sam

I discovered this awesome resource while my wife was a program manager for the parent company of creativeedge which is now safaribooksonline.com. 10 day free trial. Hundreds of videos and books on all aspects of film, video, photography, and software (such as pp,ae,c4d,resolve,speedgrade). $40mo after trial period. Material is very current, even including previews of rough drafts from books not yet to market. Very well known authors and experts in every field, from color grading, lighting, visual effects, directing, finding investors, etc....

What glass I own or use would be my main consideration when deciding between the two. If I rarely or never use pl glass i'd lean towards raven. I don't believe the comparative gain in image quality/frame rate would be enough to make a perceivable difference over the scarlet-w for the majority of projects these cams will be used for. (depending on actual performance once the cams are available of course) For projects that require the best, a highly spec'd Alexa, a Weapon, or F65 would be in order anyways. The roughly $5k savings I would spend on other imaging tools like a quality set of sticks/head, a decent jib, or a grading panel, all of which can still be used with all the new cams that come out next year... and the next....

Ed, have you tried the Aces workflow in Resolve for the F35 or other cameras with an available IDT (sgamut to aces and slog to linear) and if so, what was your opinion? http://www.filmscientist.com/blog/2015/01/29/film-scientist-aces-workflow-revisited/

Hey Zak, this won't be very helpful for your purposes, but here's a vid I made using the Trump 58 (everthing that's not slomo). This was without any aperture inserts. Small mattebox with Tiffen colorcore 1.2 irnd with most shots around T8 on the F35. I was hoping to do some side by sides with canon/rokinons as they are a well known entity, but no way to mount them on the f35. By the time my 1dc is fixed you might just have your Trump in hand.

After seeing this post and Gordon Willis (reincarnate) posts on Dvxuser, I checked some personal projects, and the 50d 5203 (FC) is what I gravitate towards more often then not. I wonder what has made all of us arrive at the same starting point lut wise ?

Thanks! Yeah I can imagine Rich is quite busy these days!

I have not had a chance to test it yet. Too busy! Also my 1dc lost power at a wedding today and wont turn back on. (stills only, so I used my backup cam without incident) A quick google search and it turns out there are quite a few early serial 1dx's that also have had this happen and it shouldn't be too costly.. Almost 3 years of very frequent use and this is the first problem, so I can't complain. (insured as well, so no worries) Anyways... love the lens just need more time.

I think the price is very reasonable for the Trump series. Rich also has more affordable options without the long focus throw and changeable aperture inserts. Here is my invoice to give you an idea, but he lists prices on his site as well. Each lens is different, but I will try to post a couple shots when my 1dc gets back from Canon service (could be a little while)ITEMSKUPRICEQTYSUBTOTALDog Schidt Optiks 'TRUMP58' - 58mm (Single Lens)External Finish:Gun MetalSQ6084466£1,050.001£1,050.00Dog Schidt Optiks 'TRUMP38' (Attachment)SQ1821451£700.001£700.00PL-EOS Lens AdaptorSQ9745822£110.001£110.00Subtotal£1,860.00Shipping & Handling£55.00Grand Total£1,915.00

pictured with 85mm Rokinon for size reference I received the Pl mount Trump 58mm T2.2 last week (38mm coming soom). It comes with the case and various aperture inserts for effects such as 1.5x 2x 3x anamorphic style bokeh, tints, shapes etc...Swapping these inserts is as simple as unthreading the rear optical cell (which is also customizable) and inserting the chosen aperture (all of which have a notch that easily aligns with a tab inside the lens). It has a 270 degree focus throw. For reference: Rokinon and most other still lenses do not even have 180.(which makes finding accurate focus more of a challenge) Smooth variable aperture from T2.2 - T16 Easily converts from pl to ef via adapter. As I haven't spent a lot of time with the lens yet, I can't comment on its look and how it compares to other lenses. Check out Bob Gundu's work to get an idea of the look these lenses can create. I would also like to add that Rich asks for examples of your work so he can customize your lens to your style/taste. He noticed I used the Anamorphot 1.33 and then made a custom recessed step down ring for me to mount the slr magic Anamorphot 1.33 on the Trump. (no charge!) Great product and service! These lenses are truly a work of art. http://www.richardgaleoptics.uk/ (Richg101 for Eoshd readers)

The f35 is so far under the radar. (hence the low $$$) I can remember watching Zacuto's 2011 shoot out mistakenly thinking, wow, the f35 is a dinosaur next to the other cams. I played around some more this week with mine. Did side by sides with the 1dc and fs700 4k (different lenses on each cam, waiting for Trump 58 and 38 with Pl to eos adapter to make a better comparison). To me, the f35 is superior to these cams in almost every possible category except low light, size/weight, hfr, and affordable lens choice. If you were to upscale to 4k, I think there would easily be more true detail than either of the other cams (without artificial sharpening and its side effects). I showed the images to a couple other people after applying matching impulz film luts for each cam (clog,slog2, and slog) with a quick match up in Resolve and asked them to pick their favorite. F35 every time. Its image is one that I perceive to appear similar enough to the look I've been conditioned to associate with film. The f35 has an organic texture, color, grit, depth, and feel to the image and motion that I don't see in today's very clean, high end cmos sensor cams. Again, thanks to old cam prophet from the east for saving me from cmos.

Cost: $4500 for body only. Already had the other parts: rig, 7q, vmount, 2sdi cables (for 12bit 444) Richg101 is making me some Pl mount Trump lenses (38mm and 58mm). Will hopefully be arriving soon! When he does I'll post some shots. Short on time, so I haven't been able to shoot or play with footage much, but very impressed so far, especially in the highlights.

I've seen the light. Old camera cult leader (or prophet) Ed David opened my eyes and my wallet. To the almighty F35. Birthday parties and cat videos as 2008 Hollywood intended! The image it makes is magical compared to my 1Dc and fs700 shooting raw to the same recorder. Highlights, motion and the colors are very organic. Balances nicely and similar in weight to the some of the Alexa models. FEATURE FILMS (Genesis and f35 are basically the same according to general web consensus) Superbad (Genesis, 2007) Next (Genesis, 2007) Planet Terror (Genesis, 2007) The Spirit (Genesis, 2008) Youth in Revolt (F35, 2009) Zombieland (Genesis, 2009) Avatar (F35, 2009) 2012 (partially Genesis, 2009) Alice in Wonderland (Genesis, 2010) Under the Hawthorn Tree (F35, 2010) Resident Evil: Afterlife (F35, 2010) Real Steel (F35, 2011) The Flowers of War (F35, 2011) Zookeeper (Genesis, 2011) Once Upon a Time in Anatolia (F35, 2011) Jumping the Broom (F35, 2011) Friends With Benefits (F35, 2011) Immortals (Genesis, 2011) The Darkest Hour (F35, 2011) Shark Night 3D (F35, 2011) Mirror Mirror (partially F35, 2012) SERIES Smallville - seasons ???, probably the last ones (Genesis) The Good Wife (F35, 2009) White Collar (F35, 2009) Modern Family - season 1 & 2 (F35, 2009 - 2010) Criminal Minds - season 4 - 6 (F35, 2009 - 2011) Sherlock - season 1 (F35, 2010) Bones - season 5 (F35, 2010) Hawaii Five-O - season 1 (F35, 2010) The Borgias - season 1 (F35, 2011) last ones (Genesis) The Good Wife (F35, 2009) White Collar (F35, 2009) Modern Family - season 1 & 2 (F35, 2009 - 2010) Criminal Minds - season 4 - 6 (F35, 2009 - 2011) Sherlock - season 1 (F35, 2010) Bones - season 5 (F35, 2010) Hawaii Five-O - season 1 (F35, 2010) The Borgias - season 1 (F35, 2011)

I also have the 2.8 17-55 and the IS comes in handy. Optics compete with L glass, build is not the best. Can also be used with the 1dc if you pop the plastic off the back (aps-c mount) and don't go wider than 28mm or so.

Here is the Zacuto flip evf mounted upside down so you can just push the release on the top of the evf to quickly flip down the loupe. This way you can easily use the evf as a monitor without having to detach and stash the loupe. Another benefit to this setup: your hand never has to leave its place on the camera. All the buttons on the evf (exposure, focus, etc..) can be toggled with your thumb. That said, I usually only use this setup for shooting anamorphic (anamorphic stretch presets) or when I want to be a little bit more inconspicuous when recording and need the benefit of the evf. Normally I just stick the loupe on the cameras lcd and mount the evf via the hotshoe. If you go with the 1dc I would look into some of the newer small monitors (smallhd) and just get the loupe from Zacuto. (antifog and diopter to correct for imperfect vision are worth it over cheaper loupes). Definitely check out the c100ii though, depending on what your primary use for the camera will be. For fast action combined with live events I would lean heavily towards the c100ii One more tip for focusing: in custom settings, change the focus magnification button to the SET button. (much easier for your thumb to find without looking)

4k DCI 12 bit raw, 4k 10 bit prores hq, both at up to 60fps continuous and over 120 fps for roughly 10 second bursts (240 fps continuous in 2k) For comparison, the fs7 needs the XDCA Extension unit for 12 bit Raw capability and at a price of $2,000. So, $10,000 vs $4,000 + free $400 metabones smart adapter ( not including additional Q7 $ for each camera). Also, the fs7 with 12 bit raw weighs roughly 6.7lbs vs 3.25lbs for the fs700 (and are similar in size) Obviously there are many other meaningful specs and considerations not mentioned, but feature for feature, the fs700 is a compelling choice again, especially with the newest q7 firmware 8/2015 and the Alexa low con rec709 slog2 luts from Nick Shaw of Antler Post ( on CD's site). Can find good examples on the web.

Ha! just watched that yesterday and the making of vid. Shot on Gopro with a mini gimbal. Technology has come so far. 20 years ago when I was around 16 I saved up for a couple years, reading Videomaker magazine all the while, (no internet for me yet) and then based on their reviews bought the first consumer mini DV camera to come out, (Grdv1 I believe) plus a wide and tele converter and edited with 2 vhs decks and a jog dial. Crazy how much has changed! Makes me wonder what another 20 years will bring. (apology for off topic reminiscing)

Yes. Very comfortable on boards when I was younger, but late 30's now and it had been at least 8 years since I last skated. Although, both my wife and a first time skater also hopped on and within a few minutes got the hang of it. The board has 3 or 4 settings that limit take off and top speed This helped us get comfortable before maxing out the speed. I think I will have to order the mini segway and give it a go to see which works better for video use.

A friend of mine is the head of marketing for Boosted Boards. I tried out the dual+ model with a Ronin. Top speed of 22 mph and travels 6 miles on a charge. Also, it has reverse, regenerative braking, and I think it weighs under 15lbs. Super stable and I felt comfortable right away (used the camera on it after less than 5 minutes of use). If I lived in a large city I would already own it for transportation. For video I can see it would be very handy for certain shots, but I will have to try out the mini segway as well. Has anyone tried both and can give input on which would be better for video purposes? ( price not a primary factor ) Here is a very impromptu video shot five minutes after my first time ever on an electric longboard. I was a little nervous going wide open as a fall would probably mean the end of the gear and possibly a trip to the E.R. but you only go around once right? (click 4k )

Don't forget the Schneider Xenon FF line. Covers full frame. I Tested (somewhat casually) on a 1Dc with 4k log and Fs7007q 4k raw with adapter and I'm very impressed with both the mechanics and optical performance. To my eye, these lenses render skin tones somewhere between Cooke and Leica. Canon L glass has much warmer/pinkish/reddish tones in comparison. Edge to edge sharpness was on par or slightly sharper than L glass. (at least with my copies) Also compared side by side with 85mm Rokinon at various Tstops and although I own the Cine Rokinons, which are great for the price (very slight greenish cast, more distortion,and overall just not quite as pleasing ) , I think the step up would be worth the price. I did notice some aberrations in a severe contrast scene wide open with the Xenon's but stopped down they were better. Bokeh is super smooth and buttery. Nice looking flares. Solid lenses for the $$$. Can't wait to try the Xeen set of lenses...

Ebrahim, I think this might be what your looking for. http://www.cambridgeincolour.com/tutorials/image-interpolation.htm Also, to help answer your question regarding scaling in PP. Todd Kopriva from Adobe: When Premiere Pro is just using the CPU for the processing of scaling operations, it uses the following scaling methods: playback: bilinearpaused: Gaussian low-pass sampled with bilinearhigh-quality export (Maximum Render Quality off): Gaussian low-pass sampled with bilinearMaximum Render Quality export: variable-radius bicubicThe variable-radius bicubic scaling done on the CPU is very similar to the standard bicubic mode in Photoshop, though the Premiere Pro version is multi-threaded and optimized with some SSE instructions. Even with these optimizations, it is still extremely slow. For high-quality scaling at faster-than-real-time processing, you need to use the GPU. When Premiere Pro is using CUDA or OpenCL on the GPU to accelerate the processing of scaling operations, it uses the following scaling methods: playback: bilinearpaused: Lanczos 2 low-pass sampled with bicubicexport: Lanczos 2 low-pass sampled with bicubic. I agree with sunyata, Interpolation is very subjective. (Although different algorithms may be better suited than others for specialized purposes such as up-scaling)

In performing tests with older glass, don't forget about sensor stack height. The lenses themselves might be able to resolve x amount of detail, but mated to a camera its not designed for can produce less optimal results.

Here is my opinion as an owner/op imaging nerd which may or may not be useful in your decision for the purchase of a 1dc or A7s and/or monitor/evf Current cameras: 1Dc (purchased from its debut so lots of time spent with it). Fs700 ( 12 bit 4k raw or CD's version of Slog2 in various qualities of prores with 7Q). 7d Current camera monitors: Zacuto evf pro and Odyssey 7 I think most of the advice from the above posts coincides with my experience. I personally think access to both an evf and a monitor (or combination of the two) is necessary for most projects. The Zacuto gets the job done, but I second Andrews comments about it. The 7q with its oled screen and exposure and focus aids has almost everything I currently want and need for monitoring (except for custom luts which should be in the next firmware update, and anamorphic desqueeze). But, the 7Q as a monitor/recorder is too heavy to hotshoe mount on the 1dc, so the small size and covertness of the 1dc are thrown out because it will need a rig. Probably preaching to the choir, but for outdoor use a monitor hood really is necessary as well. (Portabrace works well) After seeing all the goodies from NAB, on paper the sidefinder seems the most practical and budget friendly for the features to me for the 1dc. If an external recorder is needed, on paper I would then probably go Gratical evf and the PIX-E5 or E5H. If small size or covertness isn't a concern then I would go 7q and Gratical. Keep in mind this is from an owner/op viewpoint. Also Great advice from Franz on the Komputerbay cards. My ratio of returns to keepers was 1:3 and 1 failed after that in just under 1 year which KB replaced free of charge. Have you made a decision on the 1dc vs a7s? If there is any advice I myself would take, I think Oliver Daniel's constant stance about spending money on lighting is the best, but it it also depends on your purposes and if making $$$ has anything to do with your decision.

On a budget editing pc with the new Haswell-e i7 5820 (small oc) with 16gb ddr4 and a lowly 2gb vram gtx 760 I can get realtime playback of 4k MJPEG from the 1dc in ppro (but not by wmp or qt player oddly enough) Straight off a CF won't work but when I transfer the files from my CF to my working drive it plays fine. I installed an Areca pcie raid controller with 2 480gb sandisk ssds in raid 0 for a working media drive, another 2 raided ssd's for a scratch drive, a 120gb drive for the OS and software, another drive for renders, and then another 10gb of external storage for backups. So, fast throughput made a budget editing pc workable for 4k MJPEG (plays other 4k material with zero problem), and I would assume the same would be true on a Mac, but ?

I purchased Impulz as well. Solid value, but I agree with jcs. Anyways,here's A trick I learned to quickly view a multitude of luts without clicking or selecting 1.open a video clip in Photoshop 2. click Color Lookup (box with 9 squares on the far right under adjustments) 3. click Load 3d Lut in the newly opened properties tab and click the first lut in the list. 4. Hover your mouse over the blue highlighted box with the name of the lut you just clicked and use your mouse scroll wheel to quickly cycle through your luts to get ideas or what might make a good starting point etc... (you may have to add your luts to photoshops directory)