I have the line of Rokinon Cine DS lenses and have been very happy with the performance. I've attached a vid using the 85 and 24mm on my RED Scarlet-W in 5K. For the money they are really hard to beat. Great lenses to have around and you can always pop into the camera rental house and snag something different when the occasion calls.https://www.youtube.com/watch?v=pN7o9lNsubg
Grant, daylight LED's would be a great choice if you don't have the budget to get a higher end bicolor unit like an arri sky panel or some flavor of remote phosphor LED with both daylight and tungsten panels. There is a strategic advantage in starting with 5600K and gelling to tungsten. There is an approximate savings of %30 output VS gelling from Tungsten to daylight. This is one of the reasons why LED's are so great as a new option for achieving better daylight output per watt.
As a side note, tungsten incandescent lights are still killer! There is nothing wrong with them minus the power factor. For a small interview setup, tungsten hot lights are still really easy and an excellent choice.
Sam, I agree with you to a large extend. Read some books! Read many books. Learn the techniques, tools and concepts. EVERTHING is about understanding concepts. You can apply the same principles of lighting with hundreds of different tools if you understand the fundamentals. Light meter can be helpful to see a measurable ratio, but seeing it for yourself and being able to distinguish the dynamics of cinematic lighting within a scene to the naked eye is an incredible feeling. Use your camera and film everything. Light a scene with whatever you have then do it again in a different style. Look at Blaine Brown's cinematography and lighting. Read Hairy Box's set Lighting technicians handbook along with Michael Uva's grip book. Understand the tools available and there applications but all keep in mind the fundamentals so you can make magic with anything and everything you have access to. Work hard and have fun!
I've been using an Astra on my grip truck for over a year. This is a great addition to the fixture and well needed. I'd love to get one in the studio and compare the two. The first edition was very punchy and because of the poor accessories available it's been hard to mount diffusion to the front of the unit and have it far enough away for the diodes to blend light and become more single source. Hopefully this achieves exactly that.
Daymian, if you have been at this for two years and you don't have a solid idea of what you need to take the next steps in this business then I can't see you spending well over $10,000 to get into the RED market. If you want access to slow motion, an A7S II will be wonderful. If you want more the feel of a "video camera" then the FS5 would also be a great choice. I'd sit tight until the URSA mini 4.6k's start shipping and opt for that over both the Sony's. Keep in mind too that NAB is on the horizon. Are you trying to be an advanced hobbyist or do you seriously plan on earning a living on film making alone?
Agreed! A mix of both. As your talents skills increase, chances are the need for better professional tools will too. Just be smart about the money. I imagine there's no worse feeling than not being able to cover rent because you took out a 50k loan and are now realizing you weren't at a sustainable point in your career to make such a big leap. Spending money you have as it comes in shows healthy growth and sustainability with you, your gear and your place in your market. Once you reach a certain level, you'll know when to dive deeper.