AaronChicago

Came 7500 is a newer version of 7000 so I'm sure it's great. Not sure about Came Mini, but the Single looks pretty wobbly from tests I've seen.

I usually just record into the Zoom via XLR. I sync sound in post with PluralEyes. Maybe someone else here knows about attenuator cables?

I have yet to see any of the small one hand gimbals look good. For some reason it seems the smaller they are the more they wobble. I have the CAME 7000 which is really stable. The Ronin M seems very solid too.

For anyone who is a 1-2 man crew and does their own audio I highly recommend the H6. I've been using the H4n for 4 years now and it finally fell and broke. I decided to get the H6 since it had such good reviews. The preamps absolutely destroy the H4n's. Not only is the audio quality 2x better, the menu system is much easier and has colored screen with a small boot up time. Just thought I'd throw this recommendation out there if anyone is wanting to improve on sound recording (with an H4n). http://www.bhphotovideo.com/c/product/967366-REG/zoom_h6_handy_audio_recorder.html

Hmm. I'm not sure about the lens but I've made that exact ring in Optical Flares program.

Yep, and one thing to keep in mind with BMPCC is that battery life is awful, and the screen is awful. You'll need either a bag full of batteries and/or external power, plus an external monitor.

For sure. Looks really wonky.

I'm betting that it would. Want to send me a still and I can convert it and add a LUT?

I'm hoping they hold off till fall of 2016. V-Log should give GH4 some extra life. Waiting another year would really add some new tech into the GH line.

Bets on whether or not GH5 will be h.265?

Yeah I'm guessing in CC 2014 you would make an adjustment layer and add 2 LUTS. First one on the chain would be the converter, second the look/style LUT.

The 1DC LUT is optimized by using Cine V, but (correct me if I'm wrong Andrew) the LOG converter works just as well with any of the contrasted profiles (just not Cine D). I've used several Log LUTs other than the 1DC and it's pretty spot on. You may just have to tweak the green/magenta bias a bit.

This turned out well. I've got a few new to try. One focal length that I use alot on the Canon 24-105 is 70mm. I won't even look at the focal length when framing, but after I say "that looks nice", sure enough it's 70mm.

I'm hoping that the Blackmagic Assist works with the GH4. The panel isn't great from what I hear but it would be a nice 5" touch screen recorder to SD cards.

I"m considering buying it. I agree with PannySVHS though. It would be nice to have a battery grip type device that can be hand-held with an additional HDMI and SDI output.

I would buy one for sure. With V Log coming it would be nice to have SDI out. Or hopefully GH5 will have reg sized HDMI port.

Very true, and that's my fav current lens. I don't own any vintage lenses though so I've been looking out for one to pick up.

Looks great. Gonna look out on ebay for one.

is it this one? https://vimeo.com/124098814

One thing I've noticed just today by testing 28mm is that it's pretty versatile. You can focus on a subject close up and have good separation from the background. You can also shoot at f4 or 5.6 10 or so feet away from a setting and have it look fairly wide angle.

Well that answers my question. 24-50 every few mm counts. That's why I want to experiment. I've never used great PL glass with 24, 25, 28, 32 so I guess I made a mistake by saying untraditional. I'm going to start testing different incremental mm's to find a unique look to what I've always shot (18,24,35,50).

I had not intended to say what is right or wrong, or FF equivs. I'm just talking in terms of S35 and why certain cinematographers use odd specific non traditionals like 28. Why did they settle on 28 instead of 24 or 35. It's worth experimenting and seeing some results.

35-50mm is around what the human eye sees in real life. I think that is why exotic lens choices like 28, 16, 60, etc. seem surreal and thus more cinematic. At least that's what I gathered from the article by Noam Kroll.

true but arent most of his features shot on S35? I guess I shouldn't prefaced by saying S35 cameras.

I say untraditional in the sense that primes sets are usually like 16, 24, 35, 50, 85, 100, 135. I'm very guilty of using those set focal lengths and also using the opposite ends of zooms, 17-55, 12-35. I've been reading some interviews with cinematographers that really like using odd focal lengths such as Deakins with 21mm, and Speilberg, Scorsese, Malick with 28mm. http://noamkroll.com/28mm-lenses-the-secret-ingredient-for-achieving-a-film-look/ I'm going to start experimenting with using some of these untraditional focal lengths myself with intention. Not sure if it will make a noticeable difference but I'm very curious. Does anyone else have a certain focal length that they love for a specific reason?