Inazuma

Could it be that finally, RED and BM are both busy with actually manufacturing their cameras? :D

I have to say, that video has stopped my gear envy of 3 axis gimbals!

God damn zombies taking our jobs..

I was not in any mood when I asked that question.. I was just asking a question

That is smart...

Thanks for the responses guys. The Olympus OM lenses look really good but don't have a cheap speed booster knock off for my Fuji. The Minoltas also look really good and would be nice to use natively with my Minolta film camera but they don't fit on EF mount without a glass adapter (I use a c100 for video work). The Contax's look great but are a little more expensive than the others. So i'm leaning towards the Nikons atm. One thing I'm confused about is how much difference there is between the AI, AI-S and D lenses. Most people seem to recommend sticking with AI-S. Are they really the cream of the crop? I'm also considering M42 lenses since there are so many of them. But I may end up spending a lot of time looking for the right ones :D

I already have that lens actually I'm looking for something lighter though

Yes please do Thanks for the advice everyone, keep it comin!

@Geoff @Dom Kotlas @mercer I'm looking for an oldschool set, up to maybe £200 (about $300) for the most expensive lens. So the Sigma Arts are out of the question. And I can get some of the Samyangs for that price but I am adapting them to my Fujifilm camera so I want them to look the part, which Samyang will not. And I want the lenses to be at least f2 after being speed booster (so f2.8 before).

Hi everyone I'm looking to purchase a set of lenses (24mm, 35mm, 50mm and 85mm) but am really struggling to figure out which brand to go for. I'm planning to use them on a speed booster, which is why I want to stick to one brand (one adapter). Things that I look for in a lens (with the top being most important) Flare control when pointed at light sources Chromatic abberation control Sharpness at wide open aperture Please help me out

Youve worked on a production with a higher budget and more viewers than game of thrones? What would that be?

This, definitely

It really helps with compression artefacts as well as noise. I used it a ton when grading CLOG.

@mercer Yes that's right. Can anyone recommend me an old 35mm lens with f2 or faster aperture? I've seen these by Nikon, Canon and Asahi. Anyone know much about these? Any other suggestions?

@mercer you should give Standard profile a go. I find that Natural causes a lot of things to go more orange, including skin. The difference is subtle though

For the crop at 4k, the lack of fast lenses below 18mm and lack of a 24-70mm equivalent lens would make it a hard buy for some people (mainly documentary-ists). But I agree, other than that it looks to be an excellent camera. I find the DR and colour of the D5500 to be more pleasing than my c100 ii. The only other thing holding it back is the pricetag. Quite high by today's standards.

Wow

Actually this is really good news. It means people who've invested in Canon lenses can finally get a more up to date sensor. I just hope the detail in the 1080p image is better too

Indeed. What is the normal method then for video people getting two or more people mic'd wirelessly? Do they just keep adding more of these singular systems? Is there a way to get all the receivers to mix into one XLR or 3.5mm channel?

Hi everyone I'm in the market for a wireless lavalier system to use with my c100 mark ii. Here's my wishlist: Decent quality mics with unobtrusive, pocketable or clippable transceivers Two or more mic signals can be sent to one receiver. Range of at least 5 meters. The receiver can sit on top of my camera (c100 II) by the hotshoe or something. Plugs in to an XLR or 3.5mm jack. I have no idea how much such a thing should cost so I don't really have a budget in mind atm. Please just shoot me some recommendations

How come you ended up selling your D16 Mattias? :o

Shooting CLOG, I ran into a lot of problems with high amounts of noise and compression artefacts when grading. This was mostly solved by exposing like Ebrahim said - overexpose until just before clipping. Even so, the camera's codec is too weak for CLOG imo. I had to use NeatVideo on a lot of stuff (it does pretty well at removing compression artefacts as well as noise) These days I shoot WDR. I have done several tests between it and CLOG and found the difference in dynamic range to be almost negligible. I'd only use it in the most pressing circumstances where you really need to get those last drips of highlight detail - at the risk of problems in post. When exposing in WDR I find it sufficient to judge by how it looks on the LCD and by the exposure meter. Just expose to between 0 EV and 1 EV. Usually just works. I have not had any problems with this technique yet. On the other hand, you might have a better experience than me with CLOG if you have an external recorder.

Also if your video is embedded in a website, good luck ever getting that to stream in non-mush quality!

Correct me if Im wrong Andrew but the difference in DR is actually just a difference in luminance of that light streak, right?

Does Highlight and Shadow Tone work in video?