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the whole Carl Zeiss Distagon 'Hollywood' look is all referanced to Super 35mm film field of view (in dslr terms thats APSC or micro 4/3 WITH a speedbooster to give a Super 35mm Field of view) The Carl Zeiss Distagon f2 28mm lens has this reputation and the nick name 'Hollywood' in referance to it giving a similar look to a 27mm Carl Zeiss Master Prime Cinema Lens or a Zeiss Ultra prime 28mm The Zeiss Master Primes is in fact a 27mm lens not a 28mm like the Distagon. It's is David Fincher's favourite lens and used alot on all of his films plus DOPs like Roger Deakins use Zeiss Master Primes alot and large postions of the James Bond film Skyfall where shot on a Zeiss 27mm Master Prime. To get the 'Hollywood' look with the Carl Zeiss Distagon 28mm f2 you need to shoot with it WIDE OPEN at f2 Its a very good expensive lens because it is sharp wide open at f2 - it is very very usable there! If you shoot with this lens at f5.6 it just looks like any other 28mm lens - BUT VERY SHARP! The 'look' is wide open at f2. The other month I was fliming with a 2 camera set up and I wanted the same lens on both cameras. I only have one Zeiss 28mm lens I was using on camera 1 on a Lens Turbo speesbooster on a g6 so I came up with a very good alternative for camera 2 that looks practically the same as the Zeiss. Here is how I did it- poor mans Distagon 28mm f2 you take a Canon new FD (nFD) 28mm f2.8 and put it on an RJ canon fd - micro 4/3 speed booster - this gives you the Super 35mm field of view like you need and makes the lens f2 which gives you that look - the speed booster also sharpens the lens so its now of similar sharpness to the Zeiss . When I cut between camera 1 and camera 2 in the edit it worked great both looked the same! The Canon fd lens has the same warm look and great blacks like the Zeiss and its now f2!! So there you have it Hollywood 28mm f2 lens look on the cheap !! If you are serious about getting a Hollywood look on all your footage the three focal lengths you need to be using they are 28mm , 40mm and 70mm all shot at f2 all the time in a Suoer 35mm field of view (so APSC or Micro 4/3 on a speedbooster) 28mm for the wides 70mm for all the close up head shots and 40mm for all the rest the coverage shots (use a 50mm lens if you don't have a 40mm lens and take 3 steps backwards!! haha that ususally gives the same look) and for all of you that read about me harping on about the Nikon 28-70mm f2.8 'Bourne' zoom lens will see it covers all those focal lengths I have mentioned above in just one lens - instant Hollywood in one lens !! stick it on a speed booster and that makes it the all magic f2 you need to get the 'look'

I just don't get this mentality. Get something. Use it. Make things. The alternative is just... shopping. How's is that any fun? That's a serious question. I truly don't understand. If anyone wants to try to explain it to me, I'd appreciate it.

The fact you can buy an imaging device for $900 that trumps most gear film making masters from the 70's and 60's would have loved to have is incredible. Look, if you can't do creative stuff with a piece of gear like this, you got the problems, not the camera or lens. I love technology and equipment too, but if you want to actually do something creative with motion picture making, fretting so much about which camera does this or that the best-- man, it is such a complete waste of time. Although, to be honest, If you want bragging rights and affirmation that you own the latest and greatest imaging kit, that's something else, I guess. It does seem to be a popular pastime on tech-centric blogs. I'm just amazed though--and what a wonderful time for real legitimate filmmakers (the ones that actually do stuff) -- for less than 2k one can easily buy a camera, editing system, light kit, and audio package. What to do with all that capability? Use it or talk about it?

Hi all, New here! I'm a student hoping to get some feedbacks from the community here! Would like to share with you a video I made in Cambodia. The video is about the dreams of a Khmer. Hope I can get some feedbacks on improving it! Thank you!

I read somewhere that you can't charge the LX100 by USB.

To the OP, I have a couple of Yongnou YN300 daylight. I am very happy with them. They may not be the most colour accurate lights in the world, but they can work. You will probably put a film emulation or CC anyway. If you want the purest skin tones, you should better work outdoors. I also have a soft box with Ikea LED lamps. I work for a meat company and meat needs to be cold or it change colours. But the soft box is a PITA to move, transport, etc. The couple of YN300 with some serious batteries (than seem to last forever) just take like 20% of a normal backpack. To JazzBox, lamps produce lumens, not watts. It also depends what you must do with the light. When they use a lamp to fake the sun, they put a 5-10KW HMI. That's a lot of light!

In LOTR a hobbit was a hobbit. In The Hobbit a hobbit is an actor dressed with make-up to look like a hobbit.

Here is a thread on this topic with links to videos where a guy from ARRI explains difference between various types of lights '?do=embed' frameborder='0' data-embedContent>>

You can use your SB with the Pocket. The MB BMPCC SB has some advantages though:

Eventually, it has to have fully operational nodes. It may have no more layer comps at some time in the future. The question is: When? Stu Maschwitz asked for working nodes, seven years (!) ago. The current Adobe help says on flowcharts: Get this: Adobe calls compositions, footage, blend modes and effects elements. Wow! Yet they deny to connect and modify these elements directly. It's back to the incomprehensible layer scheme with it's dreadful disclosure triangles, invented decades ago. You snooze, you lose.

Not quite. There's a sealable hole in the battery door, which you can run a wire through. The compartment door itself would be difficult to get rid of without breaking it/being able to put it back together again, I'd say.

I'm pretty sure there is a way because you can use a DC Coupler (http://shop.panasonic.com/shop/model/DMW-DCC11) and an AC Adapter (http://shop.panasonic.com/shop/model/DMW-AC10) with the LX100. Those parts are listed in the accessories in the manual.

Canon. Can. Non. Non-can. No can do. Cannot. Can't. Just sayin'.

this the main trick with speedboosters it has opens up a whole new way of getting this great fast Hollywood lens looks BUT with cheaper f2.8 lenses used in conjunction with the speedbooster to get the look . Also all those older f4 constant apperture zooms no one wants on ebay are now very very good f2.8 zooms with a speedbooster -

Hi Just a note not sure if any one has posted this if you are in the UK and you bought one of these camera,s you can claim the funky iris lens cap for free direct from panasonic uk you have to claim it before the end of this month link here http://promotions.panasonic.co.uk/offer/lumix-lx100-free-lens-cap-offer/ My LX100 turned up yesterday the original review andrew totally did it justice it is an amazing little camera and a serious bang per buck just from playing with it last night i know the footage is going to be interesting to work with i will post some test footage after some heavy grading and rinsing it thru resolve a few times ,maybe later in the week BTW i normally fiddle with alexa ,red footage and DPX,s so this should be fun i thought if people are interested it would be good to do a work flow for this ...that any one can afford to do because i think it will be quite popular camera ..plus i have one Ha!

Hi, When you watch the video below, you'll realize that I am not a video maker, but a programmer.. There are artifacts in the video that I couldn't get rid of.. Oh, by the way, don't play with your receiver's settings, there is no background music :) Hope you find it useful Melih

If I were you i'd get a cheap speed booster (RJ etc...), this will give you an extra stop of light, sharpen your lenses & decrease the crop of your MFT sensor dramatically - the best $130 you could spend.

Thanks to Tosvus and Someguy for posting my videos here. I got the LX100 last Wednesday and I'm in the honeymoon phase. I did the Coffee video as a first test and I like the results. For the Baby Workshop video, I mixed the GH4 and LX100 video and honestly, I think the quality is very close if not the same. I shot both cameras with the Natural Color profile (which I keep reading gives better results than Cine-D) with Contrast -3, Sharpness -5 and NR -2. The only thing I did in post was adding a bit of sharpness and I crushed the black a little. someone asked about the stabilization in video: It does a good job. the problem is the camera is so light and small, it's tough to get a good handle on it. What I did was used my camera strap as a stabilizer and for shots without movement, the result is perfect. Trying to walk around like that though is tough. I did not have time to try to balance my Steadycam with the LX100. I think I might actually have to put some weight above because I fear the LX100 will be too light. So far, I love the camera. It is not perfect but it has a character of its own. If you want to see some pictures I took with it, I'll be happy to share. If you have any questions, I'll try to answer them.

I hope Olympus can take lesson from Fuji! The IBIS is such an invaluable assets for videos especially on shooting lens without IS.

As far as I can see there is no camera that is not compromised in one way or another. The lx100 is no different. Everyone picks their camera based on their needs. The canonikons have dedicated movie modes but no evf or native focus peaking. The Panasonic g6 and gh3 have mic inputs but their iq isn't as good as the gx7, gm1, lx100 etc. The blackmagics have superb iq but a small sensor and no 60fps. The REDs have superb iq and slomo but require multiple expensive attachments to work well. Etc.. My point is that if a camera doesn't suit your needs then move on. There's no point arguing about it in forums. I have seen way too much of that on dpreview . Personally I think the lack of touch tilt screen says to me that there will be a mark ii coming next year. So I'm holding off.

The Japanese might like it. They love higher frame rates in their motion pictures... But for the rest of us, Peter Jackson looks to me like he's turning into his generation's George Lucas; employing technology "just because" and that's ultimately detrimental to the storytelling. Of all the types of narrative genres that benefits from the alternate reality 24fps envokes, you'd think fantasy would be the most logical choice. I don't get if either. But it hardly looks cheap. The cinematography us too 1st rate professional for that. However, from what I understand, the shot frame on these films is 48fps which means that distributing it in 24fps for those that prefer it is an easy alternative...on the other hand, the loss of edge motion blur inherent in shooting native 24fps is a shame. I like that effect. Not good for green screen of course, but still that effect offers a great disconnect from "reality."

A few shots from Abu Dhabi. I really like the way this camera handles nighttime and sunset shots, but I'm having trouble getting satisfying colors in daylight. Would appreciate any feedback: Graded in FCP X with native CC tool, Pixel Studios ProHDR, and Impulz LUTs

    A lot of parrots in this thread, repeating things it seems. The moire comes from your non-4K display scaling the footage. It isn't from the camera.

Okay. So thank you for contributing to this topic, bye for now and good luck in the other threads.

When I was a projectionist, one or two times a year there was an indian private screening. They delivered the film copy not in tin or plastic cans but in a bag that looked like an ancient potato sack. The dialog used to be as loud and as distorted as here. The images were as colorful, magic and, yes indeed: cinematic as these. As the years passed and cinema became digital, the indian contact person came with a shiny new harddrive within a shiny new pelican case. The DCPs were always perfectly state of the art, but the sound hadn't changed. So I guessed the Indians liked it that way. @rishabhsood Some colors are nice, but most of them look awful. A matter of taste? Perhaps. Imo you may oversaturate your images as you see fit. But leave out the shadows. Yes, shadows may be blue, but if this blue is too strong, everything looks like a reflection in a soap bubble. Or as if you just ate poisoned mushrooms.

To imagine how many Micro Four Thirds primes you're getting in with the deal, here's what the aperture does throughout the range :)   11mm - F1.7 (24mm equiv. taking into account 2.2x crop) 16mm - F2.3 (35mm) 22mm - F2.7 (50mm) 34mm - F2.8 (75mm)   Not bad for $899, though I am sure the LX200 will end up with an OLED EVF and F2.0 at a 50mm long end (110mm).

There's the custom modes in there but instead of on a dial, they are in the main menu as Utilise Custom Set Feature. If you use this regularly just assign that option to a Function button like Fn3.

As some have observed, yeah Auto ISO is only for stills mode, when you start recording video it goes off manual ISO only.   The way around this is to set the camera to iA mode and shoot in full auto, then the exposure will correct during a recording if the light level changes. I don't recommend shooting video this way because it looks rubbish, but some might find it useful for certain shots.   M mode is when the shutter and aperture are set manually. A big M appears in the top left of the screen. A mode is when the shutter speed is set to auto but aperture is selected on the lens ring.   S mode is when the shutter is set on a manual setting and aperture is set to auto on the lens ring.   P mode is when both shutter and aperture are on their auto setting.   See... who needs mode dials anyway!?