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I'm going with the Casio Exilim EX-ZS15.

Oh come on, since you have registered your only contributions are asking things to the point where you want people do the work for you. It's ok to be mentally challenged, but I don't think that's your case.

By now you might be wondering which to pull the trigger on - the RX10 II or RX100 IV? The good news is I have now finally got round to finishing my review of the RX10 II and have also bought the RX100 IV to compare it with... Read the full article

I have the Rectilux 3FF-W and have considered it money well spent, but woke up this morning to this press release in my inbox and... well... looks like I'll need a little more money to spend well.... http://transferconvert.co.uk/cinemania/PressReleaseRectiluxCoreDNA.pdf

Hi Guys. I'm actually in the process of designing the mechanical focusing section for OLIVIA-SCOPE-1.5x since current glass prototype is fixed at infinity in order to get the cylindrial section perfect before moving onto the simple and easy spherical focusing optics. One thing I do know is that the amount of focus throw, and spacing of elements is going to be very similar to the optic spacing in the Iscorama, from 4ft to infinity (around 10mm), so I am currently designing the mechanism to shift the huge front focus element back and fourth. Here's the cool thing... I'm going to be manufacturing the focusing mech as a scaled down prototype to test its function, before making something that costs around £250 worth of brass alone for the full size unit. I'll be designing the miniature mock up to fit the current elements from the Iscorama 36 and pre 36 (since I have one here). So there may be the possibility of offering a limited run of isco 're mechanising' to existing Iscorama users who are not willing to leave the 'rama platform and it's compactness and low weight. So, the focusing mech/rehousing will provide 3.5ft-inf focus, with hard stops at each end. non rotating front element, with a profile 82mm filter thread, minimal added weight, focus gearing (where gears dont rack back and fourth during focusing), the rear element willremain protruding to allow for deep seating into the front recess of a taking lens, and probably have some type of rail support. Pretty much everything the original Van Diemen rehousing should have been. When it comes to manufacturing, I'll likely have a few mechs made. it'll be a one off run at this size, and am expecting the cost of the mechanism as well as rehousing of a supplied iscorama to be in the region of £500-800. So if there are Iscorama 36 / pre 36 users who might be interested please let me know so i can hit you up at time of manufacture and see if you want me to have some parts manufactured. R

The Panasonic G7 also has 4k Photo Mode which allows 4:3 @ 30 FPS. Don't know if you can change the framerate or record with sound.

Well, I hope you're wrong, even though you're probably right. With what Panasonic did and things like the Anamorphot 2x and upcoming Veydra 25mm 2x, there seems to be growing interest in anamorphic. I wanna believe Sony and Samsung will take note of this momentum.

My main beef is this rumor did not come from Panasonic. Should Panasonic be expected to add features and respond to every rumor on the internet? All current GH4 owners entered the purchased based upon the current spec sheet, so what is the problem? Let me right now start a rumor... Their is a "secret" GH4 firmware that can add 14bit color and 16 stops of DR. Will you be angry if it turns out these features are in a totally different camera? This really is how silly this argument is. These rumors didn't come from Pannie... They don't need to respond nor support the rumored features.

Also do some searches for lenses with good bokeh - people really obsess about this quality of a lens. When people talk about a lens having great bokeh, they aren't only talking about when shooting wide open - a lens with good bokeh should display this at all apertures. Hans has missed out the king of aperture blades the Tair 11a 135mm 2.8 (20 blades) & it really shines with anamorphics. The Helios 40-2 85mm 1.5 - when stopped down past 2.8 generates a star like bokeh, which is actually quite nice/odd, but not round. Don't discount modern lenses, since manufacturing a lens with good [round] bokeh is really one of the goals of lens companies that count for something (or give a shit about creating a great lens).

By "the processor can't" they of course mean "we didn't design it to" or "because we don't want it to yet". bit depth is a separating factor for market sectors, design of processors is not 'out of their hands', it is part of the segmentation of product lines.

@benymypony thanks for the LUT. I have been testing it with edit ready and then in FCP x applying some koji LUTS and getting some good results. Think i can match this in well with the GH4 . Keep testing people's. Loving this thread on the LX100

The 5dII with ML RAW and VAF-5D2 Anti-Aliassing-Filter is a very cinematic and very cheap option with Full-frame look. It´s solid like an old cine-camera.

Another telephoto capture, this time of the full moon today here in Pasadena, CA.

You really like people to chew your food for you, lol.

You can get great colors out of the Panasonic cameras if you play with the picture profiles a little. It's a little less straightforward than the Canon cameras and requires different treatment (for example, don't turn contrast down in-camera), but they're capable of great results. That codec muddiness and blotchy noise bothers me way more. Panasonic's clean, crisp details and fine monochromatic grain ticks all the right boxes for me.

you take The actual lens focal length * 0.71. If you want to compare it with ff you then multiply by crop factor (I.e 2x for mft) so your example 35 * 0.71 = 24 on mft. It would then be equivalent to 48 on a ff camera (24x2)

The lower resolution slightly soft image is one of the cornerstones of the Canon look. It's very flattering for close-ups

Hey, I love this project! I have the exact same lens and hadn´t heard about the front modification, seems really interesting! This is a bit of my experience with this lens and anamorphic in general. I have a pretty special grandpa that managed to build me an adapter made of methacrylate that fits the back of the Bell&Howell and converts it to a normal m49 filter thread. Pretty absurd, but it works. On the front I attached a 77 diameter diopter directly to the mattebox, and voilà, ready to shoot. Did a couple of test shoots with my GH2 and then I shot a short documentary with this on the A7s with a Jupiter 9, and it didn´t vignette at all, even though it´s full frame, so nice. Although it´s a nightmare to shoot with, I dropped the filters a couple of times, I had to constantly do the double focus, a pain in the ass, but managed to finish it and looks good. I really love the look of this lens, and I agree that it flares more nicely when paired with a vintage lens like the Helios or the Jupiter. Also, as a bit of an accident, I discovered that the methacrylate leaked light inside the lens and created a rather unusual white vignette that´s very unique and I actually ended up liking it and not fixing it in post. It´s always nice to try stupid ideas, you may end up using them. xD You can see some shots below. The setup was: A7s + Jupiter 9 85 f2 + Bell&Howell Anamorphic + Diopter Oh! And be careful with mounting the lens, I destroyed my m42 to NEX adapter. Too much weight, should have bought a clamp. I´ll follow the thread and see where this goes, maybe mod my lens too.

From what I've heard the cameras used were prototype test units. Panasonic never released a beta firmware with V-Log. Also, there seems to be the assumption that if a feature can be added in firmware then it should be, as there is really no cost involved. The developers writing the code to add the new features do not work for free. So there is certainly a cost involved, but that's OK so long as it's not the consumer footing the bill right? Software features cost the manufacturer money. It's not a freebee. Makes sense to add it in a new model. Few and I do mean few companies will throw in major new features for free. There are exceptions... Samsung, please stand up.

Well, you mount the camera, balance it (quite easy, no tools needed), then you establish a bluetooth connection with your phone to tune it with the "DJI Assistant App"(doesn't work all the time, we had to restart the app / the Ronin a few times, no idea why). With that app, you initially just need one button called "Auto Tune Stability". Once hit, the Ronin makes loud servo noises like an ED209 or a T800 , the calibration stand shivers, and the camera turns upright. After a few seconds, it's useable. But there are other parameters to tune. By default, the camera follows your movements, but way too late and too slowly. This is what these guys are for: Probably you don't want any roll behavior with a gimbal, but you'd want the camera to follow your deliberate pans and tilts, you just want these movements smoother. So you have to play with those settings, until you are satisfied ("Deadband" = the higher the value, the more the Ronin ignores your movement). Took round about an hour, until we were satisfied. This morning, we went to the glider airfield to test the thing in the field. The sun was so bright, we couldn't see shit on the tiny A7s' display. So we mounted the Shogun on top. We still couldn't see enough to really frame the images. What is more, the additional weight of the Shogun made holding the Ronin for more than, say, two minutes - impossible. And we both go to the gym on a regular basis and do quite a lot of shoulder and neck workout. We also changed the lenses. One was considerably heavier than the first, but balancing it (of course you have to carry the calbration stand with you) was a matter of two minutes. It took another ten minutes for the phone to find the Ronin (this is kind of a PITA) to hit Auto Stability, but afterwards everything worked fine. For the time being, having not much experience with the device, I dare to draw some first conclusions: 1. To believe that such a gimbal replaces tripod and shoulder mount would be naive fallacy. 2. It replaces a steadicam. 3. Even though this is a lightweight model and we had a small camera, you really don't carry this around all day. 4. I am musing about video glasses. Any suggestions? Comments? Has anyone tried this?

I'd be up for a A7000 with GH4/NX1 form factor that just nails it.

I back Inazuma's LUT. Helps a ton.

Comparing MLraw to compressed video colors is ridiculous because it has nothing to do with what canon gives you but what raw gives you.

I've heard the rolling shutter is terrible in 4K mode. The sensor has a crop factor of 0,8x compared to fullframe. The fastest Leica S lenses are f/2.5. In terms of DOF, any fullframe camera can give you the same DOF with f/2 lenses... I really can't see what's special about that sample clip uploaded in 720p. Could've been shot with a Canon 550D, some good lenses and the help of a good colourist.

If colour is your only problem then you're in luck my friend. http://www.eoshd.com/comments/topic/8438-pleasing-neutralising-panasonic-luts/ It was created by colour matching GH4/GX7 footage to Canon footage of the same scene and colour charts.

That this test from DXO Mark, combined with the A7R II's well-documented overheating problem, proves to me that there's little reason to choose it over the D810 for hybrid shooting. It takes equal or better stills, has a much better lens library, offers more robust professional and third party support, is more reliable with long recordings, has a much better battery life, and gives you comparable DR with better colors. Oh, and it's $200 cheaper. Besides 4K and the EVF, I don't see a lot that points in the A7R II's favor unless you just can't cum without 4K.

Have you seen the video out of the D810? Not to mention it doesn't melt into a puddle if you record for more than 10 minutes.

Pretty nice prestige porn, yeah!

exactly. It's obvious that a mechanical shutter can't have a longer exposure than 360degrees or the full length of the frame. It may be a wrapper, I couldnt give two hoots really, I see on my camera 1/5th of a second. the electronic shutter is open for 1/5th of a second, then closes, exposing 5 frames at a time. it could be that its 5fps/360degree but for the purposes of this topic, for the final time, as far as I am aware the Sony cameras allow the slowest 'shutter speed' to be selected during video mode. the effect cannot be achieved without this setting.

Might be so with a mechanical shutter, but we don't know what exactly is going on with an electronic shutter, do we? There's software involved and it's hard to know what's being done in camera, there might be some magical readout mojo going on which you might not be able to emulate in post.

Panasonic GH1 Released Mid June 2009 in Japan http://news.panasonic.com/press/news/official.data/data.dir/jn090518-1/jn090518-1.html Panasonic GH2 Released End of October 2010 http://news.panasonic.com/press/news/official.data/data.dir/jn100921-1/jn100921-1.html Panasonic GH3 Released End of December 2012 http://news.panasonic.com/press/news/official.data/data.dir/2012/10/jn121025-3/jn121025-3.html Panasonic GH4 Released End of April 2014 http://news.panasonic.com/press/news/official.data/data.dir/2014/03/jn140325-3/jn140325-3.html Releasing V-Log in October could only mean that we will not see an upgrade of the GH Series before 2016 and releasing V-Log around this this period is another way to artificially extend the life of the camera and stay relevant. Personally I will most probably have moved to the 7R II or a 7S II (if they ever make one). I really doubt the a GH5 will come with a better Low Light support (A la Sony) that have plagued the GH series since the GH1. (Note that I loved the GH1 and GH4, but better low light support would be terrific)