Tim Sewell

The logical answer would be to employ the LUT you'll be applying in post, and failing that simply a Rec709 LUT. I know that Deakins, for instance, uses his own specially designed look LUT for monitoring to give him a good approximation of how the final images will look.

So here's a thing - I can't justify an Adobe CC subscription just for Photoshop (I use FCPX and/or Resolve for video) as I wouldn't use it enough, but thought there was no other software that would allow me to utilise my large-ish LUTs collection for stills. Just discovered that Affinity Photo (https://affinity.serif.com/en-gb/photo/) - that's not too shabby as an editor - allows just this - for just GBP29.99! Very happy and looking forward to a lot of processing over Christmas.

Whatever hosting option you choose, if you're looking to keep your costs so low, you'll have to embed your videos rather than host them yourself - $20/year doesn't buy a whole load of bandwidth (and you should avoid hosts who tell you that it will).

I got a set of Ianiro redheads (the original redheads!) for under £150 on ebay - 3 lights, stands, scrims etc. Got a 300W Arri fresnel plus stand for around £30. Nearly a full Lowell kit - Omni, Tilta and the other one whose name escapes me, in separate ebay deals for a total of around £100. A bunch of good stands for £20. A boom and stand for a tenner. You can definitely put together a lighting package for little money if you're prepared to take it slowly and look out for deals. The only instruments I've bought full price have been a few different LEDs - there doesn't seem to be the same kind of bargain-rich secondhand market in them yet. Plus, I should mention, Lee gels are, for what they are, really cheap! I should add, @Dustin, that I don't know where you're based, but the UK used cinema lighting market is like a tiny gnat compared to the big buffalo of the US one.

Personally I like to set ISO/SA(180)/f5.6/8 and ride the ND using a combination of zebras and waveform (@Stanley - the SLR Magic one is ace!). When I'm using my Shogun Flame I'm almost confident enough to do it by eyeball - I said almost. Dunno who made you thread boss, Jon, but you seem to have issues that might be better off kept private.

Will upgrading your car earn you any extra money in the short or mid-term? The camera will, even if it takes a while.

Sorry for the delay - here's that 'filmic' FS700 stuff. http://www.dvxuser.com/V6/archive/index.php/t-325537.html A couple that I thought were stand-out were - not even done with a recorder, just OOC AVCHD. And: Which is raw with an Odyssey.

No doubt everyone's aware of this, but Cooke Optics' YouTube channel is yet another department of the free film school: https://www.youtube.com/channel/UC-Ya9gBlwOhRwtloTn1hvbA

The Atomos (Shogun series) will go to 30p 4K Sony raw to ProRes. CDNG to the same framerate & resolution is supposed to arrive via firmware update. I'm not aware of any monitor-less recorder other than the ridiculously expensive Sony one that can achieve the same with this camera. I certainly regard the FS700's image (via the Atomos) as having a cinematic feel to it more reminiscent of the cinema cameras you mention. I viewed quite a few videos before buying it that made me feel this way and later, when I'm on my own laptop, I'll post a link to a handy listing of them. It has to be said, however, that the F3 has more of a reputation as the 'poor man's Alexa'.

+1 for the FS700 - and if you don't need high frame rates in 10 bit or raw you can go Atomos for the recorder and save a fair bit. I was certainly able to get this combination earlier this year (s/h FS700) at roughly £3700 including a couple of SSDs and a few spare batteries. An even cheaper camera option that ticks quite a few boxes would be the Sony F3 with the relevant upgrades.

Filmstro (https://www.filmstro.com/) take a different approach. They have 'themes' - loads of them - that you can match to your footage and then alter things like momentum, power, volume, depth etc. You pay $9.99 - $49.99 (depending on the kind of usage) a month for unlimited use and tracks. They seem to add lots of new music every month too. It's all instrumental, as far as I can see, and I think 1080p support is upcoming (but you can get around that by arranging the track, then exporting just the music track and adding it in your NLE). It's not for everyone, but I imagine for personal project use, corporates, weddings etc it could be ideal.

The Amaran isn't at all powerful. You could do worse than look at Lume Cubes. They are tiny, have good battery life, waterproof up to 100 feet and have 10 brightness settings. You can't change the colour temperature, but they're easy enough to gel. Plus you can control a bunch of em from your smartphone. https://www.lumecube.com/

Probably could use a bit more work - especially the score - but I quite like the 'thrillery' feel. Cinema EOS standard, HD, colour and contrast balanced then FilmConvert-ed to Fuji Velvia. Soundtrack done in Filmstro.

Off-topic, but the service being advertised fits in with a description I recently heard of today's web service industry - guys in the Valley coming up with apps to do the stuff their mums no longer do for them.

Bear in mind that without the consumer market to give a ROI your GH7 is going to cost you eight grand.

I've successfully used OM Zuiko manual lenses adapted to EF with the thin adapter, mounted via a Metabones XL EF to M4/3 on my GH4. They're rather lovely lenses. Have done it with the 28 2.8, 50 1.2 and a few third-party OM fit lenses.

fs700

Western Union?

My vari-ND lives on the cam when using log. However, after reading @kidzrevil's posts I've recently been playing with EOS Cinema Standard, where the problem doesn't really occur much as you can shoot as low as 160 ISO - the results are actually really nice (and FilmConvert has the correct profile) - I'm starting to think that log should really only be used in the situations where that extra DR is needed. There's supposed to be a firmware update coming that will add Canon Log 2 & 3, so I guess we'll see what happens then! My only other tip would be that if you're shooting scenes with lots of movement it's generally best to use push-to-focus in manual focus mode, as the focus tends to wander in auto as the camera picks up faces.

On a more serious level - here in the UK we are already seeing considerable price rises on equipment due to the falling pound. Trump has indicated that he wishes to pursue policies on trade that could quite easily lead to a trade war with China. Given the nature of global supply chains in the camera business that would not bode well for prices stateside.

Those are, to me, very cinematic images. What ISO were you shooting at?

Unfortunately, this is a camera marketed for handheld use in unpredictable shooting situations - so let's hope for a firmware solution!

Typo, more like, probably used 1s instead of Is in the blog post.

Get saving! http://www.hdwarrior.co.uk/2016/11/06/new-sony-fs7-11-no-price-yet/

That was a great bit of work!