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I've shot virtually all of your Level cameras except the F5 and C500. I still think Epic color science was much to be desired. Range is great but skin tones are not there. If it was pure IQ/grade ability I'd put the F65 on top. 16 bit color / 8 k down sample is hard to beat. Just rarely used it because it's ergonomics stink and initially its work flow was cumbersome. I also think the F55 deserves a higher slot. If you shoot in 4k raw it delivers an incredibly gradeable image with global shutter and 16 bit color. 16 bit epecially with 4k cameras is a big deal as Epic tends to spread its butter thin so speak. The time I've wasted trying to get skin to look just right. I had a GH3 and ditched it for a 5d3 because I found its DR too limited as well as its noise threshold. Sure it's sharper but the image, fleshtones, general color are no match for 5d3 IMO. Eitherway, it's a cool list and definitely puts things in perspective when you see DSLR's knocking at the door of Level 1.

Hi guys, Just wanted to share a piece I finished recently. Hacked GH2 (cant wait for GH4...) Iscorama 36 with various vintage m42 taking lenses. If you are interested you should download the original file off vimeo, looks a lot nicer than compressed. “an expression of human aesthetic emotions conveyed through the movement of caroline wilson. a closer look into the wide brim fedora and the female being.†Cheers! Rob.

Ok. I probably will be buying the OM-D E-M1 with 12-40mm f/2.8 next month (when logistics will be more favorable). :D I hope it's all that what I make it up to be and then some! Just gotten the Panasonic Lumix 20mm f/1.7 II (black version) for the bare minimum shooting! Should be pretty sweet with the OM-D E-M1's stabilization. The (black as well) 14mm f/2.5 is on it's way too. I was mainly using full manual vintage/legacy glass before, but I need to slim things down and go more essential/pockeable with some pancakes. - UPD 15/2. I just found a discount coupon in some old mail from two weeks ago. It expires tomorrow. The universe basically was telling me to order it, which I did. Will soon be the proud owner of the OM-D E-M1 with 12-40mm f/2.8. And whereas the picture above shows the new 20mm f/1.7 II, yesterday the 14mm f/2.5 came in as well!

I think this is now recognisable to most people as the HDSLR look :)

Pressed the "Buy It Now" link and the quoted price is now $19.99! I hope this is a typo.

It's actually 100% the shooter, 100% the editor and 100% the camera :)

How about Nikon D800 with ext. recorder (Ninja or HyperDeck) ?

Missed the FS700 with the 4k raw external recorder. Certainly would be in group 1, above RED MX maybe?

Interesting list! Curious why the Nikon 7100 was left out? Thanks.

There's always the risk of feeling buyer's remorse with technology but, realistically, your film won't be any better or worse off no matter the decision you make. 4K isn't something most folks should be concerned about. It's no guarantee of a better looking film if it was projected in a theater and if it's not being projected in a theater it's pretty much a waste of money and resources and effort that could be used elsewhere. Most theatrical films are still finished 2K (regardless of origination) unless a director has the juice to force production to pony up for a 4K finish. You would think that for $100+ million dollar blockbusters this would just be a given, since they're already spending a mint but that isn't the case. It's still quite rare. Not as rare as even a year ago but it's not standard practice to finish 4K. Making your own feature, either putting up your own money or getting some from investors, you should save yourself the headache. Spend the money that might be needed for extra storage or an upgrade to your editorial on something like catering, being able to bump your key talent's per diem a bit or the wrap party (or wrap gifts...I didn't understand the importance of these my first indie). And make sure you even really need to upgrade your camera, considering it's an asset you already own. $1500 goes a long way on an independent feature. I admit I never thought much about the T2i but that was before seeing Kendy's stuff... ...I'm a GH2 guy and know it's technically a better camera but operator talent (along with the quality of the content) can render technical jibber jabber and megabits rather meaningless.

No doubt. I'm going through some of my old canon t3i raw files right now and am still impressed how much I can get out of them if I'm smart. (and that sensor is pretty much in line with these) Reading these forums always leads me to analysis paralysis. If I had to grab something now I'd just get a gh3 and be done with it as it's the best tool for the job right now for me and produces really good looking video. (of course I have a few months to wait and see if anything really cool happens or is released, so, more analysis paralysis)

Today I was able to test a Century adapter that's harder to find, the WS-13, which has focus adjustments like the ones we're thinking here. I got perfect focus, wide open at f/2.8 on a Mir (37mm), using a 5D3. No vignetting, just some heavy distortion around the edges.

1) GH3 and 12-35 work with la7200 2) GH2 and 12-35 from 13 with la7200