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http://vimeo.com/77825876 The Sony RX1 has amazing stills but awful video! I began thinking how could I use this otherwise great little camera for video? The answer is to rough up the image beyond comprehension, with trick filters. Here's how I did it. Read the full article here

tferradans this makes my lens swapping pretty fast.  still gotta unscrew it but i like this lanparte thing a lot.   http://www.ebay.com/itm/like/151102604116?lpid=82

"even if the GH4 is the all singing and all dancing camera we hope it is - all of us will still want more. (Another GH camera, but instead of 4k - its got 120FPS!)" If Panasonic nails the 'Balance' between stills quality  and mostly  Indie/enthusiast video and does it in something that is NOT a DSLR form-factor, then they will have finally broken from the 'beaten path'.

I thought this was a filmmaking website, not photography. I don't see why it's such an issue that the Nikon doesn't do video. Who cares? Time is better spent making stuff than ranting about a camera model. There are plenty of cameras out there, waiting to be used. Now.

I think it's a community thing - yes, 8-bit in the DSLR community is bound to have a 'bad' name compared with 8-bit in broadcast worlds.   I can't really say whether in my experience sampling regime or 8-bit/10-bit etc. makes the bigger difference. There are just too many other elements that play into the mix.   Yes, basically 8-bit gives you very little leeway, even when it's in a professional implementation like DVCProHD that eg. Planet Earth was shot with - you need to get the exposure right, in camera, very close to what you want in the final. In my professional experience (mainly BBC) that exposure accuracy is by far the major issue - because it's pretty much impossible to get it right every time in an outdoor, uncontrolled and often rushed filming environment.   The big 'killer' I think is the combo of 4:2:0 (eg. normal DSLR and consumer camcorders) AND savage compression ratios. Of course, as you say, the whole pipeline from sensor to recording media is critical too, but I'm pretty sure that 4:2:0 is a major cause for banding and blocking issues.   For my personal independent films - largely destined for DVD, BluRay, VOD/internet delivery - I still shoot 8-bit 4:2:2 140mbps I-Frame XDCAMHD (EX3+Nanoflash). It looks great most of the time partly because I've got 20+ years experience filming ! On the other hand my 2nd camera footage - 8-bit 4:2:0 high bitrate I-frame hacked GH2 - while often almost indistinguishable from the 1st cam, gets caught out by eg. banding in blue skies and long-lens blurry backgrounds.   I don't have experience with HDMI connections. I suspect you are right that just because the HDMI spec is 4:2:2 it's possibly misleading and you can only know what the actual signal/output is by checking it directly.

Oh and ps.   A Helios 44 should be top of your list in terms of equipment (if you're mad enough to not yet have one already!)  Most anamorphics will vignette slightly on full frame with a 58mm, but the vignette/barrel glow is slight and very beautiful

I'd suggest grabbing anything.  everything will work.  just make sure you have an 85mm taking lens since that will allow use on your full frame sensor.   Based on your videos on vimeo I think the limitations of a dual focus system will probably lead you into being creative in combatting some of the limitations.  I find locked down anamorphic shots where the subjects are kept within the plane of focus instead of being chased by a focus ring can look more powerful - it suggests a big camera and a huge camera support.   This has not been mentioned but it might end up more enjoyable (and cost effective) to buy another camera (with a smaller sensor) - thus allowing easier good results from lesser, cheaper anamorphics.  a less costly 50mm lens can then be used instead of the 85mm you'll need for your full frame sensor at the moment.   If staying with full frame, I would suggest you spent a portion of your budget on a nice 85mm alongside a cheaper anamorphic (Sankor is amazing value for money).  instead of more money on the anamorphic and less on the 85mm.  its all in the taking lens IMO!       Iscorama is a nice benchmark, but since its so costly I find it not much fun to risk using out and about.  The worry of damaging an iscorama is more of a creative hindrance than a dual focus system IMO

Some footage from a trip to Pictured Rocks National Lakeshore in Michigan.   http://vimeo.com/74975357     Thanks for watching!   Ben