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What will you say if it doesn't have those specs? In all honesty, I doubt we will see 6k @60p from the GH5, though honestly I would love to see it. And hope they give us 10 bit, raw option, and lovely motion cadence. But would this not render the Varicam irrelevant?

I use Fresnels most of the time Arri originals and recently I bought a whole bunch of Chinese Arri copy fresnels off ebay for the feature film I just did , I needed to light 3 sets simultaniously and leave the lighting up for weeks at a time (I had 25 fresnels up at once on 3 sets) ,I like Fresnels as you can use them as a hard light or add some f1 Diffussion and use them as a soft light, you cant do that with Kino Flos they are soft all the time , so for me Fresnels are the way I light most of the time , the exception is lighting Women .. where a soft light is more beautiful , so sometimes if I need a very soft look , I use Kinos then or LED tube lights I have made - basically LED Kinos not tube Kinos , The Chinese Fresnels are just as good as the real Arri ones I was amazed , once you have a good globe/bulb in them like Osram - there is nothing in it , I bought 150s 300s 650s and 1K Pups and they are all superb , they worked 40 days for 12 hrs a day no issues . so check these out they are great http://www.ebay.co.uk/itm/Fresnel-Tungsten-Spotlight-150W-Lighting-Studio-camera-Video-/331687239451?hash=item4d3a199f1b:g:x8AAAOSw-zxWoXQS http://www.ebay.co.uk/itm/Pro-1000W-Movie-Fresnel-Tungsten-SpotLight-Studio-Camera-Video-/252322910892?hash=item3abf9e12ac:g:lP8AAOSwAuNW6hii http://www.ebay.co.uk/itm/On-Sales-UK-Fresnel-Tungsten-Spotlight-300W-Lighting-Studio-camera-Video-/252134887278?hash=item3ab4690f6e:g:0k0AAOSwqYBWp0Dk http://www.ebay.co.uk/itm/Pro-Studio-650W-Tungsten-Spot-light-Dimmer-globe-Compatible-arri-bulb-/231722293457?hash=item35f3b998d1:g:0nUAAOSwKtlWp0A4 they are all amazing prices , I do recomend these lamps . 300w Fresnels in action on the movie Pandora with diffusion and gels on the front - standard stuff for me

Everything I'm mentioning is what I thought I was told at NAB four years ago. Sorry for my mistake. Show me some of your work. Would love to see how it compares. C Log is more than worth it for me to go with 1DC as I work with other Canon Cine cameras on a daily basis. Fact is, 1DC makes the most beautiful cinema 4K I've ever seen off a Canon Cinema Camera and I've used them all with the exception of C500. The Canon Cine lens compatibility I was referring to was addressed in the most recent firmware update: https://www.usa.canon.com/internet/portal/us/home/explore/product-showcases/cameras-and-lenses/cinema-eos-firmware/1dc 1DC also has some other advantages over the original 1DX. Obviously doesn't relate to 1DX II fully but is a response to what DBounce has said: "Compared with 1D X hardware, 1D C has a better heatsink, slightly overclocked DIGIC 5+ chip, a headphone jack instead of flash sync port and a locating pin hole at the bottom. 1D C is approximately 150g heavier than 1D X." http://www.dvxuser.com/V6/showthread.php?304245-Some-interesting-facts-about-Canon-1D-C-you-probably-don-t-know-about although this article debates the heatsink difference: http://wolfcrow.com/blog/canon-1dc-vs-1dx/ Truth is....this camera is a freaking beast. Im not switching. I love it. You should rent them and see for yourself. I only use manual lenses so the autofocus doesnt matter to me and Canon Log is way too important for me too. Slow motion isnt an issue. I can get slow motion from other tools. This is a sexy image machine.

DBounce, I think you're kind of over-protective of your purchase decisions. Nonetheless, enjoy. BUT.... What are you going to think and/or say when the GH5 shows up with 6K @ 60p?

Seriously Ebrahim, you have admitted that you are a 21 years old film noob kiddo with a canon 1100d plus a regretful scammer, edit your signature and put that there instead of all the 61 years old filmmaker crap, maybe they let you post. So when a 21 years old kiddo with a canon 1100d writes that the Canon 1DC is the best lowlight camera in history, the guy who reads it will understand that this is just the opinion of a 21 years old kid -who made a scam- based on footage he saw online.

If all you're trying to do is add eye/face fill during daytime shooting, want it to be easy to use, and are shooting with a shorter lens so the camera is close to your subject, wouldn't a dim-able ring light be an option to consider?

I have posted this the other day but its relevent here on this thread and some of you may have missed it so here it is again: I use Fresnels most of the time Arri originals and recently I bought a whole bunch of Chinese Arri copy fresnels off ebay for the feature film I just did , I needed to light 3 sets simultaniously and leave the lighting up for weeks at a time (I had 25 fresnels up at once on 3 sets) ,I like Fresnels as you can use them as a hard light or add some f1 Diffussion and use them as a soft light, you cant do that with Kino Flos they are soft all the time , so for me Fresnels are the way I light most of the time , the exception is lighting Women .. where a soft light is more beautiful , so sometimes if I need a very soft look , I use Kinos then or LED tube lights I have made - basically LED Kinos not tube Kinos , The Chinese Fresnels are just as good as the real Arri ones I was amazed , once you have a good globe/bulb in them like Osram - there is nothing in it , I bought 150s 300s 650s and 1K Pups and they are all superb , they worked 40 days for 12 hrs a day no issues . so check these out they are great http://www.ebay.co.uk/itm/Fresnel-Tungsten-Spotlight-150W-Lighting-Studio-camera-Video-/331687239451?hash=item4d3a199f1b:g:x8AAAOSw-zxWoXQS http://www.ebay.co.uk/itm/Pro-1000W-Movie-Fresnel-Tungsten-SpotLight-Studio-Camera-Video-/252322910892?hash=item3abf9e12ac:g:lP8AAOSwAuNW6hii http://www.ebay.co.uk/itm/On-Sales-UK-Fresnel-Tungsten-Spotlight-300W-Lighting-Studio-camera-Video-/252134887278?hash=item3ab4690f6e:g:0k0AAOSwqYBWp0Dk http://www.ebay.co.uk/itm/Pro-Studio-650W-Tungsten-Spot-light-Dimmer-globe-Compatible-arri-bulb-/231722293457?hash=item35f3b998d1:g:0nUAAOSwKtlWp0A4 they are all amazing prices , I do recomend these lamps . 300w Fresnels in action on the movie Pandora with diffusion and gels on the front - standard stuff for me

DIS in video mod work perfectly but resize the visualization. Hello cojocaru27, very soon it will be possible to pre-orders. I believe we are around 55-58mm. The DOF 1.4 is awesome! full aperture form large and very nice oval ball!

I got your point. Looks like he is struggling & was giving out more info in the process - like a good forum member should (not a 60yr old wannabe relic timewaster!) I'm sure from his pics it's a distance thing, if not......a metallic thanksgiving meal!?

The pocket is not 4k, and the battery last 30 minutes. It's not a workhorse by any means. And while I'm sure there are examples of serious commercial work being shot on one, the same can be said of the iphone also.

According to imbd.com, Jason Bourne movie (2016) was shoot on, inter alia, Nikkor 80-200 2.8 (Morpheus TLS). Tradition continues:)

The Rathenower is more blue flare. The möller has some magenta touch in the blue. I also found out that the 2 front glasses are single focus and of quite OK quality. If you remove the stop screws at the back, it will focus even closer.

I saw this and am really excited. Please try and sign this. I am hoping Panasonic agrees and gives user Atleast Cinelike D and Cinelike V. https://www.change.org/p/panasonic-usa-please-add-a-log-video-profile-to-the-gx85-gx80

While it's possible Panasonic would think that way.. it's not true. Would really just make this a much better b-camera for the gh5

I think, Panasonic really has some mojo going. It is all about the settings and the grading. Besides WB, light, setting of course:). I still like some of the GX7´s footage on vimeo the best of all Panny cams. Maybe it is the GX7 shooters, maybe the absence of adventerous usage of luts, I don´t know. Came across this video below, seemingly shot in 50p. Still looks filmic in a way the beautiful motion picture Bin Jip does. Some beautiful tones and hues going on. If people referred to Japanese preference for greenish tones- this is what I would assume to have been meant. Not 8bit SLOG graded greens of Sony color horrors!:) Out of box a lot of footage looks like a drawing done with crayons. With a certain way of color treatment it can look like a oil painting with a richness to it. Some "hidden" magic in those Pannys. Now, maybe the examples colors below doesn´t fit the bill for some readers but to me it is a beautiful illustration of the Panny mojo. To me even more so than the cool GX7 beach footage with the Ultra Contrast filters, which has been posted on this beautiful forum some longer time ago.

Yes, I agree - the only problem with stopping down is that most things will look in focus, but are they? You really need to find out what your anamorphic looks like actually in focus at its optimum. This is because when you focus through you are better able to judge how much off the mark it is - you don't want to end up with some footage being really sharp & other bits which aren't. It's the same with dual focus anamorphics - sometimes, when you're aligning the anamorphic & taking lens, things can appear to be in focus, but when they really are the image pops up nice & sharp. Also, racking focus focus when you're stopped down can be done, but it's not as noticeable compared to when your lens is open wider (obvious, I know). The best tip for achieving a good rack focus, with these focus through lenses, is to have a taking lens with a long focus throw - it takes longer to rack, but it shows up more. @PepperJay - how is it going? Any luck yet or is it a turkey?

I have s82x and it will focus almost any distance if you stop down a bit.

Seems extremely unlikely to me when the GH5 is due out in two months. Why would they want their $700 camera to be more competitive with their probably-$1800-2000 flagship?

I'd avoid using CFL lights, even the professional ones like Kino Flo have visible green spike, their TLCI values are mediocre. Here's an amazing database of good quality LED lights: http://indiecinemaacademy.com/complete-led-color-database-cri-tlci-cqs-tm30-15/

I don't think you will need FPGA or anything more complicated. The most complicated parts seem to be the setup of the lens in the nx protocol. After the setup section, it should be more or less straight look up.

@kidzrevil Can't speak for others but I have nx500 so no evf from me Great work Luca, I tried something similar (but much more primitive) with m42 a long time ago but I was unable to position the added elements precisely enough and got mostly useless results - your results are very positive! Regarding canon vs nikon - yes it is true that due to longer flange straight adapter will not work, but let's wait and see how much of the space is actually used by this adapter - it might be doable to shave a millimeter or there and get canon lenses to work.

From what I've read, that would be the 16-50 f2-2.8 then. It's really a shame that the Pentax K adapter that Samsung made for their old lenses isn't active, we could have learned a lot from it. RockyMountains Arduino unit noted above is probably the closest we've come. Like I said I think we are most likely to have success with a dumb adapter at the NX end, that controls and powers a lens externally. Trying to create an adapter to allow the NX to do it itself is most likely outwith our limited collective R and D capabilities. Edit: It also occurs to me to ask what you guys would expect (be willing) to pay for such an adapter. With such limited production numbers, the cost per adapter will be much higher than most others on the market.

luca, what is the focal distance with your adapter for nikon 50mm 1.4D , couldn't be 50mm, isn't it? and also the dof is even more shallow, at 1.4d? i am asking as i have exactly the same lens and now the focal is around 75mm. anyways when can i register for a preorder ?

Still doesn't fix the C300 mk2's utterly infuriating output options.

I posted up on the Metabones page asking for smart adapter support. Feel free to follow up on my request there. Luca, fantastic work brother! Sign me up to your wait list. I want one. I am quoting myself above as a quick reference to anyone who needs access to the OEM NX1 firmware. Great job everyone! The progress is better than I could have ever imagined. Just signed up with FilmConvert today and got some tasty new NX1 profiles to work with. Loving life as an orphaned Samsung NX1 and NX500 owner right now!

True, none of them are really "focus through", but you should be able to get some half decent focus stopped right down (which he says he can't). This I find strange.

It would be a gift from God if someone could make electric contact for Nikon speedbooster so the stabiliser at least works. But I am definitely fetching that dumb adapter non the less.

ES declared what was it 10 days ago he would never contribute to this site again because he knew his credibility was tainted.. then yesterday i see him post all kinds of bogus advice in threads. And now today he's whining no one locked his account so he took that as a free pass to continue his BS activities. Kid even has nerve to say "it's your fault" "don't get a seizure about me helping people".. I'm glad mods are finally taking a stance towards this punks behavior. I understand the are leaving his account open until situation gets resolved but really it should be restricted and his signature modified ASAP with a warning of his fraudulent activities. It's like giving a sex offender a slap on the wrist. You know it's a matter of time before dude commits crime again.. Seriously, the leniency given here is starting to give this site a bad look I'm afraid.. where is Andrew btw? he needs to step up & address this imo..

Thanks for sharing my film IronGuy ! It was shot with the G7 and 12-35mm f2.8 & 42.5mm f1.7 lenses. Graded with Magic Bullet Looks in Premiere Pro CC.

Personally, I would not mess with the FS700. I shot with that a lot and the colors and skin tones are just off. Not too sure about the FS5, but I think an F3 is like 1/3 the price and the savings could be spent on glass rental... I bought an F3 a month ago, maybe my favorite camera I have owned. The color you can pull from the camera is just so nice. Excited to be working with it. It reminds of the BMCC or the pocket, with NDs, really nice battery life, and the reliability you expect from a camera in that class. Attached a couple stills. There's tons of F3 footage online, but just wanted to give that camera an up vote. I would get the F3 and a the 7Q recorder used. The whole package should be under 3 grand.

I'd be more inclined to rent Angie DP Rouge's - I freaking love those lenses! Again, don't underestimate the importance of glass - say what you will about Sony, but shooting F5 or F3 with Angie's or Ultra Primes is magic. Mine has the full upgrade, and I can confirm that you can do 50/60p 10-bit 422 over single HD-SDI. Can't attest to whether it would need dual-link without.

Maybe you missed focus on the wide shots as it wasn't properly calibrated for infinity focus??? Seems strange for RED 4K wide shots to be thought of as too soft?! And shooting 4K for 2K delivery to give "more options in post" doesn't come with pitfalls, you'll need to be spot on with your focus, and the crop will mean deeper DoF than if you'd shot it originally with a longer lens without cropping. Plus 4K means heavier demands on data storage during production and in post. All of these can of course be overcome, but shouldn't be ignored casually. Even just 1080 10bit 422 will chew up a lot of space over a feature! Is what I'll be doing on my next feature. Maybe for my feature after that we'll have the budget to use 4K 10bit 422 cameras for the whole thing. (as would like to use a Sony FS700 with FSraw down converted to 4K ProRes HQ on the fly with an Atomos Shogun, but that would stretch our budget too far So Sony F3 it is! If we do get any spare budget at all, it will be to buy a second Sony F3 so we can shoot with two at once) Yeah the director Colin Trevorrow shot his first narrative feature film on an F3: "Safety Not Guaranteed". Note however, I believe this was shot with a pre-S-log camera and all internal. Or in other words, you now in 2016 using the F3's S-log and 10bit external would be getting a much much better camera than the version of F3 which shot "Safety Not Guaranteed"! Colin Trevorrow went on to make Jurassic Park (4th highest grossing film of all time!) and will next be making Star Wars: Episode IX. Oh wow, a Cooke 20-100mm T3.1, that sounds like a handy and great zoom range with a fast enough T-stop, all this with the Cooke name for $4K? Can't afford it now, or even probably next year, but sounds like something I could aspire to own in the medium term future! But then I looked up what the lenses looks like on an F3..... WHOA!! That seriously pushes the limits for me for an "everyday" lens to shoot a feature on. Hmmm....