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I think your right. It will be pretty much like the GH4. A great camera that some love and others feel disappointed. We will then make a little list of features that would turn it into the perfect camera. By the time a new camera with those features arrive we have made a new little list of the next couple of must haves. And so we dance.

Comparing the 2K camera to to 15K camera, just wow, have you taken your pills mate? :D

I have a completely different POV on the videos of LDR. I own all her albums and really enjoy her music. That said, with the exception of video for the title track "Born to Die" (which had some nice set pieces and was shot well, it was a little too literal) every video of hers has been a mishmash of visual clichés (Love, National Anthem, and most others) and silliness (High by the Beach). "Love" is just one more video that makes me think LDR is incapable of hiring a producer that can make a decent video. Most of them resemble what I would expect from a first year film student. This really bugs me about her, since she's otherwise so clearly talented. Was the "Beatles, move over" comment sarcasm? Because there's no way the two should be in the same sentence. As talented as she can be, no one can compare LDR's contributions to those of The Beatles as they literally changed music and society. Along with long-time producer George Martin, they were the first to introduce distortion, false endings and use symphonic instruments in pop music. They can even be credited with moving music videos to the forefront with their groundbreaking music films. These are just the tip of the Iceberg of stuff we now take for granted, but until The Beatles they had never been tried. Even if you're not a fan of their music, they literally changed the trajectory of music, the music business and popular culture across the planet. LDR makes nice songs that ride the zeitgeist. So far, I can't say she's done much else of significance. I'm still holding out hope for her to come out with a music video that goes some place new.

Stumbled upon a pair of lenses at a local fleemarket today that will be good for comparing to an 80mm with a x0.7 crop (56mm FF). My GF wanted to buy a chair and the seller was asking $20 bucks. I said $25 if she threw in the two Helios 44 - 58mm f2 lenses she had. One silver and one black. Turns out the silver was the 13 bladed version I will of course compare to modern glass as well using the Nikkor 24-70/2.8 and 70-200/2.8. And the modern Zeiss prime from earlier. But I thought against other vintage options could be interesting as well.

I was reflecting to hyalinejim's comparison. Not sure if you understood my (previous) posts, I was not defending panny colors, I said that you'll open the lumetri panel anyway, so there are plenty of ways of fixing the panny colors. This whole conversation about colors and specs does not lead anywhere and I am getting sick of it. Light a scene and setting the camera properly improves the final image (and colors). Why not choose a camera based on the needs? If you need a REC709 look, buy a broadcast cameras. If you want a camera with various specs you have to live with compromises, like fixing a colour channel in post.

On higher quality projects, I run the F3 with native battery and 6" rods to hold the Gemini out back. On 4:2:0 projects I typically just have the camera and handgrip, as light as she gets. For a cinema camera she's light, but in my market I'm typically competing against people running DSLRs and the light (and cheap) support gear that couldn't support the F3. I agree that it is light on the shoulder, but I can't afford the gear I need to get the shots clients in my area are looking for. Side-point: any that can afford to rent support gear for the project typically have enough to hire a RED owner/operator. Don't take this wrong because I'm actually pretty cheerful, but honestly: I'm broke. What little money I had was spent getting a more-expensive-than-was-assured camera operational. The potential clients that I can and have reached (and even one of my close work colleagues) have no need for something with the heft and (amazing) image quality of the F3, especially when 5Ds and XA30s will will do perceptively the same job for less weight, support gear, and data storage (not to mention proprietary parts hassle). .......W-w-ould you like a fourth? :P Seriously though, I agree with all of what you said in that post. I'm not selling the F3 and Gemini to get a "better camera", as I'm really impressed and excited at the stuff I have been able to film with it, and I don't think I could find a better image in my price range. For the work that I've actually been able to get profitable gigs though, I don't need uncompressed recording, nor 13.5 stops of DR. I need something that doesn't require a bunch of proprietary-gear workarounds (SxS? FZ-mount?). If it has a nice image with some ability to colour-grade, SD recording, can be flown on glidecam, and use commonly-available lenses, then it does the kind of work my typical client wants. Thanks for the responses, it's really good to be able to bounce this off people who aren't Sony fanboys or evangelists. Also of note: For many reasons, personal and financial, my wife and I are considering the move to NWT where I would work an hourly job and leave full-time video behind, at least for the time being. While it is true the F3 hasn't worked out as well as I originally hoped for all the reasons mentioned, my filmmaking environment would also be drastically changing. We would be in a highly remote location, I would be completely solo for anything I film, with no budget for DPX sequence storage, and other factors. I would also be filming mainly for personal reasons (my son growing up, micro-films, scenic landscapes and wildlife, etc) with the odd wedding/grad/funeral as foreseeable paid gigs on weekends. For these circumstances, it is more important to have a more agile camera with good internal recording than it is to have an inexpensive cinema camera. If I still have the F3, then I'll bring the F3 up. But if I can make this change, I'd like to do it before it becomes impossible to sell the camera with enough leftover to get another.

Not seen the film...but it'll more likely be a streak filter (also cuts bokeh in middle) on select spherical shots when not using the Zeiss master anamorphics and Optimo lenses (if anamorphic range) that have been credited to the production. Looking at the trailer, many shots are pretty wide with deep DOF that leads me to think that you might have seen some streak filters being used on some spherical shots. It's very common for spherical lens shots to be mixed into a 'scope' movies...sometimes with streak filters or CG flares added to help blend with neighbouring shots...but often people don't bother to do that. Oval aperture modified lenses less likely for mixing into a big budget production unless DP can afford that lens to be at a fixed aperture value (possible but unlikely). Could be employed for C/D/E-cam etc for certain setups where multiple cameras are rolling and there are not enough anamorphics to go round...for an action scene or stunt - so as to minimise loss if attached to a chase or crash camera and it gets killed in action. I use oval aperture modified lenses for effects shots where I know I'm going to do 3D tracking for CG...this removes the funky lens distortion and time-consuming problems that tracking software can have with real (older) anamorphic lenses. When intercut with real anamorphic (and a bit of post lens distortion applied) the faux anamorphic looks perfectly acceptable. When a lens needs a flare, I try to avoid CG generated ones whenever I can...but rather shoot a pass of a real anamorphic flare against black and then retime/warp and track that pass into the plate whenever possible. In other situations I've also added oval bokeh in post when forced to shoot using a spherical aperture but needed an anamorphic look. Adding oval bokeh in post can be a time-consuming process but is possible...it can require a lot of roto work.

https://www.youtube.com/watch?v=3-NTv0CdFCk Lana Del Rey's new music video looks amazing. Film grain comes trough exceptionally well considering the source is YouTube. Does anyone know how to get film grain look something like that? I have gorilla grain and filmconvert but the film grain with those is much too clean. Filmconvert with 8 mm settings is also way too blurry.

Exactly what I want to do with the pistol grip! I want to bring the old super 8 flame back!

I would have to go for a Sony FS5 for that money. The Ursa is a great camera also, but it seems a little too fragile, to flaky to depend on. The size on the FS5 is nice, can use them on a Glidecam, smaller Gimbal, and they seem to be bullet proof from what I have heard. Heck the Variable ND filter is nearly worth the price of admission alone. Some people are not thrilled about their color science though. Heck there was a Sony F35 on ebay a couple months ago for 4500 bucks. but I am not sure about stuff that old. Not uncommon for a Red Epic X brain to come up for 4500 either, but damn cost you 4500 more to equip one. Unless you hate Sony, you would not be alone, I like them, I would have to go with the FS5 myself.

You should be aware that this is a religious discussion. Comparisons, and discussions about comparisons, should be avoided and only discussed in private!

I watched some of her other videos/songs and can't say I'm impressed with her other work. Most seem rather flippant love songs promoting hard drug use on the beach. And apparently she is trying sedition via witchcraft. Messed up chick.

Riadnasla, one option is to stay in the Sony camp, and get a EX3 for your speaking events, these can be had for $1,500 in good condition with extras! great codec for those long events, you can use the F3 as a second camera that you can dumb down to match the EX3, you would have easy timecode sync with both cameras, then I would only add an A7S for your Glidecam, that camera could also net you 4K should you ever need it. So if you could raise the funds say $3,000 you would have three cameras that would cover anything you need. When you jump into the Canon camp, you could almost do the same thing with the C100 and a Canon mark III, and the DPAF on the C100 would work great for the Glidecam.

Yeah same for me, sell stuff, or it isn't happening!

True, and I use a combination of Hawaiki Analyzer (http://hawaiki.co/hawaiki.analyzer.html which allows you to select a skin tone from your shot and convert it into a swatch), Color Finale, and the vectorscope/skin tone line in FCPX. It is a bit time consuming but that way I can try to avoid green/magenta faces since I cannot trust my eyes. Yep, and even colour-blind me can see the improvement when I tested GX80, G7, LX100 and E-M5II against my son's face and colour charts. All cameras were colour balanced with the expo-disk and used the same lens (except for the LX100 which is fixed). The LX100 still has some weird lips/skin colours going on.

the good thing about having video as a "(financially) second" occupation is that you don't have to work on "crappy" videos. You get to choose more according to your likings It is a kind of freedom very valuable to me, even if you get less available time than the other videomakers

Definitely a camcorder guy now that I've discovered all the efficiencies vs DSLR. The GH4 and 5 do look really nice though, and if I'm just doing beauty shots, then 96/180fps does become very tempting! It hurts to say, but I don't need 10-bit or 4K for what I typically do. Both the FS5 and C100MkII have 12+ stops DR before using external recorders, which is definitely less than the 13.5 I get currently, but I need to record 11GB/min to get that benefit. If these smaller cameras can do it with the baked-in codec, then I can manage without the high data.

Beatles, move over...

I got the A6500 mainly for stills, but I've been using it a lot more for video actually. I'll give you a breakdown: 1. The 4K image is outstanding. Better than my FS5. Special sauce here. 2. Color isn't an issue. White balance, grade well and the results are fantastic. This includes Slog2 - worth it for the lovely highlight rolloff. (Try Omeneo Primers as a base). 3. IBIS is great with a native lens. Good with adapted lenses, although I find that it's much better to use Sony lenses as adapted ones make it very front heavy. 4. Autofocus is very useful on a gimbal! (Get the Zhiyun Crane - amazing gimbal). 5. When handheld, don't whip the camera around too much, be smooth and steady - rolling shutter is poor. 6. The camera is best operated bare bones due to the small size. Buy a bigger camera otherwise. 7. The camera has not overheated, but has one up with a warning twice. 8. Use the normal Sony batteries, about 4-5. Get a dual charger. Buy a USB power bank for backup. 9. The screen does dim when recording 4K. Use zebras and histogram to judge Exposure. 10. It's really fun to use. As a video making tool, the A6500 is a very capable camera. The image quality can be outstanding. The GH5 might be a better fit - although I'm keeping the A6500 because I have an FS5. The workflow is easier. We'll see how the GH5 pans out over the next few months.

@Dipak I think you still do not understand what the EOSHD Pro Color is about - it is getting good color out of the camera by using the powerful tools in the camera. Period. Thus, there is no need for a Lut - the alterations are done in camera. There is no need for any grading or conversion in post unless you want to achieve some kind of "look". Is this clear? No lut supplied or needed. EOSHD Pro Color at night: No lut, no adjustments in post.

Wanted to showcase my latest album with a song fitting the 80s and what better way than a slot car racing track. Doesn't get any more 80s than that. Looked up a guy with a Scalextric slot card track and brought over my A6000,the kit-lens, the 50mm 1.8m two cheap LED lights and some blue gels and got to work. Lit everything so it would look like moonshine on a clear night and just got the angles. Edited in PP and stabilized. Some grading needed but no noise reduction used. Everything is handheld including the POV, although that took some DIY to get right.

If you want to improve your shooting you certainly has to use lights, so use the extra money to get some lights like jonpais recommended you. Regarding the camera, for what you are doing, both G85 and A6500 looks ok for your needs, if you are shooting in very hot environments and you need a very reliable camera probably G85 could be the best option, if not, then A6500 should be your first, but the lights is the most important, shooting in a room without lights is an invitation to bad footage….

when i first saw the trailer for la la land i could tell within seconds that it was shot on film, but who else can tell, other filmmakers? certainly not the kids that watch this lana video on their iphones – i have to think any grainy look just reads as 'retro' to them as much as i could criticize this video as looking a bit phony, on the positive side i think that the borderline 8mm extreme graininess is necessary to read as graininess on the itty bitty screen of that very same iphone *I* waited to get home to watch this video on my tv to comment ?

ive come to terms with the fact that i really just like fast, lightweight primes. if im gonna carry around anything else id personally love a zoom lens with a constant aperture of at least 2.8 or wider with IS... thats what itll take for me to buy another "heavy" lens lol. i mean, my 7d with the 17-55 2.8 on it was heavy enough so that it wasnt fun to take places, and in hindsight i wish id used it more... but i love a wide constant aperture... as wide as possible ? so im p much looking for the ff version of the 17-55 i guess

I have a full time job myself and make videos too. Don't worry, it is not impossible. You just have to be very organised and reserve moments for video. I reserve usually Saturday and two evenings on the week. Having another "occupation" forces you to be very efficient in the video work you're doing (and you are assured of having a paycheck). I'am not saying it is a great situation, but just wanted to encourage you and let you know that it is possible to mix jobs. (Plus you never know, they might need some video in you full-time job. Never say no to opportunities )

Never used it personally but I hear good things. For 5Dmkiii shooting I have always gone for the 24-105/4 and 35/2 combo. A stabilized zoom with more reach and a small prime with IS for sdof and really low light. A good team imo.

@funkyou86 You don't have to compare the GH5 or other Lumix devices with a 15K camera to talk about color science. You only have to compare the Pannys (NOT camcorder or pro devices) simply with am Nikon D750, which is cheaper than a GH5. No chance for the Panny to reach the pleasant Nikon colors OOC (with correction / grading in post, of course). And don't say, it's in the eyes of beholder...I made some A/B tests with real people (not with woolly-minded gear heads living in a parallel universe) and a vast majority prefer the Nikon color rendition (OOC) over the Panny one. ;-) In my eyes Pana still got better in the last two years in handling color science OOC. Just take a look at some pieces of face studies of @jonpais with his GX85...When comparing it with OOC Pana footage from two years ago, you will realise a substancial difference...

They refrained from adding light spill, dust, and frame errors though which is nice. Nails the vintage colour look.

Yeah I was just curuious about the laungage thing. Lately I mostly advice to get the one that looks coolest. All modern cameras are more than good enough for a beginner. But what I always tell them is, "For the love of god buy it used".

A6500 screen turns off when recording and using monitor. You can still use on camera monitor to touch focus, except you won't see what you are touching... Also overheats. I used it for first time on a gig a few days ago. I got the temperature warning but luckily I was almost done for the day. I'm not sure if you can get 4K output with overlays. But if you output clean 4k you can focus pretty well depending on the monitor. I have an older CT760HO or something, it takes a 4K signal and is quite sharp. Waiting for Sony to make a "real" version of this camera instead of these beta test versions. Can't be beat for sharpness and noise but you pay the price with all the other short comings.

Hi everybody, all of you happy owners of the amazing bolex 16/32/1.5, for personal experience if you ever need your bolex to be service contact Bernie, he is the best!!, honest and with great knowledge, you can contact him at http://www.super16inc.com/ , I am not affiliated or work for/with him. Bernie serviced a couple of my Bolex in the past and did a wonderful job, just sharing my experience to someone looking for help

Wat!!!

YES! It works with my 17 f4 L TS-E. I wont post any of the rubbish samples I just took but this is going to be a lot cheaper using a 43mm piece of filter glass instead of buying a 150mm IR filter to fit in my X-Pro filter holder. Now I really have to see if anyone makes a 43mm circular apodization filter that works like an STF lens that I can use with my 100 f2. There is a company that makes them I think but I am shuddering about the price.

Well I'll be! I destroyed the filter. The edge was soft aluminium so was simple enough to file the edge off and have the glass just fine. This is going to be fun. The filter fits right in. It might be a little loose but once you put a lens on it seems ok. An EF-S lens doesn't seem to fit (probably for the same reason Canon FF cameras can not mount them). That means my 18-55 APSC kit lens is out but my EF 100 f2 is ok (for fit at least). Sticky tape would work well to hold the filter in too I think. Amazing. With my A7s and Fotga adapter I am getting auto focus indoors with a 750nm IR filter and can see easily in the EVF! OP, This will easily take two filters (one inside, one on the lens front though if it is any good or not is another story. Two snaps. The filter glass sitting loose in the adapter and one taken with the lens and filter in place auto focused. This calls for more 43mm filters for me! Thanks for the thread, this will be fun (though add to more cost I can not afford). As for the IR image, remember it is just a first snap in the excitement and is with AF at ISO 51200 and 1/15 with a 100mm lens at f2. Have to check it with my 17 TS-E too!

Damn Damn Damn! My smallest filters are 43mm (for the filter drawer of my Tamron 300 2.8.) I have the original clear glass the lens came with and also a IR filter I got to experiment with. I had to file the IR filter edges down to get it to fit. IF I took the glass out of the IR filter, I think it would fit nicely in the Fotga circle. Decisions decisions, do I destroy the filter to try this or do I keep it for mucking around with IR and 300 2.8! Let me think about it.

In theory you could stack a Large Format - Medium Format - Fullframe. Or Large Format - Fullframe - BMPCC. And probably some other combinations. The problem I guess is knowing how and having the time EDIT: There is the Medium Format to Leica-M speedbooster. And if Im not mistaken a Leica M - Fuji X coming....

The 8mm preset on FilmConvert is o ly soft because it turns the softness setting up. You can decrease it

No I don't know how to grade, yes I am colourblind, but wow even I could see that the colours of skin and lips on my LX100 were wrong and it had crazy greens. I always found my olympus cameras to be more natural (although slightly "cool") straight out of camera, but I can also see that my GX80 is much more realistic than my GX7 or LX100. My old G7 was quite good too. I'm not sure how much of it is improvement in Panasonic white balance or what, but I definitely like what I see now. I generally use "natural" when shooting people and I've recently been trying "standard" otherwise for a bit more punch. But as I say, I don't know much about colour, and I am quite frightened of getting it wrong (you should see how I match clothes). Especially for skin tones which even I can tell when they look "off".

The a6500 smokes them both for autofocus, with the Olly performing terribly at times. Just a shame that the Sony makes Max's brother look like the Hulk.

Wonderful piece of anamorphic lens!

I would call the Kai video a joke....someone bored with what they're doing...the title says a Gh5 review...could not be more off than it is!...

Here's a low budget music video I made with the GX85 and a cheap toy 25mm 1.7 cctv lens. The look is meant to be dirty but what was great was that the GX85, with it's great IBIS, enabled me to get the movement I was wanting. We tried with a Canon C100 and it just wasn't the same. It's an incredibly versatile little camera.

SLR Magic rangefinder lived on my camera for couple days, and went back home:) it softens picture, not a lot, but still, and it makes setup bulky, for the same reason i am not after Core DNA, not giving up my small form factor for anything, well relatively small, so most likely Isco 36 or 42, but i still can't decide between single focus and 2x squeeze, 2x is so freakin good, i just love it!

Basically, no single focus lens less than $2k nowadays.

First time I am doing a project in 4k: This cam continues to amaze me.