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This is what Andrew Chan posted on EOSHD: The SLR Magic Anamorphot works well with the SLR Magic 35mm T1.4 CINE II but it does not necessary work well with any taking lens. It is more likely for the SLR Magic Anamorphot to work with prime lenses with a front element diameter smaller than 50mm (not filter thread diameter). If the front element is larger than 50mm you either need to stop down or it may not even work at all. The lens is also more likely to be compatible with prime lenses. So far this is what we know that works from user feedback: Blackmagic Pocket MFT camera only SLR Magic 17mm f/1.6 @2.8 Sigma 18-35mm f/1.8 @2.8 MFT cameras Panasonic 20mm f/1.7 @1.7 Voightlander 25mm f/0.95 @0.95 SLR Magic 35mm T1.4 CINE II @2.8 Canon EF STM f/2.8 @2.8 Contax 45mm f/2.8 @2.8 Zeiss 50mm f/1.4 @2.8 Contax 60mm f/2.8 @4.0 Leica Summicron-R 90mm f/2 @5.6 Contax 100mm f/2 @5.6 Prakticar 135mm f/2.8 @5.6 '?do=embed' frameborder='0' data-embedContent>> We should make a comprehensive list for all lenses compatible with the Anamorphot. Here are a few of mine: Panasonic 14-45mm F3.5-F5.6 @ F4.0 Panasonic 12-35mm F2.8 X @ F2.8 Panasonic Leica 25mm DG F1.4 @ F2.0/F2.8 Canon 40mm F2.8 STM Pancake F2.8 @ F2.8 Canon 50mm F1.8 @ F2.8 Canon 100mm Macro (non-IS) F2.8 @ F5.6 Contax Zeiss 50mm F1.4 @ F5.6 (for me, different from other people) Contax Zeiss 85mm F1.4 @ F5.6/F8 Contax Zeiss 135mm F2.8 @ F8 Helios 44-2 58mm F2 @ F4/F5.6 Jupiter 9 85mm F2 @ F8 Nikon 50mm E AI F1.8 @ F2.8 SLR Magic 35mm CINE II (MFT only) F1.4 @ F2/2.8

This might be obvious to some of you. It wasn't to me. By default the GH4 records in 16-255. So that's what I shot my video's in. Turns out, you have to do some stuff to recover the 'super whites', if you don't do it you end up with crushed highlights. This guy took some original footage from Vimeo (yes, I'm flattered by the compliments I got on my cat ;)) and made a tutorial about it. Awesome stuff, must see! The bad news, I have to re-edit all my videos and upload them again ;) Also check out his website: http://www.florisliesker.nl/ This guy makes great stuff.

Thanks for all the insights here. After shooting more than 50 music videos with my NEX5N, some idiot broke into our house yesterday while I was having a shower and stole it, along with my iPad 2. Thankfully the camera only had my old Nikon f2.8 28mm lens on it. They left behind the charger with spare battery, Lens Turbo and other lenses. So I've just decided to get this A6000. To be honest, I never really had a problem with the image quality I was getting from the NEX5N. A bit of aliasing here and there, some loss of detail if I used noise reduction on low light shots, etc. But I never had an EVF, the thing always overheated, the LCD had a big splotch mark in the centre as I'd never bought a screen protector for it, it didn't have zebras, and I never had a kit lens which would have been good for travelling. So the A6000 with a kit lens seems like the perfect replacement. And affordable too, as money I've made from a couple of videos this past week will easily cover the cost. From reading this thread though, I'll agree some of the Panasonics may have better image quality. The Nikon 5300 too. Although I've never owned a DSLR, and never will. I really need that focus peaking. With the NEX5N, as long as I could see a red spot in someone's eyes, I knew my focus was good. And with the Lens Turbo, I can get that full frame look if I need it. Which wouldn't be possible with any m43 camera, or even the 5300. One other thing I do is always shoot in 50P, normally with a 1/100 shutter. Unless it's something on green screen. For music videos, being able to slow down a clip really easily I find to be a lot more important than a few possible artifacts the intended audience will never see. That slow mo can add emotion to a clip that you wouldn't get at normal speed. And for that reason, none of the affordable Blackmagic cameras are an option for me either. Or any affordable 4K camera. Better to wait until they can all do 4K 50P and without the rolling shutter. And to improve image quality, I use Neat Video followed by Boris BCC film grain. Anyway, apologies for the rant, but I guess my point here is to not be too concerned about image quality, artifacts and all that, but to go for whatever camera has the most features that are important to you. In my case those are compatibility with existing lenses (including my Lens Turbo), portability, focus peaking, a file format that's simple to edit (AVCHD files work great in Sony Vegas!), good low light performance, and 50P. In which case, this A6000 appears to be my best option. I'm hoping to pick one up later today. After I enquire about getting some security screens for our windows :)

After spending a couple of days with the GH4 I can say that it's now going to be my "go-to" camera over Blackmagic. There might be a tad bit more highlight room with ProRes but it's a dip I'm willing to take for better resolution, insane battery life, flip out OLED, and HFR. I have a 128GB card coming in Friday that I will test, but so far Sandisk Extreme 95's are working great, as well as 45's.

Looks interesting, I might have to pick up a copy! Do you look at many lenses that have a short-ish flange distance (ie Leica M mount, Pen-F, and other rangefinder formats)? Is that the "small and compact" chapter? Is the "Contax Zeiss" chapter about the Contax G mount, the 29mm flange distance? It looks as if you mainly cover SLR format glass. I've never been that happy with the ergonomics of, say, Nikon Ai-S on an NEX-6, because the adaptor is so long, 28mm or so. But longer-flange distance glass is so readily available, so cheap, and I guess doesn't have the CA issues that some wideangle rangefinder glass has on a mirrorless mount. Are you basically suggesting that long flange distance lenses are the way to go?

Don't know why it's too bad.. I love the sensor. My last GH4 test video (now I have to wait for the camera that I ordered... :)). This time I changed the White Output Levels to 235

Arguing??? What makes you think I'm arguing about anything? People don't read too good these days.

Yowza! I think my stomach did a backflip just reading about that. I don't know how many times I've fantasized the MFT adapter un-coupling and sending my whole lens assembly tumbling to the floor, or dropping an achromat.

though something that has been discussed many times before, since this is a new camera I think it was good that Julian posted this. I am familiar with the issue - particularly as a avchd user mac. I wouldnt have expected it to show up on the gh4 but since it has, why not make a discussion about it. eoshd is read by many - a lot of which might see the gh4 as their first dslr camera worth investing in for video use as well as stills. I see the gh4 as being something that will be embraced by both pros and people with less knowledge about this type of thing. The number of videos I've seen shot by guys with Sony cameras using avchd that look digital and nasty is amazing - all because they are not aware of the issue and don't know how to rectify it. I'd imagine this would be a good topic to start discussion about getting the most from footage shot on the gh4 - since the gamma tweek is one such process required in the signal chain

just had a quick look through it , it's good folks so buy it - hardcore lens porn!! you will end up buying more lenses after reading this haha!! seen a few nice examples I dont have ......oh no here we go!!

The Canon FD 35mm f2 is a safe bet as well as the old Nikon if you like the Nikon look (which you can also get in the 1.4 version but it's over your budget and for my experience I don't think it's anyway worth the extra price. Check out a clip I once shot on the GH2 with the FD 50mm and the 8Z for reference: "Since I will use it mainly for anamorphic shooting, It doesn't have to be super fast" - why do you say that? with the 8Z you're still sharp on f1.4 (the 50mm version).

If you can adapt a lens to Nikon mount, you can use it with the right adapter on the Speed Booster (with Nikon mount). Just think of it as giving your camera a new mount. Of course the lens must have a image circle that is big enough. But I don't think there is any Nikon lens that has a image circle that's too small for the BMPCC + Speed Booster. Even with the BMPCC speed booster you still have a ~aps-c-crop.

More than once I saw a list that, I think, Andrew Chan posted with maximum aperture results on various lenses, as reported by testers and early adopters. For the life of me I haven't been able to remember where I saw it, in a post or in e-mail and my searching through e-mail has turned up nothing. I know I saw at least one or two lens offering sub f/2 performance. That's more important to non-boosted MFT and BMD (or other S16 size) cameras since, if you're trying to match cine stops, you need to factor in your iris as well as FOV conversions. Going between the GH2 and anamorphic 35mm is a factor of 1.64 based on the differential between sensor and negative. So matching an f/2.8 on film (think the opening shot for Boogie Nights) needs an f/1.7 on the GH2. That's Nikkor 35mm f/1.4 @ f/1.4-2.0 split and the +1.33 so that I could focus as close as I was. Without the achromat I could still get workable focus at this stop from further away but it also firms up the bokeh.