jgharding

Exceedingly poor show. If the 7D II is indeed the first APSC model to have a new sensor, let's hope it's really good.

I'm interested to see it! It looks kinda "tree of lifey" from the trailer.  Whether I like it will probably hinge on whether it comes across "try hard" or not...   With regard to gear, some shots look better than others and it's never been my favorite camera, but hey, it shows that such kit is good enough so that's a great thing.   I have a two-year old film shot on 550D that's still running festivals (last one was filmkunstfest in Germany). No one is really bothered too much about details like overall sharpness, moire and so on if they like the story, but it's a bonus to have them gone, so it's a good thing to always look for better. That's the attitude that lead us here and will lead us forward.   This story just gives me more of a push to keep going regardless of budgets. The actors are the most important really, cos the camera is mostly there to capture a performance! Most indies have dire acting, even when the ideas, scripts, sound, music, and camerawork and kit are good, poor acting makes the film shit despite all of the above.   I've lost count of the number of times people have bragged about their gear choices and lenses, their anamorphic rigs, shown great stills and then the final work has had such poor/embarrassing performances that you stop it after a minute.   You can have millions to play with and a film fall down on performance or scripting. So make friends with actors!   I hope this film makes millions, that'd be good for everyone in the long run.

Yes FS100 is great, I was using the FS700 again only yesterday and get great results with its cinegammas. The codec is a bummer though.   Doesn't D5200 have great video for money, and compared to D800? Nikon lens choices are a bit more limited though...

And of course, you could shoot on anything at the end of the day, that kinda goes without saying that good content is good content.    But while we're here, we may as well discuss it right? ;)

It's a sound deduction, though do take into account the hassle of popping the filter in and out if you want stills (you can't shoot stills with it in, really) and the fact that it's delicate.   I have one for the 550D, they're good, they solve the problem of course, but they're a hassle and very delicate.

https://vimeo.com/65329731#at=0   Not precisely the same, of course, but much much less expensive.

Wow! That's a lot!   I like the look of Visioncolor's profiles though, maybe I'll give them a shot, they seem to have FilmConvert settings too.   I tend to use Cinestyle as it has a LUT from Technicolor, there are settings for it in Filmconvert, and it's a known factor. 

According to this the OMD had clean HDMI 4:2:2, focus peaking and is capable of 1080p120, all locked by Olympus.   http://www.43rumors.com/olympus-e-m5-hack-clean-hdmi-422-and-focus-peaking-possible/   Since they have great sensor-shift stabilisation, unlocking these features would make it an amazing camera.   Of course there's no guarantee of the high frame rates, but this fellow reckons the HDMI out is simply intentionally locked.

That's what i think is most important when picking the kit, what look do you like and what are your tastes? SAme goes to the OP: which do you like the feel of more? Go with that one. You don't want to be stuck with something that really bugs you. 

  In all honesty the look of the movement, especially with people in the frame, is distractingly camcorder-like, to my eyes. It looks very plastic and electronic. Even when it's I-frame hacked it still seems very smeary. It's not so bad with other subjects, but once there's people there it looks cheap. Also the highlights clip harder than an army barber. I still don't find the movement pleasing on the GH3 personally. Some love it though.

  One of the reason I-frame is kinda essetial for a film-like look. Every other kind of codec smears the frames together. Film frames didn't do that!   I do use Cinestyle though, if you use an LUT in something like resolve your banding doesn't seem so bad.

Tony, you are "The Knowledge", you should have a honorary nickname here! Isco should just make it again! They would clean up I think, regardless of startup cost. Loss-lead for a year then continue... Unless I'm missing something...

That's a shame, the Delta was pretty innovative!   Arri should buy them up.

Hmm, in comparison the Red Epic crop options are amazingly useful, but it's also really buggy and feels very american: huge specs but kinda rudimentary! Like an old muscle car. If you know you're deliver 1080, to use 2K for zooming in and 5K for wide is great!   I've not touched the Sony F55 but I'm convinced it'll have menus a thousand layers deep and a few horrific quirks that grind... cos that's how they make cameras.   Arri Alexa is a thing of beauty to use, solid as fuck, only has what you need, looks beautiful. It may only be 1080, but it just looks so good... The weight is a real downer though. But it's the only one so far that feels complete, not beta. Very German, and thus I love it ;)   C500 I've not used, and though it lacks the stats I think that'll be the lightest and easiest to use, and will likely be less beta than the Red or Sony.    I've yet to use F65 either... It looks kind of Red like from what i've seen, a ton of resolution and sharpness, very large gamut...   But so far, when you push the footage, the only one I've found to have a film-like grain structure is Alexa. If I had to take a camera bride, it would be Alexa.

  Yep this is one of the shops that does this regularly, stuff disappears on really high bids, then they're sold one by one for silly money. Engineering rarity. Sad really. Just ignore the listings I say.

very good! I love the look!

  The trouble with that is that it uses After Effects in the background for playback, not Premiere's engine, so you lose realtime playback most of the time.    tried this with overlay graphics before, but in the end it's worse than just exporting a MOV!

So if someone can hack an SDI into a 5D you might have a chance, bypassing the buffer with just a stream of raw data.   But it might be best just to get a different camera. I don't think there's much spare space in a Canon body to fit stuff.

http://accessories.us.dell.com/sna/productdetail.aspx?c=us&cs=19&l=en&sku=225-4201     Tell me you don't want it. Oooh, lie to me again...

Those stills are insane, It's pretty clinically sharp! Quite absurd resolving power, almost intimidating. I'd love to use this for portraiture with some improvised filtering and whatnot   Such a shame about video though, a real waste.

Really lovely footage, I think you have a natural eye for beauty!

Yes that's how I'd describe it, people forget you're just someone selling in your spare time and expect everything to be brand new and to be able to get hold of you at a moment's notice or threaten you with negative feedback, and there's nothing you can do!   About two years ago the atmosphere was nice, now I get two or three cases against me for every batch of things sold, usually for things like "didn't include this" when said thing wasn't in the listing, or the listing specifically said it wasn't there. drives you mad.

They are pretty awesome, mine makes orange flares, and has a purple coating! Seem like you gotta get three to catch em all ;)

Basically, if you wanna grade, you can do it natively without transcoding, if the software you have can handle the file format.   As long as the engine is "floating point" like DaVinci Resolve or After Effects (if you set the project bit depth to 32-bit) you're getting the best you can.   As Sean says, use a piece of software designed for finishing and you get the best results, usually, because the engine is geared towards quality, not speed. I do grades in Premiere if a project needs a quick turn around, but otherwise use some dedicated post software.   DaVinci Resolve has a steep curve to learn, but it's worth it.    The software will be ubiquitous pretty soon.