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Remember the GH2 has the EX tele conversion mode. It's very useful when shooting in decent light, so with one prime you actually have two focal lenghts available. Otherwise I have to agree with the others, there are no cheap zoom lenses that offer the same iq as decent fast primes. If you're able to spend a bit more money you could take a look at the Tokina 28-70mm f2.8. It's a bit long on the wide end, but it has constant aperture and is not that expensive. Another option is to dig into c-mount lenses. There are plenty of dirt cheap fast tv-zooms, but most of the time you'll need to modify the mount and use the EX tele mode, because of the vignetting. Good luck!

You really don't get it do you? It's not just about image quality, it's about production workflows. Many DOPs only made the switch to digital with the Alexa and not the RED, and that's because of how it was designed and how it fits in a production workflow. The Alexa image itself won't be that different from a RED after you've graded it, etc, but it's the whole experience that matters to them.   You'll see plenty of BMCC cameras on big films, that's for sure, they'll be replacing the 5Ds whenever they need a small compact camera, and they will be so much better at it, no doubt about it, but that's it.   Rolling shutter is the worst problem about DSLRs in my opinion, and it's too bad that the BMCC didn't improve that aspect of it. Saying no one notices it is just plain nonsense, have you ever even shot handheld? How can you not notice it? On top of the weird effect, it makes the footage really hard to track and be used in post production, etc. It also makes stabilizing more difficult for stabilizing software, global shutter footage can get much better results with stabilizing in post.

not yet .... march 2013 ... sad....

"I dont care how good red says its compression is. It's still compression."   Never heard of lossless compression, have you?   "Making proxies is the least of your worries on a feature in post production So what you have to pay the editor a few more bob for the proxies BIG DEAL."   It IS a big deal. Try telling the producer (guy with the money) that you'll show him the last takes as soon as everything finishes transcoding in 2 hours, while he's paying for 150 crew people to sit and wait...   "Maybe you are heavily invested?"   Nope, not at all, anyone with a BMCC is more invested than I am!   "the truth which is the BMC shoots RAW so does the F55. SO you get the same picture with BOTH."   Holy crap, when I thought you couldn't be any more ignorant... oh wait, maybe the Magic Lantern guys will soon get the Rebel/550D to shoot raw, then we won't need to use the overpriced BMCC everyone is talking about!   Seriously, how old are you? There's no point...

At that price range I would just suggest sticking with prime lenses. Good zooms are very pricey

I am used to it.... I have one on order! But you seem to be mistaken about what fanboyism is.... Fanboyism is generally a failure to see the cons of your prefered product and the benefits of other products. I think only one person on this entire article is displaying such traits. I have no allegience to Sony and haven't owned a Sony product since the EX-1.   I have a fair chunk of change saved up though and i will probably be looking to move to an Epic or F55 for the 4K and overcrank features that my work sometimes requires. That doesn't make the BMCC (that I will own) any less of a camera and i'm sure I will get lots of use out of it and make lots of cash out of it. But there is no shame in wanting (or needing) more features. If BM come out with a F55/Epic killer, I will rejoice. If not, I will look what is on the market and buy what ticks the most boxes for the best price.   Also, what do you mean you'd just pan slowly and speed up in post..... what if there are people in the shot? what if there are cars in the shot? would the viewer accept the reality of a cat running past at 300mph? :lol: I'd love to see you DPing a film like transformers.

Here is a rolling shutter test from a RED Scarlet, which should have a pretty fast readout, probably faster than the BMCC.   [url="https://vimeo.com/37522370"]https://vimeo.com/37522370[/url]   Do you seriously not see a problem with that? Now, you can say, well I don't pan like that..... Great, as I said right from the start, the BMCC is great for certain 24p narrative work. That's why i've ordered on.... Most of my shots are locked off or with very controlled movement.   But if you are shooting an action sequence, a train passing by, busy traffic, POV shots from a car... etc, etc, etc .... You will notice the difference with the F55.

+1 for that :)   Andrew, i understand you are a very passionate person, but i believe your inconditional love for the BMCC and recent hatred towards Canon is slightly biasing your comments. That beeing said, i believe the c300 is a great camera , but not really a "cinema"  camera. With the broadcast friendly internal codecs and recording media, form factor and all, it is clearly aimed at ENG/documentary...The price is expensive, but it is for people who can make a living out of it, so not such a big deal.   Regarding the BMCC sensor size, it is an issue for many people whether you agree or not. You keep refering to some great movies shot on 16mm but sorry i see  no connection with the topic at all.    The BMCC is truely a revolutionary camera at a crazy price tag. But it is known that BM people were limited to that type of smaller sensor for budget & technical reasons, not artistic ones. This camera design is extremely minimalist (which is very nice) just a sensor, disc recorder & touch screen in a box. But even then,  this is a big & heavy box, compare to say a GH2 with a similar sized sensor. That makes one wonder how big and expensive it could have become with a S35 and the hardware to process RAW data...like a F5 for example.   My point is : this camera is a revolution and we should welcome it with open arms. But those unmatching comparisons & over-heated debates are a bit pointless.

Here is a bunch of clips showing different FilmConvert settings: [url="http://vimeo.com/romanlegionfilms/videos/page:1/sort:date"]vimeo.com/romanlegionfilms/videos[/url] as well as Sanity 5, Orion v4, FlowMotion 2.02, Quantum 9 settings and GH2 vs. D1x comparison.

[quote name='filmConvert' timestamp='1354159930' post='22598'] Hey all, apologies in advance for barging in on the conversation, but we just found this list, and wanted to let folks know that we've just released a brand spanking new version of FilmConvert, with all sorts of new camera specific profiles. In particular, we've now got Technicolor, Flaat, Prolost, and Marvels Cine picture style support for your 5D, as well as full GH2 support with data on all the built in profiles. We're always on the lookout for feedback from keen filmmakers, so we'd love for you to cruise over to our site, grab a copy, and tell us what you think. Cheers all! [/quote] annnnnd the GH2 profiles look awesome:)