IronFilm

If you want to stick with Nikon, the best Nikon DSLR for video is the D750. The second best is the Nikon D5300 I reckon (or get the D5200 which is just about as good, but dirt cheap. I was using the D5200 as my main camera up until recently when I upgraded up to the Sony A5100 from the D5200).

I just this week picked up the start of a set of pre-AI Nikkors, as a second set to offer a contrasting alternative to my modern Rokinon Cine DS set of lenses.

Jedi, you totally should switch away from Canon!

I really hope the NX500 ends up being a close match to the NX1! If so I'll be all over the NX500 when it goes on its first significant sale as a body only option.

New video shot with it is out:

New video shot with it is out:

Roger Deakins doesn't go around thinking about full frame crop factor! LOL "full frame" and "crop factor" are two of the most genius bullshit marketing terms which have been inflicted upon the poor consumers by Canikon, so as to get them to spend more on their products so as to feel "full" and not "inadequate".

Yup, he is talking about a literal 32mm lens. In photography there is often quite a big leap in primes from one to the next, but not so much with high end cinema lens. Which can have much smaller steps between them. Here is a couple of examples of 32mm lenses: http://www.bhphotovideo.com/c/product/664902-REG/Cooke_CKEP_32_Panchro_32mm_Prime_Lens.html http://www.abelcine.com/store/Arri-Zeiss-32mm-Ultra-Prime-Distagon-T1.9/ But yeah, if you're looking for an affordable one that you could buy yourself. I'd say just go for the Rokinon Cine DS 35mm T/1.5 in the Nikon F mount (I've got one myself).

Well, after looking into this a lot over the last few days it looks like I'm going to try and go down the DIY path... ! Any references to others who have done this or tips there would be appreciated. The reasons for this is a mix of budgetary constraints, and time constraint (we basically need it asap, as the shoot date is not too far away.... and it takes a while to get things shipped from overseas to the ends of the earth where I live).

​Yup, and don't ever discount Canon doing the same!!

​The Df has live view, but doesn't have video.

Too late to edit now, but adding another to the list: http://www.newsshooter.com/2015/01/08/lenzhound-a-wireless-follow-focus-system-for-everyone-starting-at-395/ Edit: hmmm..... seems it is not even shipping yet. http://www.reduser.net/forum/showthread.php?125893-Has-anyone-heard-from-Lenzhound-Wireless-Lens-Motor-Control-System-(Kickstarter) Edit 2: ahhh... they did start shipping a few days ago. So perhaps a little too early to firm an opinion on them just yet. Stumbled across an open source project too:

Am looking around for a cheap but usable motorised focal focus (not wireless) to use on a CAME 7800 gimbal with Rokinon Cine DS lenses. This one at $299 seems reasonable: http://www.proaimshop.com/pas/PROAIM-E-Focus-DSLR-EF-DSLR-Pro-Zoom-Follow-Focus-Control-and-Battery.html Another one I've seen mentioned a few times is this one: http://www.ebay.com/itm/DSLR-Lens-Controller-Electric-Follow-Focus-Control-For-Baseplate-Mount-5D2-60D-/360815775872?pt=LH_DefaultDomain_0&hash=item54024bd080 This one is wireless and a tad bit too bulky and expensive, but might consider it (though way too noisy... but maybe it might work for our needs, perhaps): http://tomantosfilms.com/4194/wondlan-follow-focus/ Any other suggestions or reviews on these?

Why 100mm?? I'd prefer 135mm, or at least a 105mm which is a macro too.

I'm going to make the crazy suggestion that perhaps he doesn't need 4K So instead a few to consider are: Panasonic G6/GX7, Sony A5100/A6000, or Nikon D5200/D5300/D7100.

Mozim, is a bit more than that. The coatings on the Cine DS series is meant to be improved too, so that they're better colour matched across the range.

Happened to come across a feature film which was released last year and shot with a Nikon D5200 (four of them actually, with even the occasional shot from a D5100). Might be the first feature film done with a D5200:

I very recently wrote an extensive blog post on Rokinon Cine DS lenses after I purchased a set for myself: http://ironfilm.co.nz/rokinon-cine-lenses/

I've just written up a long and detailed blog post listing all the info we know about the Samsung NX500 right now :-) http://ironfilm.co.nz/samsung-is-about-to-release-a-cheaper-nx1-with-4k-or-does-the-nx500-only-have-2-5k/

You absolutely do not want to get the BMCC EF, as getting the BMCC MFT is much more usable. For this you then want to get Nikon (G) F to m4/3 RJ Lens Turbo. (plus of course a normal adapter) Then this would be a good starting starting point for a lens collection (make sure you get them all in Nikon F mount! Very important. Plus, you can often pick them up cheaper second hand): Tokina 11-16mm f/2.8 Sigma 18-35mm f/1.8 Nikon 50mm f/1.8D

Seeing shadows cast by the moon in this A7s video will I reckon stick in my mind for a while to come:

Your SLR Magic 25mm T/0.95 is a very fine lens. Why are you wanting to replace it? Your bigger problem is likely your lack of focal lengths, you've got a 17.5mm too. But what about getting also say a 12mm, 35mm, and 50mm f/0.95 to help round out your collection?

It is a very important question to also ask, what kind of shooting are you doing? As most of the Blackmagic Cameras, Kinefinity, and RED are all rather niche cameras (narrative/scripted videos with decent sized crews is what they're ideal for), while say a Sony FS7 is a better more general purpose camera. Also, don't discount the idea of getting more than one camera! Then you can pick the right tool for each job. An example three camera combo which would be lovely: Sony A7s, BMPCC, Sony PXW-70 This would be a total cost which is comparable or less to many of the ones listed above, and a person would be very well set up for a wide range of stuff: events, narrative films, corporate video, run and gun, weddings, low light, slow motion, VFX plates, etc... Of course what is the right combination that is right for you, depends on you and your clients.

Is strange you don't have 135mm as an option... is much more common than 150mm. I voted for 24m, 50mm, 135mm (well... 150mm was unfortunately the closest that I could pick). This gives you a lovely range from wide, to normal, to telephoto. Although.... there are only a few 135mm f/2 options, while there is lots of 85mm f/1.8 or f/1.4 options. So many would prefer 85mm here. Example three is: http://www.bhphotovideo.com/c/product/1078640-REG/rokinon_ds24m_n_ds_24mm_t1_5_cine.html http://www.bhphotovideo.com/c/product/1077536-REG/rokinon_ds50m_n_50mm_t1_5_as_umc.html http://www.bhphotovideo.com/c/product/1078631-REG/rokinon_ds85m_n_ds_85mm_t1_5_cine.html

You can't use a focal reducer from m4/3 to m4/3, that is just nonsense! As you need to have different mount lengths, so you can use that gap to put the glass for the focal reducer in there.