Nick Hughes

Right. Should be an obvious thing, but I guess I was hoping the the stabilization would somehow help for handheld.

​From what I hear, the 40mp sensor shift shots will only be useful for tripod shooting, which isn't so bad for a lot of the people who actually need 40mp (landscape).

What's the reason for preferring a 25 vs a 24? BTW, the poll isn't showing up in the forum for me, just in the blog post.

From 43 rumors. Nice. Interested to see how the sensor shift tech will actually work out. Also, some pricing info:

lin2log: Did you know that being obnoxious and condescending actually hurts your case? I love FCPX, but you're almost making me hate it.

Right at the beginning he says that he's only including cameras that he's worked with personally, excepting the F35 and C300, cameras that he has written about frequently. I don't often see him mention too FS700+7Q combo, so it makes sense that it wouldn't be included here. Not to say I wouldn't love to see where he'd rank it (I know I'd personally put it close to the top), but it's really not that big of a deal. It's not some random list with no context- it's a personal list where he gives concrete reasons for why he chose to place one camera ahead of the other. It's useful because it allows perceptive readers where their interests align and diverge with Andrew's. We should all come to our own conclusions.

If you're going to have a color grading wizard, then the 2k RAW has the potential to get more stunning results than the extra detail of 4k ProRes. If you have an average or inexperienced colorist, it might end up worse off, since raw can be a beast to work with. I don't know your situation, but if you're in film school getting an F55 for free then I think it's worth it to to really press the school (or whoever) to get the extra HDs you need to shoot 4k RAW. Or rent them?

There's some very nice post work in this video (and great shooting as well). Any details on the settings used?

Edit: sorry for the double post. Is the website being weird for anyone else today??

I've not used any of the Cine lenses, but I own the 85 and have worked with the 35 a bit and they both certainly have some magic to them, especially for modern lenses.

If the master pedestal setting here is anything like it is on GH4, then you're probably better off just leaving it at (close to) zero.

I posted this in another thread, but again: Instead of batch exporting, I imagine you could just import the MJPEG files into FCPX and select the transcode option. Once it's done, you can just pull the files out of the 'transcoded media' folder for use in premiere or wherever. Or is there something else I'm missing? Edit: nevermind, I saw that you covered this in the article!

Yeah, you're not going to be able to remove those ears safely without removing the lens element. A dremel tool will take care of them quickly, but if you do it with the glass still attached, you'll likely get metal shards all over it. Taking a lens apart (and putting it back together) can be tricky, but if you're slow and methodical, taking pictures along the way for reference, you should be able to make it work.

​Yes, but you really know how to work with its features instead of just working around them, which is what a lot of new users often do, which then turns them away from it. It's organizational features are pretty amazing. There are still things that need to be improved, but it is an overall enjoyable editing experience for me. Andrew- instead of batch exporting, I imagine you could just import the MJPEG files into FCPX and select the transcode option. Once it's done, you can just pull the files out of the 'transcoded media' folder for use in premiere or wherever. Or is there something else I'm missing?

Art is dead, guys. Better just put our cameras down and go home. This conversation is always absurd to me. I can never figure out what exactly the pessimists are trying to say- that we should all quit? Is this a ploy to remove competition and make your art 'special' again? My motivation for creating art isn't based around how it stacks up against the countless masses surrounding me. It's about the personal experience of creating and growing and learning how to craft a better story. Yes, it's nice if there people to hear the story, but that is far beyond the point for me. If you're trying to make a living, well then yes, you do need think about your competition. But still, is being a cynic going to help you stand out?

I personally thought the grade and sharpness worked well. Toning it down (and matting the black bars) wouldn't hurt, but I really like the look you achieved, especially considering commercial clients often want strong, stylized imagery.

It's a pretty heavy lens which at least helps with holding the camera steady. You have three options: -Get really good at handheld shooting -Get a lens with stabilization (Tamron just announced a stabilized 15-30 for around $1,200) -Get some sort of rig to stabilize your camera (shoulder rig/gorillpod, steadycam, monopod)

​He said the macbook runs faster!

​Right. It's the same sort of idea as with photos like this: A lot of people use the term 'lens compression' or 'telephoto compression,' when a more appropriate term would be 'perspective compression.' It's not anything about the lens itself that is compressing the image like this (except that it allows you to get 'close'), it's how far away you are from the subject. It's a small difference and doesn't make too much of a difference when shooting (you're not going to stand 200 feet away with a 28mm and crop it look like it was shot with a 200mm), but it's a good thing to know.

​I don't imagine anything is going to come out soon to lower the price of the FS700/7Q combo too much. You could probably buy it (used) and resell in a few months without taking much of a loss. You might find that you don't even want to upgrade- 4K raw from the fs700 is a pretty amazing thing.

A key point to keep in mind when looking at shoulder rigs is upgradeability. I bought a cheap shoulder rig a while back and have slowly replaced just about every cheap component with something nicer. $30-$100 each time I 'upgrade' it with new parts, usually from smallrig. A big advantage of doing it this way is that you get your rig custom-tailored exactly to your needs without needing to drop a ton of cash all at once. If you're starting out, it will also help you discover what your needs are! You might find that a shoulder rig doesn't even suit your style of shooting. (this post is not necessarily addressed specifically to the original poster)

If you do end up cutting together anything with Resolve, let us know how it goes. I have a feeling that it's not quite there as a fully-fledged editor, but I'd love to be wrong.

​Did you see him in Birdman? Very different performance out of him that I have seen before. He's not really playing a comedy role and I think he does quite a good job.

http://www.motionsix.co.uk has anamorphic clamps as well.

I've only seen Birman, but damn it was a good movie in all regards.