IronFilm

F mount lenses with their design for a longer flange distance means they're pretty much adaptable to anything, including EF mount.

The downsides on the NX1 are related to the new codec, those "problems" will soon go away, leaving me with a superior camera on the long run.

I think for weddings,  the easier work flow of the GH4 would be far better and outweigh the advantages of the NX1.

Outfitting a studio for lighting can be involved.  Things to consider are square footage, power, lighting grid design, grid height, power distro, grid grip hardware and fixtures.  There are companies that will look at your space and do all of the design and construction work.  Also, some lighting manufacturers will give estimates and make overhead diagrams for free (featuring their fixtures, of course).
 
If one is beginning in lighting, start small and get a kit with one or two focusable lights (Fresnel or open-faced), a flood light and a soft box.  If more gear is needed for a specific job, rent more gear and see what works.  Then, when one has a better idea of what is needed, one can start getting more lights and grip equipment.
 
Another good approach for a beginner is to hire an experienced gaffer (ideally one who is also a DP) for the first jobs.   He/she will spec what is needed for the shoot, and one will get to see the equipment in action, utilized and deployed in an optimal and professional manner.

Dedolights make a great set of LEDs that are super customizable. A full set will run more than 2K though. You could always get 2 Flolight fluorescent banks (similar to Kino Flo but half the price), and 2 Arri 650W fresnels. Mix in a couple of diffusers and flags - you'll have a good kit.

​Yup, they're so cheap you can easily pick up 2 or 4 of them, and go with whichever one you personally prefer. 

​Not if they do it out the USB3 port
Honestly, just hoping for better RS in 4K, center 4K crop, higher bitrate options in 1080p, and a 1080p HDMI out option.

​Did i miss something? bmpcc records RAW on sandisk extreme Pro SD´s

If it's true, it's probably more likely they're going into the raw direction after working with the Magic Lantern folks. What an awesome and unique step that would be. We'll see.

6K video !

​One of the hardest things in scriptwriting is to write a good low budget film. 
 
http://www.scriptmag.com/features/alt-script-five-good-reasons-to-write-a-no-low-budget-script
 
http://www.scriptmag.com/features/alt-script-four-ways-to-control-your-scripts-budget-without-compromising-the-film

​One of the hardest things in scriptwriting is to write a good low budget film. 
 
http://www.scriptmag.com/features/alt-script-five-good-reasons-to-write-a-no-low-budget-script
 
http://www.scriptmag.com/features/alt-script-four-ways-to-control-your-scripts-budget-without-compromising-the-film

You make short films until you have the resources to make larger films. You publicize and promote them at film festivals, always carrying a screenplay with you in case you meet a producer looking for a new talented director. Either that or you go purely through Internet, do crowdfunding and hope you get millions of youtube views to be noticed.
There is only one way to succeed. Use the the resources you have to impress maximum number of people with best work you can do. There was a time when even if you made your own film, you could only screen it to people physically, in a room, etc....now...you upload it once and if its good, it can reach millions. Filmmakers have NEVER had this option before. Ever.
 

​One of the hardest things in scriptwriting is to write a good low budget film. 
 
http://www.scriptmag.com/features/alt-script-five-good-reasons-to-write-a-no-low-budget-script
 
http://www.scriptmag.com/features/alt-script-four-ways-to-control-your-scripts-budget-without-compromising-the-film

​Premiere can use HitFilm Plugins :-) Which is a more than good enough reason for many people to get HitFilm 3, even if they don't intend to use it as a standalone NLE. 

if you want to wash your head from bad acting/script/cinematography i suggest you watch Inherent Vice...
if you like this type of flics i guess KUNG FURY is the one to watch!
 
Most of the raw footage over green screen had been filmed using a Canon EOS 5D and a Sony FS700, 

No, no, I don't mean fantastic plotlines like King Kong or time travel, I love em...my point is how HUMANS are increasingly handled in movies now...there is a tendency now to make every protagonist a superhero with superhero powers...even looking back at traditional larger-than-life characters like James Bond and Indiana Jones and even Rambo, they were exaggerated but ultimately they had human limits...

From a storytelling point of view...it's important for the element of danger to remain in the film for you to really be invested in the action...superhero films don't follow those rules...that is FINE, we expect Superman to fly....but why is Vin Diesel now able to defy the laws of gravity too with that final helicopter sequence?  I'm just noticing that the superhero genre is creeping into the mainstream action genre, maybe it's due to the popularity of Avengers, but its kind of spoiling the experience for me personally. 
 

​I would not bother wasting another second waiting for Canon Rebel to be worthwhile, never really has been. And next to zero chance any of the next couple of models will be some amazing breakthrough. 
Cut your losses, and get yourself a Sony A5100 with a focal reducer (cost me US$410 in total for this combo), it will blow the socks off in low light and overall video performance compared to whatever Canon Rebel you're currently using :-)
 
Yes. Also, don't rule out getting an older D5200. Is what I'm often using, and it goes for very very cheap these days, even though it is a great camera:
http://www.eoshd.com/2013/02/nikon-d5200-vs-canon-5d-mark-iii/
https://www.youtube.com/watch?v=EANtxttUjIo 

​I briefly tested Hitfilm. Without reading any docs, was able to quickly mix video and particle effects, etc. Yes- you can mix video and motion graphics in the same timeline (there's also an editor/mode for the VFX layers). However, I prefer node-based designs, as they are ultimately the most general and most powerful.
Since I have limited time to create video projects (part time), I have a basic constraint for all the tools I use: they must be real-time or nearly so, otherwise I won't use them. Premiere Pro, FCPX, Motion 5, Resolve, and 3DSMax are the current real-time tools in my toolbox. For the green screen laser fight scene our short film, Delta, I did everything in Premiere Pro, and it ran in real-time (or nearly so). After Effects would have required rendering previews and waiting: prefer interactive real-time, and as a video game developer, know most video-related tools are way behind what is possible with current CPUs & GPUs.

The best skill is learning how to learn ;).
In first time testing, Hitfilm was much easier to figure out vs. AE and more importantly, much faster. Because AE is so slow and archaic, I only use it as a last resort. AE is long overdue for a rewrite and GPU update. PPro can already use many AE plugins- hopefully Adobe will roll AE functionality into PPro soon.

Hi everybody, my first comment on this forum, very nice to meet you.
I like Andrew's review for EOS M3, and I find it to the point and I find very useful the videos "Japanese Garden" and the "Studio Test Scene".
Well I am from the first who bought EOS M3 body from Amazon Japan at under $500 with free EVF included.
I already have a Nikon D800 and when I compared it with EOS M3 in movie mode side by side, I was impressed to see that the EOS M3 video is much more clear and full of details than this of D800.
After I liked the freedom that M3 gives me: small size, tilting screen, standard external microphone port, focus peaking that make manual focus quick, and a variety of lenses to choose from Canon, or Nikon, or legacy Pentax, Tamron etc.
You cannot find all these at this price.  Not even an external microphone port unless you go more over $1.000.
I also want to inform other M3 users that if you search the settings in "Picture Style" you will get a movie output much more rich in details: not only remove sharpness but remove contrast as well.
But I was really surprised to see that magnification assist for MF doesn’t work in movie mode, while it offers focus peaking, which is related and has to work together with MF assist. I hope that they fix this, it is crazy: every time i want to fine focus or to check the accuracy of the focus peaking, I have to: rotate the selector from movie to photo mode> fine focus>rotate again the selector to movie mode.
In general am happy with this camera and for this I made a short "Low Light High ISO Movie Test" which i can share with you:
 
 
Chipped and unchipped lenses were used for shooting the samples of this movie, which are:
1. Nikkor 50mm f/1.4 non-Ai (adapter used).
2. Tamron Adaptall-2 SP 60-300mm f/3.8-5.4 (23A).
3. Tokina 12-24mm f/4 AT-X 124AF Pro DX II for Nikon (adapter used).
4. Tamron SP AF 17-50mm f/2.8 XR Di II LD IF for Canon.
And here is a picture of EOS M3 with the lens: Tamron Adaptall-2 SP 60-300mm f/3.8-5.4 (23A).  With this long lens, the first clips of the movie test were shot:

Best Regards!

Lol drone usage at a FF equivalent FoV of roughly 35mm? 
 
Live event coverage at f5.6 on a 1" sensor? 
 
Oh but please gimme broadcast ready 50mb in a prosumer cam. 
 

Check out Hitfilm 3. It is effectively both Premiere and After Effects.

I recently read an unsuspicious text from the Adobe site, listing the new features of Premiere CC 2015 for NAB. Let me cite:
1. New Color Workspace: now includes the Lumetri Color panel
As many of you know, Lumetri is the color engine that powers Adobe SpeedGrade and it’s now integrated into Adobe Premiere Pro CC in a new more “creative way”. The idea is to adjust color as you go during the editing process. I like to call this “color editing” . While the new Color Panel is very powerful and will satisfy most users need for complex color work , we wanted to be careful not to confuse Color Editing with Color Grading with specific grading tools like Adobe Speedgrade and others.
I asked myself, why should it be important not to merge color grading and editing (or whatever else one may think of) in one program? Up to now, I was under the impression that it was difficult to accomplish, that Speedgrade simply was so unique and fundamentally different from Premiere that they couldn't integrate it seamlessly.
Then I was told by a post guy that the reason probably was a strategic one. He could be asked by a client to refine the edit though he really was paid only for color refinements. Professionals like to have every task strictly separated. What Blackmagic now does with Resolve 12 is not what professional colorists ask for.
Reasonable, understandable.
From an amateur's view, this means actually 'deliberately crippling the products' (a nice term I picked up from Andrews rant about DSLRs with poor video functions to protect other product lines).
Then Randy Ubillos retiring (he was the force behind FCP - historically a 'spin-off' of Premiere - , iMovie and then FCP X). Why is it, I asked myself, that FCP X was such a careless fart into the faces of the FCPro users? It obviously aimed at the consumer/amateur market first. Why did they (in 4 years!) not develop the rudimentary color correction tools themselves? Why did'nt they finally integrate an audio mixer (frequently requested by users)? Inability? Strategy! They don't want to frighten off the remaining pros.
Am I paranoid? I think all this vanity about professionalism, using the 'right' system and so forth is nothing else but a delusion of us pawns, encouraged by the industry.
Sorry for not finding the right words, english is not my native language. 

FS7 seems like the perfect all rounder A cam, to me. Leaves ALOT of money for other stuff. C100 mk II is you don't need 4K