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I've been keeping an eye out for a deal on one of these. Don't know how long it will last but the coupon code PSWBH15 will take $40 off the $99 price tag at B&H Photo. Davinci Resolve users will find it particularly useful. I'm hoping with enough testing and tweaking, I can come up with a custom LUT that will neutralize the GH4's unique color issues. http://www.bhphotovideo.com/c/product/651253-REG/X_Rite_MSCCPP_ColorChecker_Passport.html How to use it in Davinci Resolve to balance colors. This gives a general idea despite the fact that the guy in the video screws things up a bit (like setting his ProRes footage to sRGB instead of Rec 709). And I think he's comparing an unbalanced tungsten shot to a balanced fluorescent shot. I think if he'd balance both, they'd be close in the end? https://www.youtube.com/watch?v=onom8tpiof8

Quick run through of all the picture profiles in the Canon XC10 and also a DR shootout against a 5Dii with ML Raw and the BMPC4K. DR looks good imo. In the DR comparison I exposed all three a hair from zebra. Adjusted lift, gamma, gain. In the first set of picture profiles I adjusted lift, gamma, gain and added saturation to the C-Log. Second set is straight from camera, untouched. All ETTR.

The front element diameter doesn't have any direct affect on sharpness in the sense that you can always conjure up a counter example. For instance, I could add a foot diameter filter to the front of any taking lens and the sharpness would hardly be effected at all. Again, what really matters a lot is the entrance pupil diameter, which is the diameter of the image of aperture stop as viewed from the front of the lens. Of course, there are limits to the sharpening effect of using a shorter focal length taking lens. If you go too short then you'll encounter aberrations and/or vignetting in the outer parts of the image.

The Focus Module is very sharp if you know how to use it Regardless of the FM, Rect or Rangefinder, sharpness and performance is dependent on your 1) taking lens 2) anamorphic lens. As far as the Rangefinder goes, stopping down 1 - 2 stops helps with sharpness. In the pictures below, I shot at F4, stopping down 1 stop.

dies guy

I've seen good results from SLog 2 Gamma and Pro color.

Taking the plunge! Can't turn down the high frame rates in a small body with no fuss for (relatively) few pounds. This should be fun

Looks good. Here is ungraded Portrait before and after your B LUT. From froggy to fresh.

Could you guys try out the LUT I made and tell me what you think? It was created by colour matching GH4/GX7 footage to Canon footage of the same scene and colour charts. http://www.eoshd.com/comments/topic/8438-pleasing-neutralising-panasonic-luts/

Out of those lenses you mentioned; Leica Summicron R 2/50, all day long. I have the black 2 cam version from 1968. It's small, heavy, beautifully constructed and solid! It's sharp wide open and background melts away. Something very filmic about how it renders. I use a replacement Leitax ef mount (easily the best I've used) and it has a series VI filter thread which translates to the unusually small 43.5mm so you'll need a 43.5 > 52 step up ring for your clamp. Something very emotionally magnetic about the lens, it's precious although certainly not delicate. It's a Leica, remember. It will vignette though on s35 unless you crop or you're on m4/3. I'll be testing it with a Moller Ananmorphot 32/2 at the end of the month when Rectilux arrives. Another absolute favourite of mine is the legendary Rokkor 58mm f1.2. It flares beautifully on its own: https://instagram.com/p/3mibRQypi_/?taken-by=liamlumiere I have tested it with my Kowa B&H and compliments the orange and green flares of the scope. If you want that classic cinema look, minolta Rokkors are they way to go. They all match up well so no headaches in post when you change focal lengths. Again I have the solid Leitax replacement mount. Beautiful classic look with unforgettable bokeh. If you want something more edgy and contrasty check out the Olympus OM 50's. The are sharp and should marry well with the Moller's blue flares for that sifi look.

Personally I think that it works less than brilliantly as you are stuck with the same shutter speed as you are using for video i.e. 1/50 or 1/60 which is going to end up with blurry images 50% of the time.

Wow! You've only just got a UV/IR cut filter - one thing you'll find with the Hoya is that you'll get a slight green tinge in certain conditions. With the BMPCC exposure is key & ETTR is not always the best policy to take - or should that be over-ETTR. I no longer shoot RAW with this, since the ProRes HQ is jaw dropping as it is & has significantly less moire etc... For ProRes you can push or pull 2 stops, so I put zebras to 80% and either hit it spot on or slightly clipping (as Axel said, this isn't HDR filming - its all to do with the look you're after or the conditions you find yourself in). This camera is also surprising in low light, it cleans up really nice, but I like the grain/noise that this camera produces - no need to add in post, just get it done in camera. One thing that I have noticed recently, is that you really need to boost the saturation - go over the top & then pull it down. Also, if you're in a pinch (timewise) then the Video mode is actually pretty damn good for colour rendition - this really surprised me, since at the beginning it wasn't that great (one of the Firmware's sorted it). Video mode might be a good way to really hone your exposure skills - cripple the camera in order to force yourself to hit exposure pretty much spot on & make decisions about Shadows vs. Highlights. Then once you know how to get what you want, pretty much in-camera, then move to Film mode or Raw in order to really see how much you can go crazy. The Screen is just there for focusing (I noticed you've got the Zacuto) & its fine for that - I punch in&out going by eye, rather than use peeking. The Zebras/Histogram obviously help with exposure, but again sometimes you've got to just trust your eyes. The main thing to do is to test, test, test before you shoot something - you'll get no funny surprises.

Shouldn't be necessary nowadays with enough processing power, electronic shutter and fast SD cards.

'hanging out the passengers side of his best friend's ride'

Nikon Nikkor 50 1,4 non Ai, very sturdy front mount, and my copy is sharper than razor

Didn't manage to pull it off. The settings are pretty confusing, though, so it may be possible.

I also have a 50mm f/1.7 (MMJ), which I quite like. Have you considered the f1.4 version of this lens as I hear that it has a much better built quality than its little brother?

Haha amazing shot.

lol first thing i did

Useful to know, thanks Mattias

I gave ClipToolz Convert V2 a try, I got Windows 8.1 x64 at first it would not work properly but under Windows 7 compatibility mode and administration right it ran fine, the LUT wont work on all codecs but I tried the ProRes 4k with 422 colour space and 10bit the only available option for it, and it takes 1080p and 2160p just fine with the LUT and it looks pretty good. The interface is a bit lack-cluster but its better than nothing I suppose. Its also VERY slow, at most its 25fps for a 25p footage, I suppose it has to render the LUT data into the footage.

I think it looks good. Showing off vintage cars is a genre where you want some deep saturation.

This guy has posted some samples to download with 1080p included. http://www.alexpasquini.com/blog/ A video with 1080p and 100fps (720p) upsized https://www.youtube.com/watch?v=Ih59oMJkQ1M

I'm thinking they will go 28MP BSI sensor. If you take 1.5 of 42MP you get 28MP - so Samsung got it right and Sony has already followed so to speak with the A7RII pixel density. That said the e-mount flange distance is an advantage over the NX mount so I will be getting one of these A7000s as soon as it's available - hopefully before CES, no one but Sony knows when.

yes with everything set to infinity, the Rectilux will focus closer. but both can focus very close if you adjust the scope and taking lens to something other than infinity.

Interesting article and thanks Andrew for these tests. I have had the GH4 about a year now, I had thought of selling it and getting one of the newer Sonys, but after quite a bit of reading and deliberation I decided to keep it and not go with the current flavors of the month. The thing is Panasonic are a bit like Canon, a bit more cutting edge and obviously geared towards the hobbiest and film maker with not a lot of money, but they basically have the same conservative approach as Canon, point being when they build a camera its pretty much reliable and works well without a lot of add ons and cluttered menus. The GH4 for example never overheats, doesnt chew up batteries, runs forever on a single battery, has decent rolling shutter performance, gives a great detailed image with room to color correct within reason and needs only a few lenses. I have even shot bands at night with just the Panasonic 12-35 2.8 (obviously no speed booster) and have obtained a very nice image even tho it was underexposed. I learnt a long time ago that the more hurdles you have to jump through in order to be creative and get something in the moment, the less you will be inclined to do so, because of the amount of work you have to do to set things up in the first place. And this is where I feel Sony may be over reaching and in too much of a rush, they have made a great camera the in the A7RII...but it overheats, has bad rolling shutter in S35 mode, and a more or less has a difficult Log to use, complex menu system etc...it seems to me that they have great techs, great sensors, but are in too much of a rush to capture the market, and that may work for a short time, but in the long term I dont feel it will. Now if the V-Log turns out to be as good as many of the testers say, then the poor old underdog GH4 may just be the hidden gem in the pack, (Some owners of Panny and Sony cameras are already saying that) but I guess we will see. I read an article on News Shooter that I totally agreed with from a pro News Camera Man that I totally agree with, its an interesting read...here http://www.newsshooter.com/2015/08/07/sky-news-cameraman-andy-portch-reviews-a-year-shooting-news-with-the-panasonic-gh4/ Cheers

New lens days are the best days A MIR-11 so I can get close ups with my Bayonet K3 as well as my M42 Model. Won't cover the "s16" gate but still worth it for the focus distance.

Maybe bringing down the sharpening (in camera) could help also to reduce this aliasing.