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​How about f1.2? I'll have something before this week is over.

I'm clearing out some gear to make room for new. Selling a BMPCC with 7 batteries as well as three Zeiss Jena Primes. The 10mm f2.0 that's a little stiff but usable. The 16mm f1.8 that's instead a bit loose. The 25mm f1.4 that has a dust spot inside that does not show up in footage. All three is fitted with Tevidon to C-mount adapters for infinity focus on m4/3. Also I have a Bmpcc which is in great shape apart from the common jumpy HDMI. If gently pushed it delivers image to my EVF so one could probably lock it in a cage. (I have a video showcasing if interested) Lenses: $550 + Shipping Camera: $500 + Shipping The Lot: $1000 + Free Shipping I also have a really nice Zacuto Top Handle with extra rod clamp, perfect for a mic. It also includes a Z-Rail for mounting it on pretty much any cage. Price: $50

Some testgrading of your screenshot @Jordan Drake Used my old 2013 BMCC Teal/Orange LUT for this.

I've used my friend's A7ii and the inbuilt IBIS seems awesome to me. As long as you aren't doing huge pans or anything it seems great. It's so liberating just being able to walk around with any lens attached and getting some stabilisation without a tripod or rig. I guess if it's a professional job then maybe it's a different story but I think it's wonderful that Sony are going down this path. They'll get better and better at it to with each camera.

​haha thats aweomse, thanks for the help Julian! You are always an informative and nice person!

​You can increase the DRO setting if you are going to use Autumn Leaves for grading. DRO +3 flattens the low-mid range of all the styles.

I've had both the A7 and the FS100. If having to choose one of them today I would let size be the factor. Do I want a small camera or a fully featured one. Here is a shootout I did but I have reviewed the A7 as well.

​Nah, forget that cheapo Canon 50mm f/1.8 altogether if you're going M43. There's no aperture control possible for these Canon lenses with cheap adapters. If you can, get the G7, with a 100-ish costing lens turbo (Nikon -> M43), with the Sigma ART 18-35mm f/1.8 in Nikon mount. That's a super solid starting point. Then get some cheap Fotga adapters (like 15 USD each) for like M42, Pentax and Minolta (full manual lenses) and start gathering some vintage glass where you feel you're lacking range. Like a Pentax-M SMC Asahi 50mm f/1.4 for example. Maybe save up for a native MFT T0.95,f/0.95 lens from SLR Magic/Voigtländer.

Looks really good Deezid.

It doesn't have more highlights, whait it does is pull mid grey lower and clip signal at IRE 100. The lower midgrey point may create the illusion of more highlights latitude, but it is the actually opposite. The other three Cine curves go to IRE 109. Cine2 is supposed to be used "as is" and be broadcast safe (hence clipped at IRE 100). I don't think any peaking setting will work well with slog. Peaking relies on contrast and contrast is very low with s-log. One way to sort of work around this is to pre-focus with a contrasty PP and switch to s-log for recording.

Every camera is as relevant as you make it.

​So you turn the IBIS of, simple. And again, what camera in the world doesn't get jello in that example besides a non stabilized camera with global shutter? :)

​Yes. Did you read the first post?: "Remains in Stand By mode after recording." Just push that button, and you are in video mode until you turn off the camera or push the shutter button (not the video record button). So, a dedicated video mode that still enables you to use the PASM dial - better than the GH3, GH4. You can stay in video mode the whole session shooting clip after clip. It's now a real video camera.

​Hopefully. I just bought mine a month ago for $700, but it came with $250 worth of accessories.

There is a third option. You do the work, you put it out there, and you don't read the reviews (good or bad). The only feedback that means anything to me comes from people who are in the same creative arena I am. We have the same bumps and bruises. We share in the struggle to close that gap between the vision we see in our heads and the ability to execute that in the real world. But the sideline naysayers that offer nothing but a drive-by snipe can go fuck themselves as far as I'm concerned. They risk nothing and contribute even less.

​I hate to say it, but I've agreed not to share any V-Log L files while I'm testing. I think the screencap below is your best bet at seeing how the files respond to your workflow.

olympus OM 35-70 f3.6 is supposed to be good. the front element does not rotate either. I haven't gotten around to buying one, so haven't actually tried it though You can get one is nice condition for less than $100

​You don't like alzheimers? Cool me either.

I wish the edit focused more on him. The way it is now, it seems more about her than the patient. Unless I'm missing something.

The footage I've shot in the past month alone, with just my NX1/16-50/Ronin M trifecta, is proof to me that Samsung could crush everyone else if they play their cards right. They've nailed everything except the codec. The Autofocus is insane, the BSI sensor is a beast, the build quality is pro, the batteries last long, the tech inside is from this century. Even the h.265 is good in theory, but rather than use the superior compression for smaller files, they should use it for higher quality, 10 bit. Sure, the Sonys offer "more", but look at the price tags.