Leaderboard

I don't see how i'm missing the point - It sounded like an argument for choosing GH2 over Canon?   "....all these formats work on GH2 but NOT Canon EOS" ... "but you cannot use any of the following on a Canon EF mount as they all have a smaller flange focal distance"   I use a lot of old lenses on my 5DmkIII, so I just wanted to clarify, that lens options isn't a huge problem - if any at all. You can use most of the same lenses. I don't spend oceans of time adapting or working out quirky solutions - they work without much hassle. So Luke shouldn't bother spending brain capacity on that part of his problem.   The GH2 is without a doubt a beast - outguns any other cam when it comes to detail. But I still think there is something aesthetically nice about the fullframes - and with the Magic Lantern installed - there is a lot of nice features as well.   My advice is to check every option out, eyes and hands on - I checked out the GH2, and liked it - a lot - but ended up with a 5DmkIII in the end. Choice solely based on looks.

  And prepare to be disappointed!

The description on this one is unbeatable. "It could also be used as a zombie skull smasher thingy or a boat anchor. It's up to you. The possibilities are endless."   hahahahaha

question is, if you want the look of a 24mm full frame, why not go 24mm full frame?

I don't think anything is going to give you that look on the BMPCC. I've been researching the same thing, and the focal length of lens you're seeking is 8mm.  While those lenses exist for s16mm, they would need impossibly large apertures to equal the wide-yet-shallow DOF in your sample images.   You might get something vaguely similar with this combo:   m43 speed booster (doesn't exist yet) voigtlander 17.5mm f/.95   That would something be like a 35mm f/1.4 on full-frame.     As far as I know, nothing is equally fast and wide in the m43 arena.

5D isn't a "crop" format.  It uses a 36mm sensor and can't be compared to S35 in any way, which is 24.89mm and much smaller.  I don't know how you arrived at that statement.   I agree, polluting motion picture discussion with "crop factor" is bad, and wouldn't have happened except for the DSLR revolution and a bunch of stills guys used to such an imprecise, sloppy form of measurement.  But yes there has been a motion picture standard that's the equivalent to "full frame" 35mm and it's called VistaVision, or can be referred to as 8-perf 35mm.   It wasn't used for a full film (in the US) after the early 1960s I believe but ILM resurrected the format for shooting visual effects plates which kept the format alive clear up into the '00s as the standard for getting high resolution film for various visual effects processes.  So long as Technicolor and places like it are processing film they have the equipment and ability to handle the scanning and processing of VistaVision, eight-perf 35mm film.   Oh, here's a meaningful comparison graphic:     PS> and, please, nobody start polluting these discussions with those idiotic video engineer habits of describing rectangular shapes with diagonal measurements.  That's just retarded and always has been.

btw. this forum hates canon.

I ended up going for a GH2, with a kowa B&H anamorphic and helios 42, jupiter 9 and MIR24 lenses.   Should be a decent looking filmmaking kit and didn't cost an arm and a leg. Thanks for all the advice, it really helped.

Fujinon B4 Eng lenses are very good They are fast and have very long par focal zooms I have a 6.5-92mm f1.4 and a 9-100mm f1.8 both have 2x extenders you can filp in and out You can shoot a whole film almost on one lens with these The HD versions are very very sharp

"but you cannot use any of the following on a Canon EF mount as they all have a smaller flange focal distance Minolta Bayonet , Fujinon B4 ENG , Konica Bayonet , Fujica X Bayonet , C mount , pentax 110 , Pentacon Bayonet."   Thats not completly right. You can use several of them, some with simple adapters without glass - but you risk losing "infinity" - but it if you do not need "infinity" - its not a problem. Major problem for Iscorama users of course, but i'm also shooting other things than anamorphic, and there I seldom need to have "infinity". If you're shooting interviews, macro, pack shots, close focus scenes whatever - you wouldn't need it - and if you wan't a cheaper f/1.2 lens or a special look - it works.   "So I dont use FD lenses on my EF cameras for that reason it is introducing another lens into the equation degrading the image But yes you can if you really want to use them on your EF but most people dont bother for this reason"   It wouldn't "degrade" images more than introducing lenses/glass in form of teleconverters, an item most professional photographers have in their camera backs, or the Metabones Speedbooster, which is receiving great reviews.   C-mount to Canon EF (No Glass inside, Limited to close focus and macro)   FD to EF mount (Glass for infinity, but it can be removed to be used for close focus and macro)   Konica AR to Canon EF (Glass for infinity, but it can be removed to be used for close focus and macro)   Minolta MD/MC/SR to Canon EF (Glass for infinity, but it can be removed to be used for close focus and macro)   Pentacon to Canon EF (No glass inside)   Pentax K to Canon EF (No glass inside - won't work on 1Ds and fullframes unless you remove or cut mirror)   Pentax 110 to Canon EF (Homemade adapter, but it shows that it could be done)   X Fujinon to Canon EF (Homemade adapter, but it shows that it could be done)

these lenses have a 32mm rear thread try 42-32mm step ring screwed in to a M42 to m4/3 adapter - give it a go they are great little lenses with the KMZ classic look

Bm's shuttle will probably get an upgrade of some sort, it would be stupid not to supply something like Ninja2 in the near future - its not like they've given us recordable HDMI out for nothing. They must have a long term plan, which will mean delivering a complete affordable workflow package that will cover the whole production process. And as you said, the BMPCC is the starter option that will get people to think about getting ready for future[proofing] a RAW workflow.   I'll start with SD cards & ProRes - hopefully 45mb/s will be fast enough & there's always deals on Amazon etc...to get you through the door. My only Sandisk Extreme Pro is out of date already, as they have doubled in speed since i got mine - they'll get faster & cheaper.   As far as lenses are concerned, i always shoot anamorphic & have never used a 35mm taking lens thus far (50-85mm are my favourites) so i won't have to buy much - i don't/won't buy lenses to fit a specific camera (its a future proofing investment thing). Also, i'm using a cropped sensor anyway, so i'm used to every focal length being longer & it hasn't been a problem - just move back a bit, take your time & think about/plan your shots more (should be doing the latter anyway, as its not only about how the shot looks, but how it works overall to your piece).   It's going to be fun & exciting - fingers crossed!

  I never had anyone complain about the softness of the 550D (i have the filter to kill the aliasing, which people did notice), but someone did moan about the RX100 footage looking "too cheap", by which they meant video like, or like a camcorder.   Stats and specs are one thing, but what really matters is how the image makes your audience feel! sometimes sharp is the right choice, sometimes not.    That's why pre-ordering is such a gamble. It could be great on paper but a practical nightmare! Just have to wait and see...

ND in the middle would make sense for all ya'll's big ass projection lenses mounted on rods. Still, optic to optic coupling should be as tight as possible IMHO. 

  True. I've said this before, but I've worked with many high end Super 35mm film scans and they don't look sharp, not at all. They probably compare to a Canon 5Dmk3 in terms of sharpness at most, and they're often sharpened in post.   That softness is an important part of film's aesthetic. We don't necessarily have to mimic film with digital, digital is a different look, and should be taken advantage of for what it is, but many people focus on the wrong aspects IMO.

  meanwhile at the Sigma Pro marketing and sales division we have the fully memorized ''pro'' presenter/speaker... wait for it...   http://www.youtube.com/watch?v=_klkz5GVycM

I have a set of these they are great Russian lenses made by KMZ who make the Helios TAIR-41 VEGA-7-1 MIR-11 From KIEV-16U camera Vega-7-1: focal length: 20mm relative aperture: F/2 field of vision angle: 35 Mir-11M: focal length: 12,5mm relative aperture: F/2 field of vision angle: 54 Tair-41M: focal length: 50mm relative aperture: F/2 field of vision angle: 15 http://www.ebay.co.uk/itm/LOT-Of-THREE-Lenses-TAIR-41-VEGA-7-1-MIR-11-From-KIEV-16U-Movie-Camera-/111035368973?pt=Camera_Lenses&hash=item19da39460d

a used gh2 with a hack is the best investment now. i think the images look more analogue less nasty. gh1 and gh2 without hacks gave supreme moving images for size and cost. rough waters ahead it is going to start getting ugly why waste money on new gh3. it may not be the black magic that wins. dalsa had the best 4k movie camera better pictures than red who remembers them. red had it for a while until alexa stole the show. black magic rocks the boat enough for sony,fuji or panasonic to reply. gh3 sensor looks like video if you like the look of last years camera get it.