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Tamron announced 2 new FF lenses for Canon / Nikon / Sony A: The SP35mm F/1.8 VC USD and the SP45mm F/1.8 VC USD. Info and samples here: http://tamron-new-sp.eu/#/ So, why game changers? First world FF 50mm equivalent to be stabilized, a game changer for video. Concerning the 35mm, it is a first for Nikon too. Only Canon has a 35mm IS but slower. World shortest MFD for the same focal length: 0.2m (7.9 in) for the 35mm, (0.4x magnification, almost like a macro. For eg, the 100mm Zeiss Makro Plannar is 0.5x). This is huge in photo & video and super nice to have on a 35mm (for creativity and new perspective)First reviews are mind blowing (bokeh & sharpness). Sharpness is apparently on Sigma Art level.Cost is reasonable: 600USD. Considering stabilization and optical quality, I am fine with the price. First reviews are mind blowing (bokeh & sharpness). Sharpness is apparently on Sigma Art level. Look at the samples above... Bokeh and detail wide open look promising. Your thoughts?

Holy shit this really shows how far technology has come already. That 'cinematic' holiday video looks fantastic. Stunning even, when you think about it. It's a bloody phone which most people carry in their pocket everyday. It's way more detailed than my Panasonic GH3. Much higher resolution, almost no aliasing... It's unbelievably good. The dynamic range doesn't even seem to be that much fewer either, maybe 2 stops at most. The only thing missing is depth of field and long lenses. If that could be digitally achieved, then everyone has a cinematic tool with them at hand. Exciting but scary at the same time for us videographers and cameramen.

I feel it lacks detail. The A7S still seems to be so much better. And the difference between a $2500 vs $30000 camera should be Noticeably More Substantial. Here, my vote actually goes to Sony. The screenshots actually make the Canon look like 720p instead of 1080p.

Yup. Pretty much that list. Though tons of people must've started their way into DSLR video with the T2i/550D and then took full benefit from the Magic Lantern support. It belongs up there just as much as the 5DmkII that really started it all and the 7D. Way back when I was looking into a system, I opted for the hacked GH2 though. It had the nicer quality and I liked the compact approach with the cute but mean lenses. The BMPCC was something nobody really dared dreaming of, it made shooting gradeable cinematic images accessible to everybody, especially with the incredible summer price cut that started rumors of a successor being on the horizon (wasn't the case; a sick deal is all that was). I feel like the GH3 was just a placeholder before the GH4 really blew things up! With the GH4 the new legendary camera was born, only to really be rivaled by the 5DmkIII with ML RAW and the incredible A7S that picked up where the lowlight performance GH4 let down. Sure there's the GM1, GM5, GX7, GX8, G6, G7, but they are never going to achieve such legendary status. The D5200, D5300, D5500, A5100 and A6000 gave us pretty sweet 1080p, but never really excelled at something, never really getting that legendary status either. Good effort from Nikon on the D750, but not quite. The 5DmkIII was a fun refresh and ML RAW is pretty cool, but it's just a slight evolution, nothing revolutionary, not a legend. The 1DC came out strong, but was the price justified? It outclasses quite a bit of cameras, but the price was keeping it from being the people's camera. Olympus having the great 5-axis IBIS, but failing to give a useful video mode to the E-M1 shooters, then not deilvering on the promise of cinematic quality movies machine that goes by the name E-M5II. Going smaller, 1" sensor cameras stirred things up, but non of which in my eyes really owned it. The LX100 just about the only fixed zoomlens compact with large sensor I'd consider a hybrid legend perhaps. But just barely. When you're talking about legends it's a camera that really sets a news standard somehow, it has to have the certain x factor and popularity. Can't just slap the label 'legend' on every camera that's kinda pretty cool. Although it's not just about quality and epic features, it has to have character, has to invoke somekind of mentality change, the start of a path into something substantially new and being a legend, it really has to be idolized by a significant following. So, for me I would consider the 5DmkII - 7D & T2i/550D - GH2 - BMPCC - GH4 and A7S as such. I have a feeling the next ones could be the A6100/A7000 and GH5. It would be interesting to see if Samsung could find a way to give a NX2 some more traction and appeal.

GH4 now is in my opinion a legendary hybrid camera. 5D Mark II, 7D, GH2, possibly BMPCC. A few may be moving up the ranks like A7S and 1DC. What else?

The short answer it will just fit without vignetting. The GH3 with the 0.64 speed booster will give you an effective crop of 1.3317. If you google sigma 18-35 full frame you will get examples that show you the full image circle. like here for example: https://witonosfreestyle.wordpress.com/2013/09/09/hands-on-review-on-sigma-18-35mm-1-8-dc-hsm/ By measuring that image on your screen you can work out where a 16:9 1.3317 crop image would go. By my measurements it just fits without vignetting Of course, you will be getting a lot of light fall off wide open. (note the difference between fall-off and vignetting). I cant guarantee it will work, of course, but I would bet £50 on it.

I think the FS700 is a bargain at $4k One of the nicest 4K images via HDMI you can get. Don't forget it does raw via HD-SDI too. Fantastic slow-mo and built in ND. Very similar sensor to F5. The ergonomics look ugly and it has the Sony fiddly menus & buttons but don't let that put you off because the images with an external recorder are stunning. Just for internal 1080/24p though there are better solutions. So if you plan to go for it, pair it with the Odyssey 7Q+ and factor in that extra $2k. So it is really a $6k package but still a total bargain.

Yep fair price. I guess if people think it's too expensive, they can always go off and buy another 4K internal LOG shooting interchangeable lens cinema camera for $1500. Oh wait...

Here is a new clip made by Cinema 4K app and Galaxy S6.

Do not buy these useless beasts. They are too stubborn and clumsy. My Rectimascop 64/2X is sitting on the shelf looking all stupid at me.

There is a bit of a contradiction about this at the moment. B&H state "there is NO physical shipment...you will active this code they give you at a special website" and yet the check out process seems to include a small shipping charge. Still ends up being way cheaper than buying locally though... Hopefully B&H answer the other questions soon but I think that will only happen a couple of weeks down the track.

Looks like they're also weather sealed. http://www.slrlounge.com/tamron-announces-new-fast-primes-image-stabilization/

Of course you can save even more if you purchase V-Log with your GH4 at Hot Rod Cameras. If you send Hot Rod Cameras a message on their facebook page they will sell you a GH4 with for $1397 + $49 for the V-Log-L, and they will even install it for you for free. It's supposed to go live on the site tomorrow.

Imaging-Resource had a good review. http://www.imaging-resource.com/news/2015/09/02/primes-people-tamron-relaunches-sp-line-two-sharp-affordable-prime-lenses "For those of us preferring (or needing) to focus manually, these new lenses are a joy to use. Tamron put a lot of effort into tuning both new SP lenses for, as they describe it, "high-grade MF operation". Both have a very long focus throw that allows for precise focus adustments, and the focus mechanism has a really great feel, as well."

Pretty cool. I'd like to see some more primes with VC.

Thanks for the tips, I ended up getting this one. I am just going to reverse it so the flat end is up and drill some holes. Thanks again. http://www.ebay.com/itm/171844700255?_trksid=p2055119.m1438.l2648&ssPageName=STRK%3AMEBIDX%3AIT

I thought this and this were interesting. I know nothing about making optics (or optics in general, for that matter) but maybe of interest to intrepid optical engineers & DIY-ers out there? Also, a hat-tip to Ian for pointing out the Angenieux diopters, I picked up a set for my 12-120mm. Cheers!

Oi, new geeza here I wanna buy an ampliscope, if ya got one in good nick, we can do a deal cash is cool

Boy I sure wish the NX1 sent 10bit over HDMI, would have made a hell of a combo with this puppy.

Wondering if that LUT from camerabag could be shared?

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.

I'm not so sure about that. I just think they're not willing to be on the cutting edge of video specs, because they can't really devote serious resources and development to it. However, they can adopt the technology a little bit behind the curve. They seem about 2.5 years behind. So, eventually, they'll get there. Now, if your thing is to have the bestest and coolest video IQ from a consumer stills cam, then you'll always be drawn to those models offering it. I, however, tend to think that even median video IQ from 2015 cameras looks "good enough" already. If you're a competent shooter, you can make most cameras work for you. Here's an example: Last week I did a quick documentary style corporate shoot for 20K. I hired a guy that I know likes to trick out his GH4 and likes to run around with a bunch of grip stuff. Now, I did that not because I knew he was going to get wonderful footage, (I know his capabilities and that was expected anyway) but I needed him there so the set looked "professional." And it did. Big lens, matte box, c-stands, silks, reflectors, dead cats, audio harnesses, etc. Okay. So that put the client at ease. Their money was on display. Meanwhile, while he was doing all the A-Cam interview stuff and some misc B-roll, I was running around with a little EM5II grabbing shots non-stop. In the end, over 90% of the b-roll shots in the final edit are from the EM5II. Final delivery is for the web @720. Unless you're super-discriminating, you can't tell the difference in the edit between the EM5II footage and the GH4 footage. As a casual viewer you're just not really going to see it. So this is how I view the whole camera IQ debate. What I can do practically matters. I think I've come to terms with the fact that many people will always chase the technical holy grail with IQ, but my focus with many of my jobs (and my philosophy on how to approach those jobs) lies elsewhere. And let's not loose sight of the fact that in 5-7 years we're all going to have robust DR, great low light capability, and 4K. Sure, there will ALWAYS be superior IQ devices, but even if you have that capability, what are you going to do with it? I DO get excited to shoot with awesome cameras, love being blown away with great images when I rent pro camera gear, and I know they are an absolute necessity for certain productions. But not for all. Not for your cat videos --or cityscape videos set to emo music. At a certain point when are we all just arguing how many angels can dance on the head of a pin? I mean, even this lowly Oly camera has better IQ than the greatest auteurs of the mid 20th century had access to during most of their careers, so I say the tools are great and wonderful, just go use them effectively and you'll be happy. Finally, as a camera manufacturer, nobody can outdo Fuji when it comes to offering lousy video in their stills cams. They set the bar so low that it's unacceptable even for me!

Well, here's a very simple shoot as an example. I did this for a friend over the weekend on a moments notice. It was basically a 1 hour shoot. I grabbed shots as fast as possible. Sure, I could have placed a tripod in a lot of spots and had the subject wait for me to compose... Or I could have let her do her thing and I would just follow, and still get cool shots along the way. With the EM5II, I just did the latter Slider shots without a rig, static shots without a tripod...it's a very nice capability to have. Granted, this isn't groundbreaking stuff, but this particular camera does give me some worthwhile footage. I don't know what else to say. It's fun for me. That's all

Me and my friends have a technique we call the Polish Steadicam. It's the guy with the steadiest hands and a wide angle lens, who we push around on a little cart. We look like clowns on set, but the results are great.

For those interested on differences between bitrates. Not only for this camera, but for pretty much every other one, thats whats hidden on your footage. Sometimes you cant see those blocks clearly, but they are there, ruining your images in the shadows, saturated areas, highly detailed shots (like shooting leaves and grass) and when you are panning. 50Mbps (200% zoom) 100Mbps (200% zoom) 200Mbps (200% zoom) More bitrates transforms those compression artifacts into detail and fine noise. 50Mbps (400% zoom) 100Mbps (400% zoom) 200Mbps (400% zoom)

While a lot of folks will concentrate on IQ, color, DR, etc., and demand the best in that regard, I find that, for me, other features can be more practical for my productions. The built in Oly 5-axis has been really fun and rewarding to utilize.

Please don't hit me, but I think I prefer the RX10 II's 120 fps.

New old stock! $100 - 5 sets left. I got one. Rare NOS ANGENIEUX CLOSE UP LENS DIOPTER Set For Angenieux 12-120mm 10-150 Zoom http://www.ebay.com/itm/281753923609 Angenieux +0.25? - 82mm thread. I could be wrong and no.1 is about +1,25 and the no.2 is about +2 ***? No vignetting & very little CA, if any. Its a singlet, so it will only sharpen up the image a little (not as much as a doublet). As you can see it gives me the full focus range on the Isco 54, which was unexpected - Bioskop.Inc The same as the one used in this test, I hope. It would be interesting to know how this would work in front of SRL Magic Range finder, which has 82mm front thread. Cheers!