Cinegain

You could peek around the corner at Zacuto, see what they're doing on the Fast Draw: http://store.zacuto.com/images/products/secondary/z-dfd-4.jpg . So, to mimic that to a certain degree you could get the FOTGA / NEEWER DP3000 shoulder pad for example. Then get a second rod and a counterweight. For parts check Jag35, Kamerar, Tarion, Bandc, Fotga, Neewer, et cetera. But a 2 rail offset (not straight to back) setup imho is king. I know you have your solution because it probably kinda works and was cheap. But there's pretty affordable stuff from the likes of ProAIM/Filmcity and Ginirigs for example, that would be much nicer to work with I feel like, also without breaking the bank (I mean, who doesn't want a rig from Vocas/Lanparte/Redrockmicro/Letus/Trusmt/Zacuto/Cinevate/Kinomatik/ARRI... but you know #topdollahdollahyall$$).

Go down the listing and check 'Customer Images'. There's a guy reporting on a DIY solution: You might want to change up your rig game altogether though, these single rod thingies are far from ideal imho.

Yeah, Garrett is a cool guy, love to hear him talk about stuff (doesn't mean he's 100% right either, but interesting perspectives nontheless). Also, the Tango looks pretty cool: http://youtu.be/LouziOQD9Rg

Wait for the OM-D E-M2 since you like the E-M1 so much? Downsampled 4K makes for pretty sweet 1080p, so the GH4 and NX1 are pretty great and allow for some flexible use of 4K -> 1080p as well. Not sure about the child diseases plaguing the NX1 though. And personally prefer the M43-mount over the NX-one. There's a bigger line-up of native lenses and more flexibility for adding 'foreign' glass. If you want that fullframe magic... it kind of depends what lenses you've already got that could cover a fullframe sensor. The A7S is nice, or perhaps even the A7II? The 5DmkIII with ML RAW is still an awesome choice, but: budget and not the most practical solution. I'd personally take a look at the Nikon D750... but again, that would depend a bit on lenses already availlable and budget. The camera body with one native lens would set you back considerably and I bet you want some more glass to go with it. I've got my hands on the D5300 now. I really like the organic look and handling of colors, but as a hybrid shooter used to EVFs, I do miss an EVF and working in liveview with this particular camera takes its toll when shooting pictures, since the mirror wants to flip back down allowing for Phase AF, just to flip it back up again for exposure (does this in MF as well), making even quick snapshots with fast shuttertime seem like you're taking long exposures in comparison with shooting a mirrorless camera (although I can set up everything in LV first and then go out of it when shooting). But it's pretty solid for shooting 1080p50. The A6000 and A5100 seem nice enough as well, being APS-C mirrorless altenatives to the D5300, with the A6000 benefiting of sporting an EVF and the A5100 the XAVC S codec. Don't you happen know someone with a GH4 and perhaps a focal reducer/lens turbo/speedbooster? You should try to borrow or rent one, especially if you already have some glass that won't work on bigger sensors. You can get native lenses with T0.95 should you care to get a cinematic shallow depth of field or get some non-native lenses with a focal reducer/lens turbo/speedbooster. The files are also pretty workflow friendly. You might not want to go 4K now, but it will always be there should you decide otherwise and again, 4K makes for nice use of 1080p. If low light is not a that big of factor, the GH4 seems like a solid contender I'd say.

What captou said. Another great resource would be http://www.lynda.com/Video-Editing-training-tutorials/82-0.html?previousCategory=78 . Or https://www.creativelive.com/catalog/category/photography?page=1&qt=tags&price=0&sort=1&upcoming=0&qd=filmmaking . If going with Adobe, additionally you're going to work with After Effects as well, you must check: http://www.videocopilot.net/basic/ ( http://www.videocopilot.net ).

Yes, people do it all the time. Stabilized lenses = modern lenses, you might not like the character all that much. And then again, you've seen cine primes with IS? If you have a GH2 and shoot with vintage glass on a focal reducer of some sorts, there's not much else but shooting unstabilized. A mono-/tripod might be in order though. You're always balancing convenience with what looks good. But if you want to start somewhere with your 5D, the EF 24-105mm f/4L IS USM seems to be a nice solid base to work from.

Post it here: http://www.eoshd.com/comments/topic/7667-shooting-inspiration-and-ideas/ or start a blog with all the stuff that's on your mind...

I've got mine from Vid-Atlantic as well. Alternatively you could opt for Redstan.

You've just missed the fps1000 Platinum: https://www.kickstarter.com/projects/1623255426/fps1000-the-low-cost-high-frame-rate-camera . Although, perhaps not quite what you're looking for. I'm curious to see what it's capable of in the hands of some creative filmmakers. Otherwise though, you can always settle for something less but still impressive and then additionally go for renting when you really need the premo stuff, I guess. This topic came by yesterday, two examples in there of the NX1 (120fps) & GH4 (although max 96fps): http://www.eoshd.com/comments/topic/7835-samsung-nx1-slo-mo-video/ .

It's one of these typical brands of 'low price quite a bit of value' monitors without too much gimmicks. Much like Ikan, Aputure and of course Lilliput.

Ah. Another philosophical thread. Actually, photography is very much alive, making it accessible to more and more people. The digital age does make it easier to get nice pictures without even knowing what you're doing, in that regard it's a pity that everything is so high tech and easy to get into... but then again. We used to have phonenumbers stored in our brains, now we have 'em in our phones... does that makes us dumber? Well, perhaps, lol, but now we can relocate our resources and be able to focus on other stuff (like the creative side of things). So a photographer can in fact embrace it and use it for the good of taking greater pictures. Not each single individual is as talented as the next though, but overall there's much more quality stuff out there, which makes it harder to get noticed. So unless you fear that others are worlds better than you, I'd say you have nothing to worry about in terms of being a relevant photographer.

Keep in mind the crop factor. These are native mount lenses, on a GH4 and BMPCC the 35mm-equivalent shoots through the roof. Also, they have a whole line-up of these CINE primes... as well as an anamorphic 1.33x and are working on a 2x too if I recall correctly.

​It's in the custom menu when shooting manually (make sure you haven't hit the iA-button on top of the camera, it will limit your settings options). Then go to page 5/9 and turn 'Constant preview' to 'ON'. That should do the trick for the previewing part of your question. About autoISO. We touched on that earlier. It locks to ISO200. If you can try to keep it at ISO1250 or lower for the most acceptable noise levels. ​

After seeing this: http://3dkraft.de/index.php?option=com_content&view=article&id=137:adorable-25s-25mm-f095-speed-lens-comparison-on-lumix-gh3&catid=40:camerasandlenses&Itemid=2 I went for the SLR Magic HyperPrime CINE 25mm T0.95. It too is a bit soft wide open, but I just like the look a lot and the CINE-lens is more CINEminded. Back then I was with the 1st 100 pre-orders so I got a nice discount making it cheaper than the Voigtländer offering. I also have the Tokina 11-16mm (actually just swapped the original one for a II-version because of the AF with the D5300), which is nice, but also a little soft wide open, you can close it down a tad bit, but it being maximum f/2.8 already, it's not quite up there with the others in terms of shallow depth-of-field/low light performance, even with a focal reducer/speedbooster/lens turbo. But as already touched on before, is there really a need for the widest end to have a shallow depth of field? There's more field, so it's harder to get a shallow depth anyways, unless you're like macro close to your subject, so I feel like you might as well embrace it and create a deep depth of field, optimizing sharpness and stopping the lens down a bit. Works pretty nicely for glidecam stuff too. Although, I do have to admit, there are a few shots in that video there, where there's some pretty nice background separation going on and there's not much that touches on 10mm. Just a step up there's quite a bit of 12mm choices. Personally looking forward to the Veydra line-up. In case you've missed it: http://www.veydra.com/shop/ | https://www.kickstarter.com/projects/665053329/veydra-m4-3-cinema-lenses-for-gh4-and-bmpcc | https://matthewduclos.wordpress.com/2014/11/20/veydra-first-to-offer-m43-cinema-primes/ | http://provideocoalition.com/awilt/story/first-look-veydra-mini-primes-for-micro-four-thirds . A little quote from that last one (PVC): Andrew, you happen to be in contact with Veydra? Would be cool if they could send you some for testing as well. But to steer things back on topic... at jcs: seb mentioned 'f/1.8'. Check his topics as well.

If it's anything like the NX300 the ergonomics will suck. I've been waiting for cameras to shoot 2.5K for a while now, though. 1440p is just enough wiggleroom one would need to create cool 1080p projects, I'd say, if you, as manufacturer, don't want to take a camera full 4K. ​ ​

Kind of reminds me of this: Great stuff!

​​ The settings are 'contrast' - 'saturation' and 'sharpness', so -3 for contrast and sharpness, leaving the saturation untouched (at 0, preserving color information). http://www.youtube.com/watch?v=lJNWY5EM4gg&t=8m40s

Just curious... if you're using a rails based setup, why even bother with matteboxes that attach to the lens itself (clip-on) if you can mount one to the rails and get yourself a donut?

To be honest, the D5200 was pretty great (quite the substantial upgrade from the D5100) and they then left out the optical low pass filter thereafter on the D5300 and included Expeed 4 processing, making it even better. But I'm pretty sure the change from D5500 is more about usability than picture quality. Performance in terms of sensor, processing and AF-system sound the exact same (and Nikon not claiming otherwise!). So the jump you're expecting in the video department, I'm not sure if you'll get it. I mean, touchscreen is a nice add-on, but I hardly ever use touch on the GH4. I've got my double dials, WB/ISO/exposure comp under a touch of a finger already. And I use a lot of manual only glass, so touch focus is not really applicable most of the time anyways, nothing wrong with doing things manually. Monocoque body... well, I never killed a camera of any sorts, so I don't really mind a somewhat lesser build quality. They also seem to got rid of the GPS and all in all, the D5500 is a bit slimmed down from the D5300. The flat profile might be something interesting, but I'm not sure if it does what I think it does. I've read somewhere that in this profile you'll have more intermediate steps to dial down or up things like sharpness for more control? If you're looking for image quality out of the D5500, I'd say to just look at footage out of a D5300, which you already know what it's capable of. If you want to see the touch AF in action, then ok, wait for the D5500 videos to pop up. Which I guess will take a while, I'm pretty sure they're not in stock at stores already.

​Ah, I see, then I get the motivation to go mirrorless/A7S. I guess just buying one already will force you to learn quickly. Take a look here as well: http://www.eoshd.com/comments/topic/7737-a7s-slog2-is-really-really-flat/?page=1 .

Because you need to include a space ' ' behind a link, else the mark-up will make everything before the space to be included with the link, in this case '),'. Here's a link with a space: http://vimeo.com/103010031 . Anyways, I thought Vimeo now had closed captioning as well? - A, here, check it out: http://vimeo.com/help/faq/managing-your-videos/captions-and-subtitles

If you're not going to grade and will use it as a hybrid camera, looking for nice straight out of the camera footage and good colors... why not go for a Nikon instead (D5300, D750, D810)?

​If you would've check their website... it says 'This is the new updated version which has been strengthened to assist operation when using with the Anamophot, anamorphic adapter'. Optics are probably unchanged, but the housing might allow for better mounting of a clamp adapter. I'd 2nd the mention of getting a 35mm as 2nd lens to shoot with.

I remember Canon having in an issue with their 5DmkIII as well: http://www.usa.canon.com/cusa/support/consumer?pageKeyCode=prdAdvDetail&docId=0901e02480538fc7&WT.mc_id=C126149 . As long as it is being recognized and dealt with, I hope it works out for all parties involved. Releasing the firmware with a lot of stuff addressed looks promising from Samsung's side though. It's nice of a manufacturer to listen and actually do something with feedback. I hope they keep it up.

I've got the same as John just mentioned (Takstar is a pretty big brand in CN, http://takstar.tmall.com , the HI2050 and Pro80 for example are pretty popular (head-fi) headphones as well) and a HTDZ HT-81 shotgun mic (eBay) paired with a Zoom H1. Also tried the PL-MIC02 from iShoot, this one is utter crap though. But the Takstar SGC-598 I'd say is a fair option.