex got a picture of Wes Anderson holding the D16, people would go nuts.

Internal cabling is a huge benefit. I'd spring for that extra $12.

LED color rendition is getting alot better. Aputure has them up to 98 CRI. I can attest to that accuracy. I've used some older LEDs and noticed a green spike while coloring. It's virtually gone now. http://www.bhphotovideo.com/bnh/controller/home?O=&sku=1172657&gclid=CIuMioWKscsCFQiJaQodEGYBUw&is=REG&ap=y&m=Y&Q=&A=details Honestly, not that I've gotten to the point where I'm 100% happy with my camera/lens setups, I'm way more excited when I see announcements for new lighting tech/products.

I don't know about that Haters are everywhere on the internet but if you go to Reddit you'll get the non troll comments displayed first and it seems like it's mostly Ghostbuster fans responding. Example: Here is the Ghostbusters sub for die hard fans. You'll see the responses for the trailer which are arranged by upvotes. Very level headed responses without trolling or being mean spirited. https://www.reddit.com/r/ghostbusters/comments/48s31n/ghostbusters_2016_official_trailer/

I would would highly recommend renting a C300 before buying. It's an amazing camera but you have to be sure you wanna commit to the 8 bit files when you're used to Raw from the ML 5D. Not saying the C300 can't create stunning images, but the difference in the robust codec on the FS7 and the C300 are pretty big. It's worth trying out first.

I think the general consensus is that Transformers, Ninja Turtles, etc. are just bad and the reviews reflect that. There are franchise movies that will succeed at the box office despite bad reviews. Ghostbusters is a highly acclaimed franchise and has big shoes to fill. I get that they're trying to make a new twist for a new generation but I can see that all of the backlash is due to the orginal movie comparisons. Which isn't really fair to pass the movie off based on a trailer.

The trailer was disappointing but I'm holding out hope. Paul Fieg is a good director. Bridemaids is a classic in my opinion. I think it's not a bad idea for reboots to change in tone (21 jump street). Ghostbusters is a massive reboot to nail though. So many emotions tied to it.

That's a close call if you're just using it for films. The C300 would be hands down a better choice if you were using it for anything else where time is a big factor.

C300 MkI or II?

I forgot to mention Lee gels and diffusion as well.

I love it. It pretty much took the place of my kino flos. Extremely bright but dimmable. Color temp control. V mount battery. Greatcolor rendition.

Aputure Light Storm LS 1c Arri 650 Tungsten Scorpion Light Flag kit Depending on the scope of the shoot I sometimes rent 2 Arri 1K's.

I asked him and he said he edited in Premiere but it was ProRes. Not Raw.

I wonder if they edited this in Premiere. RAW has become wacky inside of Premiere and adds a weird cyan fringe (which you can see on the edge of some trees).

If a film shot on the F3 can land you a job directing Jurassic World, and Star Wars Episode IX then why not? Look's great in my opinion.

Shane Hurlbut goes a bit overboard in my opinion. He's not even anywhere near the talent level of guys like Roger Deakins, Chivo, Bradford Young, who all have said they rely on "feel" and "aesthetic" over charts.

Yep that's straight up Coen Brothers style too.

I'm with you man. I'm loving the BMMCC footage way more than the Ursa 4.6K. A good analogy of how I feel: You're driving down a highway looking for an exit with a good place to eat. You pass 3 or 4 exits thinking you'll find something better soon. Suddenly you're at the edge of a town and realized you passed up the best option. You turn the car around and go back an exit to the best choice. For camera tech we've been chasing the perfect camera and I believe we've hit the point where it's passed "the sweet spot" and we're taking back a notch to find the best images. EDIT: Image quality is subjective, but I'm speaking for the people who want something similar to 16/35mm film. The classic look.

Updated LUT preference for S Log 2: Cineon to Kodak 2393 (FPE) at 75% opacity.

Business 101: Excellent customer service = faithful consumer and increased business over time. Seems like this company is taking the opposite approach of selling as many products possible before people realize it's a disaster. Remain silent. File for bankruptcy.

I loved the stache. I forwarded from the middle to the end on YouTube and saw the mustache gone. Was like "what the hell..." Replayed it to see you take it off. Hilarious.

These will be good to rent.

No way in hell it's going to have 10 bit 4:2:2 internal for 6K. Full sized HDMI output would be nice though.

My advice would be to shoot a static scene with a C100 and A7S. Same lens and focal length. Tweak the A7s image in post till it matches the C100. Create a LUT to use for future use.