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Yes, the C100 resolves significantly more detail than the 7D. If you plan on intercutting them the difference may be less noticeable if you shoot wider on the C100 and tighter on the 7D. Careful treatment of the footage in post is also key to ensuring a decent match.

They're not really comparable - the Inogeni is only any use when your camera is tethered to a computer. It's also only capable of 4:2:2 8-bit at SD and HD resolutions, or 4:2:0 12-bit at UHD whereas the Shogun will do 4:2:2 10-bit at all resolutions, with 4:4:4 10-bit apparently in the works...

I've only ever seen the focus ring right at the front on the cheapest modern lenses (Canon's 18-55mm kit lens and 50mm f/1.8 spring to mind). If it's really that much of a problem, try adding a lens hood to give your fingers something to rest on. Alternatively, use a screw-in filter step-up...

A small point in an otherwise very helpful post, but raw is not the same as uncompressed. Raw simply means that the data from the sensor has been stored without any sort of processing, e.g. ISO, white balance or picture profile. Most raw data is compressed before recording: both RED's cameras...

Probably not; that's exactly what ProRes is designed to do. From the Apple White Paper, on 422 HQ: "remain[s] visually lossless through many generations of decoding and reencoding".

I would agree with jax: If the files originated as 4444, convert from that. No sense in more generations of conversion than necessary. Apple describe ProRes as "visually lossless" (which it pretty much is), but it is definitely not a lossless format.

I've shot a corporate gig at 8 Northumberland Avenue before. No idea of cost but I imagine it's fairly pricey.

My mistake - it *was* shot anamorphic, but on 65mm film (so even shallower depth of field than normal). If you honestly can't see much difference then I think you should perhaps leave the cinematography to someone with a better trained eye (and I'm not sure what you're seeing but I'm 99% sure...

"Imagining" a lens comparison!? A quick Google image search for "anamorphic lens test" found me this: (Click to embiggen.) Yes, you will lose resolution if you crop to an aspect ratio that doesn't make use of the whole sensor. That isn't necessarily a bad thing, especially if the different...

Brightness and contrast are very heavy-handed tools for grading. Because they affect the whole image, it can be difficult to adjust a shot with much finesse. There is certainly a time and a place to use them, but it's rare that differently lit shots can be matched with one universal adjustment...

It's certainly very useful but there are plenty of runner jobs that don't require driving. I'm not sure how old you are; for many runner/driver jobs in the UK you also have to be 25 for insurance purposes. Being able to drive will help in the long-term, but job adverts will usually specify if...

Anderson's films are lit and shot very well - but it's really the production design that is key in creating a colour scheme. Have a watch of this: Wes Anderson. Shades of The Grand Budapest Hotel.

That's very kind of you IDOM, thank you! My connection speed seems to fluctuate quite a bit but I did do a test yesterday:

Skyfall was shot on the Alexa. Do you not think the fact that you couldn't tell rather undermines the point you're trying to make?

Where do you find these people?! No, it is definitely not do-able. If you really must have a zoom shot, why not rent a constant aperture lens for a few days? Remember that the aperture changing affects not only the exposure but the size and shape of the bokeh (the quality of the blur in the...

Unlike depth of field, there's no hard and fast rule for calculating the minimum focusing distance or maximum magnification of a lens. Nor does choosing a lens with a longer focal length necessarily improve your ability to fill the frame with a subject as you might expect. Take a look at...

Plus green or minus green lighting gels will give a green or magenta spike respectively to a halogen lamp… although I would argue that the look of an office lit by fluorescent lights is as dependent on the quality of light (i.e. how soft or hard it is) as it is the colour.

Mod note: thread moved to correct forum.

I Googled "act of valor out of focus". The first result was a Q&A on the Director of Photography's blog. While I thought the shallow depth of field worked well for the most part, the shots that were out of focus were quite distracting, especially when watching on a cinema screen.

To each his own, but I'm not sure I'd place much faith in advice from someone who thinks he knows better than a member of the ASC and BSC with 10 Academy Award nominations for Best Cinematography to his name. Both looks are technically acceptable, the choice depends entirely on your stylistic...