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I shot this a couple months ago, and had a blast! It's always changing, but my anamorphic rig is getting more useable. Kowa 16-H (still amongst the best ana glass.) SLR Magic Rangefinder (could loose the blue blobs but otherwise does a great job.) RedStan Clamps (what more needs to be said? They're the best, and they're red. Makes Canon L-glass jealous.) Konica Hexanon 40mm f1.8 (this lens just works. Really well. Set to f/4 and forget.) Samsung NX1 (yeah I'm one of those guys. But this thing pays the bills, and will continue to do so for at least one more season.) EDIT: yes, the anamorphic is not perfectly aligned. That's actually on purpose to add to the vintage low-fi aesthetic.

im sure you can sell your lenses on ebay and buy the nikon/canon versionof them there with very small loss of money.

I know, I did read most of the specs of the Major Panasonic releases. I am talking about the GX85, the Rangefinder version of the G/GH series minus the extra features of the GH series. Since the GX85 and G85 share pretty much most of the features (except weather sealing and a mic jack, and many not so major changes), there seems no reason not to have the CibeLike Profiles for the GX85.

How would you expect to keep the BMMCC setup small using the Ursa EVF? You'd need a HDMI to SDI converter for the video signal and you need to power the EVF via XLR. So you're now at BMMCC + shoulder rig + a small HDMI-SDI converter like the Atomos ones + a V mount battery to power everything. That's not what I'd consider compact. Same for the Zacuto Gratical Eye, it doesn't take HDMI and needs external power via 2 pin lemo. I'd go BMMCC + SmallHD 501 + SmallHD side finder. Both runs on LP-E6 batteries, too.

Ive been happy with the DR100mkii + MKE600 for a long time now. Good amps in the Tascam and I love the emergency power system.

I guess rolling shutter effect will be similar to Fuji Xt-2. 3x faster but also 3x or more the pixels to read if full sensor is read vs prior pixel binning. For me, this camera is very good. But IQ will depend very much on the color profiles ( especially the the flat one and its DR ), how sharpness / detail is worked in camera and how the codec handles motion. This things don't come in the specs and are central for a good image. For that we just have to wait for good testing of the camera. Impossible to know earlier. I hope it's not as sharp (too sharp IMHO) , bad color, prone to motion artifact, and hot as the a6300. Makes moving images horrible and long recording times impossible. Hate that camera but good specs.

As the sticky end of the stick recipient of location sound (and after many years swinging a boom and recording on 2 track DAT, broadcast and film sets) I'd just love the operators to point it in the right direction lol. Saves me calling ADR, saves us placating artists returning 2 films later and a year later to recapture "the moment" and asking why, it's not impossible - requires balls on set and proving your talent to the director and 1st AD etc (no boom in calls!) and mostly taking the lighting dept out for beers so they'll chuck a flag in for you No excuse for not getting a boom inches away from artists or asking crew to move chokes, lights, turn off fridges etc etc. Personals were an absolute last resort, should always be, and lazy - if your sound guy turns up and wires everyone up, records to an 8 track and depends on post to ISO unpick the scene IMHO then you've gone low. No-one leaves a cinema or viewing whistle-ing a two shot, but shit sound ruins the best of films. August brings a raft of picture makers (aiming for competition submissions) who've spent everything on cameras, lenses and booze, and want ADR foley track-lay and mix for bugger all, may be the effects of schooling, but will become very apparent you can't skip audio, you can - but the viewer will withdraw from the picture and story far faster than a dodgy shot instantly with cack sound. Hire a great boom swinger, and post is piss easy. Just my 2 pence

No, I didn't. It was still jittery with dual IBIS... I sold it along with the 35-100/4-5.6 which I didn't like either. Maybe the 12-32 I had was a dud ... not sure. I've bought the 15/1.7 & the 12-35/2.8 ... both of which are excellent and no issues with IBIS. I also have the 42.5/1.7 on the way which I'm really looking forward to using. The GX85, 15/1.7 & 42.5/1.7 look like the perfect combo for me.

I was under the impression transcoding can reduce quality though, when it comes to h264 and that premiere is supposed to natively handle it fine? Is this incorrect Sorry I don't use FCP X.

http://www.thecomingconvergence.com/ this was gh4

I think it would be cool to have it on the GX85, but I am in the camp that will likely get the G85, just because it does have these features like mic jack for Video. Sure, it is not outstanding quality, but for some things it will do (the same cannot be said for GX85 built in mic), and besides I can at least record a half decent sync track that would be easier to match with a recording from a dedicated recorder.

These point to two different limitations. Color grading when using CUDA enabled filters is GPU dependent and dropping the resolution helps A LOT. Editing with many clips can be both CPU & RAM intense, lowering the resolution will not have much of an effect but as already suggested transcoding might help. A new system can save you a lot of time in the long run so not a bad idea especially since you are planning to move to 4k (better be ready for those system unfriendly files). Don't worry about the macOS, for premiere it won't make a difference and you can still use your macbook for everyday stuff.

I don't see anyone, who cared about audio would record through any mirrorless' ADC/preamp. And even if they did, GX85 could be a great B cam which makes absence of common profiles even more regrettable. It's smaller and cheaper than G85.

All these sell and wtb posts should be moved to the SALE topic, to keep this topic clean and clear, and keep us focused on the important stuff.

No worries and I agree, I think that's the best move to make! In which case going EOS mount (adapted) lenses (-> EOS Speedbooster) next gives you the most mounting flexibility I think. Going with Nikon mount for your Speedbooster (thus Nikon mount (adapted) lenses) is a little less flexible (like Contax Zeiss for example, with either a hardware mount hack (not for all lenses) or adapter with glass), but would allow direct dummy mounting with aperture control on the cheap (which was my personal preference).

theres plenty of manual adapters for the sony a lenses, just not any electronic

Find out if Sony/Minolta MA adapts to a Canon or Nikon mount. Then get a speedbooster for that mount and use it with an additional adapter. But what I think is that you'll need the adapter itself to have optical correction to allow for infinity focus. Which is a bad bad idea to use as these degrade image quality.

The really incomprehensible thing is the main guy is so paranoid about people stealing his music/musical ideas that he's never released anything & then he does something like this! I'm getting a contract drawn up & it will give them permission to post a new version on the internet (YouTube etc...), but that the rights to sell the doc for financial benefit will remain mine. As you said, I'll get them to sign off on being able to use any footage for a showreel etc... To be honest, I thought I was done with these jokers & had moved on, until Facebook came to the rescue with a new window about people I might know and this idiots face staring at me - can't express how much I hate Facebook (amusing to begin with & then it became an info grabbing underhand organisation that sells your personal info to the highest bidder) and then this happens! NB. I am not American, nor do I live in America and therefore, have no interest whatsoever about what is legal in the USA. Furthermore, I would never record someone in order to entrap them (unless it is for journalistic purposes) or have it/use it as some sort of proof, which it isn't. I would only use e-mail as a form of communication, as it now works in the same respect as letters do/did - get everything in writing, since it becomes a legal document & sending it is as good as signing it.

Just received my new XC15 with XLR attachments. Just threw this up after a hard day's work in the shop---so you can sample the quality of the audio. I also used the new Production Camera custom profile that is also in the Canon C300 M2. But this is just a sample of the audio for talking head stuff:

You would think musicians of all people would be more ethical when it comes to stealing somebody's work. Now I understand how important watermarks are. What sucks is the utter waste of everybody's time your situation was. They can't use your video and you obviously can't use the video with their image in a reel or any other promotional manner. I think your first instinct is the best... Open a line of communication and come to a mutually beneficial agreement, in writing, so you get something for your time but also make the contract very clear so it protects you from any defamatory statements... Either libelous or slanderous. I'd also get a release so you can use the footage, with their likeness, in any manner you see fit in perpetuity.

The P35-100/2.8 works quite well no on the GX80 with Dual-IS although I still think that the E-M5II with IBIS only is a bit more solid with the same lens. Check out my test on youtube, and I used the P12-35/2.8 and P35-100/2.8 for this video: https://www.youtube.com/watch?v=ohVyjbQoxhs https://www.youtube.com/watch?v=YAshlUXNxJk

http://lmgtfy.com/?q=minolta+to+m43+speedbooster&l=1

I think the improvement is major in shadow noise and on fine patterns like asphalt or leaves on trees. I also think you can push the image a little more in post. But, in the end, it's all subjective.

Sadly the diffrence between P4 and Mavic in image quality seems big, if not huge (at least judging form these early videos). The word "huge" may sound kinda extreme here, but when you have a tiny sensor like this and you need every bit of it to produce a decent image, and then.....Dji cripples this Sony IMXsomething through software to protect Phantom 4's sales...then, yeah the difference is huge. I wanted to like it though...practical as hell..

No I have not used the MkII but looking at the specs when going from mk2 to mk3 you get the same increase from 92db to 109db s/n. I guess a proper comparison might be more helpful but I was really surprised to find a recorder <$500 that gives me a similar noise floor to the RM222. Unfortunately the phantom power is applied on both channels so no...

I would have mentioned it as a con but it was fixed via firmware a long time ago. So it is not really relevant anymore.

You tried the feelworld/seetec evf?

Seems legit:

Get it even cheaper here http://www.dx.com/p/feelworld-e350-3-5-evf-electronic-viewfinder-w-hdmi-input-output-black-414998#.V-3pXMncibg I remember reading a review of this once, they found it quite useable.. Here it is https://***URL removed***/forums/post/51646963

This time from my native country... BTW, that Roman temple seen on DJI video presentation is also a Portuguese location [ LINK ]

I recommend dvxuser as better and more diverse source of info FS5: http://www.dvxuser.com/V6/forumdisplay.php?219-PMW-Cameras-(-amp-temp-FS7) And yes it has had firmware updates.

Too soft, here and there. Enough balance in some others. That's the business of the shooter. To balance the elements. Mushy outcome both from low bitrate codec and youtube encoding don't help, not even to evaluate either, the miracles a good colorist can achieve from.

Looks like many are setting focus onto themselves when it's close to the ground and not changing to infinity.

I haven't used the DR-60mkii but just looking at the specs the dr100mkiii can have up to 109dB S/N whereas dr60mkii has ~92dB.

You're an idiot...... Magic footage looks great, especially for it's target market which is online...... People worry about the wrong things, yet 5 years ago something like this was not even possible.....Every time I come to this site it's someone always speaking nonsense..... I wonder why I even visit here as 90% of the people here just live off forums and actually produce no work at all....... * Regarding video quality, GoPro looks better but the Mavic definitely wins in ease of use. I would purchase the Mavic based off of ease alone, image quality is not everything.........

Apparently the G80/G85 is going to have the Cinelike V & D: See second paragraph under video tools: https://***URL removed***/reviews/panasonic-lumix-dmc-g85-first-impressions-review/4

The most horrid camera in comparison with what? Dji Mavic?....or Canon 1dc? Lets say you had mavic on your mind...where did you see its grace? Those early videos have been processed and graded in post from pros to look as good as it gets...and they still seem jittery & soft....Not trying to bash you here, just trying to undestand your statement. I am not a fan of GoPro either but you are saying that you will purchase mavic because "No Protune saves the grace or its absence" on GoPro. Cmon... in terms of "real" quality they are both S**T next to a mirrorless camera but this is not what we are discussing here, we are trying to find their pros & cons for casual semi-pro use...right?

Are there any firmware updates for the lens?

Do you have a macro or manual focus setting enabled maybe? If not, then I'm not sure, contact Panasonic for their thoughts on the matter. I went with the 12-40mm f/2.8 PRO from Olympus. It might not have optical stabilization, but it's a super duper built lens and nice to work with. Gotta love the pull de-clutch that enables manual focus with hard stops.

source image, no process

It is generally more just hobbyists who have the time and interest to make video tests to share online with others like themselves. Plus Kinefinity is focused on first meeting local demand, will take longer before many people in the western world get and use their newest cameras. Yeah if you need a camera ASAP then get an URSA Mini 4.6K / Sony FS5, otherwise be patient and see what happens with the Kinefinity Terra 5K

My guess is that its not shipping and they have issues. Its like Blackmagic but as a smaller company they need even more time. Hope they make it through.

Micro 4/3 is not a sensor size. It's a lens mount. 4/3" is an image circle size. 4/3" 4:3 is a sensor size.

It means it's now APS-C. !

A7r II + SLR Magic Anamorphot + Tokina 28-70

The same nomads of Mongolia family as in Brandon li's video!

1dx ii

Shot this new music video/short film in a day on BMMCC w/ Angenieux 15-150 f1.9. I love the feel this combo gives the image. Pure nostalgia!

used the gx80 with 12-32 for first time on actual shoot and wanted to share a few thoughts: - ibis works well to keep camera shake and jitter at bay in run n gun situations like the ones I am used to. If you can manage to walk smoothly you can even pull off some "sort of" gimbal shots. - resolution, dynamic range and color has greatly improved from gh1 and gh2 (my previous panny cameras) - the 12-32 lens is a good all rounder for my type of situations, with ETC you get the extra reach when needed. I do really miss a manual focus gear. - single AF defining the area with touch screen and focusing with half shutter is my preferred way of using this lens. I do wish peaking was enabled also for AF just to be sure. I did miss a couple of out of focus shots looking at the lcd, which confirms my personal hate towards filming with lcd, I much prefer looking into an evf. - i missed several recordings, because sometimes you need to press twice the rec button, it seems that after 1 min of inactivity the camera goes into a half standby, removing info from screen. - hdmi ouput is clean and does not impact lcd or evf output as many panny cameras do - battery life is rubbish. I had only 1 battery with me and only lasted around 30mins continuos use. Not being able to recharge in camera with the camera on really sucks. With the Blackmagic pocket I could use an external power pack to recharge internal batt and power the cam at the same time and could go on the whole day. - using standard profile with -5 and shadow +2 I am happy with shadow level and highlight rolloff. I still am not convinced about skin tones, I guess the Blackmagic has spoilt me in this area. - i cannot make timelapse function work. I just don't get it. I also tried reading the manual but all I can do is set starting time, interval and image count ( I presume you need to put 0 to have infinite takes). But then how do you actually start the function? with shutter it only takes 1 pic.... Here is a pic of my handheld rig I have been using since the GH1 ages, it gives me the flexibilty I need to move quickly and adds some mass to smooth out movement. There is an old 8mm camera pistol grip, a chest pad made out of a metal L bracket with foam and vinyl, Fotga rod with baseplate and manfrotto ballhead with quick release. Here is a quick selection of clips from the weekend.

This is at a T/2.8 on a GH4 using a Kowa Bell & Howell with the Rectilux, followed by the SLR Magic Rangefinder. For each, I am seated as close as focus would allow. Forgive the sloppy alignment issues, I rushed this. Must get back to writing so i actually have a movie to use this stuff for... also, if you're wondering which one looks more like the Kowa on it's own, it's the Rectilux. The Rangefinder adds warmth, blue flares/haze. Preference for either is left up to individual taste, I suppose.