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I imagine alot of RED's budget pre-orders are being cancelled today.

Not sure what you consider cheap, but the Ursa Mini 4.6k checks all of those boxes and more. No need for extra accessories other than batteries. The 5" screen is amazing so no need for an ext monitor if you're shooting by yourself.

@Kisaha Yep. That's the most important for a pro: making a living out of it. As long as ANY camera - even 10 years old - satisfies you and your clients and makes money for you, why sell it and buy a new one? Buying every year a new camera is for a vast majority of people no necessity, it's simply an expensive obsession driven by bored YT fanboyism and manufacturer speach. There are some people on internet, maundering about the "upcoming 8K" as the absolute new standard beeing the only "future proof" fornat...If you are done with the NX1, use it ill it breaks. The value of this camera for you as pro is NOT it's resale value. It's the money (and personal satisfaction) you can make with it, while other lunatics spend every cent in the pocket for new gear. At the end of the day, it's you wanting to make a living out of it and not manufacturers and resellers...

White papers are written by the people who designed the curve. They understand the best exposure methods to use so skin tones hit at the right place on the curve, so your highlights don't clip, etc... One of the reasons there was so much orange skin with the CineLikeD Profile, back in GH4/G7 days, was because everybody was exposing it to the left... of course they were also dropping contrast too. With most Log and Flat profiles you need to know where middle gray hits on the curve. Just exposing to the right doesn't give you that. Now if you're using Leeming LUT and his settings, you are probably good because Paul has done extensive research, but if you're not, it's best to nail your exposure in camera, or go slightly under and pull up. I don't have a Panny camera at the moment but I remember when I would ETTR, the footage was clipped on the RGB parade. Pulling it back didn't bring back that highlight information. But underexposing a 1/3 of a stop or hitting dead center and you could pull up the highs and still get some nice rolloff.

Yep, this camera is a production workhorse... it's not designed for mirrorless camera street shooters, Vloggers, shoestring budget filmmaking.... As an FS5 owner with all the bells and whistles - I have 4k 100fps and 2k 200fps in ProRes or CDNG. Spoilt really. This C200 does peak my interest though. In my limited time with the rather boring C300 - it was an absolute pleasure to use that camera. The C300 II seems like a big misfire as seems like it needs to be heavily discounted. The C200 has some great features the FS5 doesn't: Dual Pixel AF. Superior Colour. Internal RAW. 4k 50/60p internal. Easier to grade Log. No need for bulky external recorder. Better focusing / peaking (going off previous C-series cameras). Those features are very, very worthy and actually very surprising. A big deal. However, there are a few reasons why I'd currently be in no rush to replace my FS5 with this: Critical reasons No broadcast "middle" codec until early 2018. B camera for gimbals, 2nd camera etc for smooth matching. The 5D mk IV isn't exactly worthwhile whereas Sony has a gazillion options with tons of features. 100/120fps mode uncertain. Moderate reasons Would lose 4k 100fps and 200/240fps modes. Regular ND instead of electronic ND. No Speedbooster. Less lens adaptability. Good stuff at last by Canon though!

Wow a lot of hype in this thread. I am surprised at the specs (for Canon) as well, especially internal raw, but let's throw some cautions out there before somebody drops £7700 in a fit of excitement. Main codec at 8bit 4:2:0 150Mbit for 4K is worse than the current £1500 mirrorless cameras. Canon had no choice but to compete with the FS5 (which beats this on price) - but protecting C300 II came at a cost. The 1080p codec is even worse at 35Mbit, that doesn't compare favourably to the GH5 at all. Unlike the FS5 you are stuck with the APS-C / Super 35 look. No Speed Booster. Dual Pixel AF is a good selling point though. Of course you have internal ND filters (mechanical, not electronic like on the Sony rival) but no 5 axis in-body stabilisation... which is more important for production values, IMO. It remains to be seen how good the 1080/120fps is... if it is moire hell and soft then the FS5 is going to win in a key area. 15 minutes of raw at 128GB is a problem. That will not move RED users over to Canon. No way. And you can only currently edit it in one NLE. Does it only record 4K RAW or can you drop to 2K? RED raw compression is still streets ahead of everything else. Same sensor as C100 II / C300 II, which is to be expected. But you'd think for 2017 they could have done an update. Form factor is that of a work camera, I wouldn't get a kick of enjoyment from taking such a clunky camera out on the streets or on a shooting trip. The C200 is only 12bit in RAW. The normal codec is 8bit. Unless you are happy shooting 15 minutes at 128GB and archiving a whole week's shoot at that kind of data rate, you will not be using the 12bit RAW. RAW should be at least 14bit. At 12bit it starts to degrade. We know this from Magic Lantern's work. It drops even more dynamic range at 10bit in 60fps raw mode... in that mode the file sizes will be borderline unworkable and the shadows will be scratchy as hell.

C200 only record 4:2:0 8bit in mp4 format which is a bummer, no flexible 4:2:2 10bit in reasonable space. 4K raw only can shot 15 minute with 128GB card

Worked for a german short film one day, directed by the then-unexperienced daughter of a famous TV producer. A friend of mine was the production designer/set dresser/prop maker (the first being her profession), and I helped her. Everbody got paid after profits, which means nobody. Regular medium sized crew, credits ran long, including a long list of sponsors (???). The regular TV cameraman had a RED, he also worked three 12-14 hour days without payment. Well-known TV and stage actors (in part "borrowed" from the father's TV shows). Everything looked promising, but at the premiere (free buffet with champagne for the crew) I found the result rather mediocre. Couldn't tell a moral from this. My friend also worked for Cronenbergs A Dangerous Method, and out of curiosity I volunteered to help demount the studio sets. I liked this film very much, but the actual sets were really amazing, I expected the visuals to turn out much more spectacular than they eventually were. To be more precise, I expected a much higher production value. Again, I don't know what to think of that. Both experiences were inspiring.

I think anyone who buys this camera definitely won't be disappointed. I say this as a former C100 MII owner. Just be aware of the size and weight. If you are doing casual weekend travel projects you should stick with the DSLR form factor.

Selling my ML 5D3, C100 DPAF & A7S for a C200B + LCD (keeping my XT2)

You won't believe this, but my horoscope for today said exactly the same thing!

Idk, Panny. I like your style but not the argument. With the C200 you are basically getting 3 tiers of camera in one. It's an all arounder. Say you're shooting a low budget wedding or small event... shoot MP4. Say you're shooting some corporate work... shoot xavcs. Say you're shooting a doc, music video, short film, feature film... shoot in Raw. This is a very versatile camera and the specs seemed to be very well though out. Holy shit, that's an awesome way to save some dough. I still, probably, won't be buying one, but I would only really need the monitor, so if that could save me a grand... or whatever... then that's cool.

Exactly, the value is so little, that it is not worth to buy anything else right now, while I have a 3 camera setup able to video most things, and take pictures of most things. The C200 is on my radar for sure, but until I have a similar setup in Canon M (a professional M camera, and a smaller 4K everyday camera at least), then I am keeping NX. The cameras are making their money, and then some, so no reason to rush and get something inferior that I will change next year. There is no way 3 cameras and 8 lenses loosing 80% of their value in one year. I am looking forward to move everything Canon, until then NX check most of my boxes while others do not.

Original cLog was designed for 8bit color, so it's all good. Honestly I wouldn't even bother with the X-AVCS 4K anyway. You still need the cFast cards, so you may as well shoot Raw. If you need economy shoot MP4 for smaller projects and Raw for serious projects.

Give me the chance, I could. Damn at $9000 this was a great camera, at $7500... shit. Maybe Canon can no longer fit any more of their heads up their asses. It almost seems to good to be true.

I would go with the 4.6K, best option to have the PL mount. You could also go the FS5/FS7 rout and get a PL adapter, but for filming with professional glass and an easy to edit codec, the Ursa really is your best bet.

The phrase "whatever works for you", especially in the repeated usage, really comes across as condescending towards the mod. With it removed your post is much more readable! I do appreciate that you've added a video in support of your workflow. I suggest your discussion of ire clipping levels move to another thread, new if you like, as this is distracting from the good work of BTM_Pix.

When the C100 was introduced some 4 years ago it was 52 000 swedish to buy the body only. Today I see them go for as low as 12 000 on the used market. So.. in 2021 a C200 for roughly $2-2500... or maybe even lower with the way the market is going and how saturated it gets. Another effect might be a massive drop in the used prices of rivals like the Ursa, FS5, FS7, LS300, etc.

The Huge URSA v1's with PL mount have tanked in value... Ive seen one as low as $1300 in local LA craigslist. Got a few offers for them in trade for my NX-1 Gear. Too big for me and I would want the ef mount at least.... Huge but cheap... with 4k Raw and 3 screens one the size of an ipad! I believe the BIG one has global shutter and you'll never have to worry about not looking "PRO" walking around with it! This guy does a pretty in depth review... its the newest I could find from December 2016

Shocker, I know. I just find there to be some tacit misogyny here and disrespect to actors, too. About ten years ago, I had a long talk with one of the directors of Mad Men. Back when he was working as a DP on the Sopranos and I think directing some episodes, too, I'm not sure. One of the lead actors on the show directed an episode and it was the first thing directed. And this guy was DPing it and was pretty frustrated at first that the actor/director didn't know much about blocking or lens choice and left a lot of those choices up to the DP. But later, he realized that the actor was getting incredible performances out of everyone, and ended up contributing a lot to the episode, just in a different way from someone with another background. I don't know if Robin Wright knows her stuff technically, but I won't assume she doesn't. And if she doesn't, I wouldn't assume she's a bad director for that reason alone. Being on set is the best form of film school. There are plenty of great actors turned directors. Anyhow that's just my opinion.

??perhaps my favorite quote of the day!

Ah my Manchester. Piccadilly Gardens. YOU SURVIVED! I'm surprised you didn't get robbed of both cameras The 16-50mm F2-2.8 is indeed a superb lens, nothing has bettered it on APS-C since. Good job the crop cameras have Speed Booster, that's all I can say. AF is great on the NX1, best you can get without going all out Canon Dual Pixel AF and downgrading your image I also prefer ergonomics of NX1 to the X-T2, less fiddly. The low light and dynamic range of the NX1 depends on a few settings. Several things help - First set to RGB range to 16-235, otherwise you lose 2 stops dynamic range with horrible crushed blacks and clipping. Try master pedestal at +15 at ISO 3200 to reveal lots of nice shadow detail, so you can consider dropping to ISO 1600 if you have a bright enough exposure (fast lens of course helps) ISO 800 is incredibly clean, virtually same as ISO 200... Use it whenever possible. ISO 1600 and 3200 are acceptable under right circumstances. The high bitrate hack (160MBit H.265 = 320Mbit H.264, woooo!) also improves the image further. And no sensor crop, no short record length limit like X-T2. Of course dial down sharpness to -10 on the NX1. You should almost never see moire in 4K but I do accept it can happen with certain things (if your lens is sharp enough!) NOOOO you sent it back? They will be hard to find in future. I have used a lot of higher end stuff... 1D C, 1D X II, GH5, A7S II and I honestly think the NX1 is more FUN to shoot with than any of them. It may not have 5 axis IBIS, LOG, 10bit, full frame sensor, and granted those are all lovely, but they are luxuries and not having the video optimised ergonomics on the Canons, and having a slower, less responsive, weirder time operating the A7S II and GH5 is NOT as much fan as the swift little bird NX1. Good choice with the RX1R II, but consider the RX100 IV to accompany it - the slow-mo / video modes are superb. Actually the NX1 with latest firmware and hack shoots pretty good 1080/120fps which only the Leica SL betters. For the price that is very nice and way better than 60p for slow-mo. Unless you intend to shoot 60p for 60p and not for slow-mo... but then that isn't a very cinematic choice A lot of cameras do acceptable 1080/60p quality... check out the D750 and A7S (original version in S35 mode) for instance. Did you try D.I.S. mode? The NX1 surprises when it is enabled on the 16-50 F2... Again a firmware Easter egg I usually find poor stability ruins a shot before rolling shutter does. When shooting from a tripod it's good to do slow pans and locked down shots, very cinematic. NX1 isn't the worse for rolling shutter, it's merely average and I'd put the Sony A6300 and A6500 as the king of skew. In 1080p the NX1 has an astonishing 2ms rolling shutter like an Alexa. The colours in this video will never fail to amaze me... Really shows the analogue strengths of a CCD sensor for colour and a RAW codec. But I really do think the NX1 gets you close and with way more fun and far less hassle.

So here's an odd one. It's a full feature film I directed, produced and shot back in 2012, shot completely on the trusty old Canon 550D. I released it recently online. The movie is a moody post-apocalypse tale about a man looking to redeem his past mistakes in a ruined world. It was heavily influenced by James Dickey's novel "To the white sea", in that both portray an existential struggle of a man who's teetering on the edge of humanity, trying to survive in a hostile environment. Visually I wanted the film to be reminiscent of Nicholas Winding Refn films, especially Valhalla Rising, and Tarkovsky's Stalker, especially when it came to tracking shots etc. We shot the movie in about one month in the summer of 2012. The crew was mostly myself alone with the actors, and the gear consisted of a 550D, a few lenses (EF50 1.8, Samyang 85 1.4 and a Vivitar 28 2.8), Manfrotto tripod and a Glidetrack slider. I quickly learned to use the sparse equipment inventively, and even turned the Glidetrack into an improvised jib. I shot most of the movie in natural light - only the opening scene and a few flashback scenes have actual lighting. The film is very rough by modern standards, but I think a lot of the camerawork still holds up. The movie played at some domestic and foreign festivals back in 2013 and had a run at a local movie theatre, but after that I buried it because I wasn't happy with it. Recently I did some re-edits to tighten up the pace and now released the new version online. It's still not an easy movie to stomach, it's very slow and ponderous, but I think at the very least it serves as a reminder of what can be achieved with very little gear or resources.

Some House of Cards crew, and star Robin Wright, made a six minute short film, set in one location, shot in two days. I guess the crew volunteered their time and resources. And they still ended up crowdfunding $50,000 to make it happen. So just a bunch of millionaires not willing to put a cent of their own into a film they call a "passion project". From the stills I've seen, I have no idea where $50,000 would have gone. And it sounded like they got accepted to CANNES before they were even finished. For Wright's directorial debut. Just because it looked pretty and had a big name. (My source was an interview on Colbert, if you want to look it up, sorry for not posting it here) How is that okay? And how far back in time to you have to go to see Sundance and Cannes as the home of brilliant films that don't fit Hollywood's bill? (Sundance appeared to be a mess this year too. Apparently Nick Offerman and Kristen Stewart are the great talents of our generation) Let me know if I'm just being a dick, but wow

Man, the C200 looks to be the perfect camera for my needs. Raw to CFast for shooting indie narrative films with short takes that require heavy grading. MP4 for clients that need fast turnaround, long takes with small file sizes and no grading. And the touchscreen Dual Pixel AF is amazing. No need for external recorders or big V-lock batteries. All that for just $7500. This is exactly what I wanted as an upgrade from my C100. I'm saving up for one starting today.

If they don't use any of the ugly processing (sharpening, nr, ghosting) from the GH5, I'm all in. Obviously Canon RAW won't have any of these flaws.

On S35 28mm is a beautiful focal length in my opinion! Since owning a GX85 I discovered that even more, because careful framing with it is a joy due to its ibis. So are talking about 35mm length on 36x24 sensor like the A7S you used to shoot some of the best A7S colors with? That would be like a 20mm on S35- beautiful as well! That modern Zeiss 28mm ZE is supposed to be a heck of a lens, for around 1000 USD though! The Sony with fly by wire focussing is supposed to be about equally as good when it comes to optical quality. Sounds great. I think I will do that. Heard good things about the Minolta too. Not sure if the Vivitar, Komine, Kiron and so versions are that different from eachother or if it´s just lens folklore and part of lensporn. By the way, different sort of bargain: www.ebay.com/itm/ZEISS-Zeiss-Distagon-T-28mm-f-2-ZE-Lens-Canon-Fit-MINT-Condition-/263007244223?hash=item3d3c740fbf:g:PmAAAOSwH09ZKiBI Shoot, out of likes! Lol Time big time!

I own the Canon 28mm f/2 FD. If you like the 28mm f/2.8 Canon, go for the f/2. I think I snagged mine for ~$150 and it's worth every penny. The Nikon 28/2 is awesome too, but if you like the FD coating already, go for that.

What's this C200B? Interesting. It's listed at $5,9999 The Canon EOS C200B Digital Cinema Camera offers cinematographers the same camera without these accessories and the EVF to optimize shooting using a gimbal, drone or a variety of other configurations. The Canon EOS C200 and Canon EOS C200B Digital Cinema Cameras sport the same 8.85MP CMOS sensor, that combines with a newly developed dual DIGIC DV6 image processing system to help process high-resolution image data and record video from Full HD (1920×1080) and 2K (2048×1080) to 4K UHD (3840×2160) and 4K DCI (4096×2160). A core staple of the third generation Cinema EOS System, this new processing platform offers wide-ranging expressive capabilities and improved operation when capturing high-quality HDR video. The Canon EOS C200 and EOS C200B Digital Cinema Cameras are scheduled to be available in August 2017 for estimated retail prices of $7,499** and $5,999** respectively. The EOS C200 comes equipped with additional accessories including the LM-V1 LCD Monitor, LA-V1 LCD Attachment, GR-V1 Camera Grip and HDU-2 Handle Unit. These accessories will also be sold separately and available in September 2017. http://www.canonrumors.com/canon-u-s-a-announces-new-canon-eos-c200-and-eos-c200b-digital-cinema-cameras-in-continued-expansion-of-cinema-eos-system/

Cannot argue that:) But maybe I can. 4k Raw is too much data, old c100 codec with 420 8bit is just C100 territory. So best to buy a C100 II and a 5DIII

And you're using Leeming LUT and his settings... right? But how else would you lower Gamma in camera without lowering exposure? It either has to be lowered with a lighting setup designed so the midtones hit a specific spot on the curve, or through your in camera exposure. Now unless you have an extensive lighting kit, you have to do that in camera. I guess you can argue that you may be losing some highlight information in that circumstance.

Sorry I was writing a big reply when you posted that so completely missed it Nice one That's a TZ100 in the UK isn't it?

There are tonnes of little details that the C300 mk2 has which always will make it more worthwhile than the C200 for some small subsection of shooters, Features such as Time Code for instance.

I mentioned earlier in the thread that I was able to apply Cinelike D to my zs100 and it appears to be working, it's very close to my GX85 although not 100%, maybe due to the smaller sensor.

Just been asked to leave John Lewis midway through hacking their LX15. Was able to handshake it and fake the connection but they pounced as I was about to hit Deploy! I'd already set the alarm off doing their GX800. Status on that was that it took the Deploy command without error but called up the Standard profile.However, the lighting in their was so poor and I had to be so quick that I wasn't able to do full compares to the real Standard profile to see if it was actually Cinelike D. So file that one under potentially possibly maybe until I have another opportunity. I'm intrigued by getting it on to their small cameras, particularly the travel zoom ones.

Is your BMCC a MFT mount or EF mount? As if MFT you can add a focal reducer, if it is EF then you are out of luck! I'd suggest you look closely at: The new Panasonic Varicam when it gets announced in a few days time. Canon C200 BMD URSA Mini 4.6K Pro Secondhand FS700 + Atomos Recorder of Convergent Design Sony PMW-F3 (very nice, dirt cheap, but not 4K) RED ONE JVC LS300

Canon cinema cameras raw is logarithmic like ARRIRAW and REDRAW (which are both 12-bit). 12-bit is plenty for log raw. 10 bits is still pretty good with a log curve.

Actually having used both side by side, I'd go out and say UM4,6K has the edge on the BMCC when it comes to dynamic range. You might have to shoot RAW and denoise the lowest few stops to get the most of it though. I feel UM4,6K has even more of the milky, high DR alexa look than the BMCC - not to mention the obvious things like resolution, frame size and frame rate it has going for it. Also the tonality and color separation are leaps and bounds better than the BMCC, not to mention something like the Sony cameras which tonally can't hold their own even against the older Blackmagics. Here are some of the stress tests I shot with the UM while urbexing with it. No controlled light, just direct sunlight and deep shadows. I'd say any of those would have issues on the BMCC with either the highlights or would exhibit heavy shadow grain. These were on Prores HQ so theoretically there might have been even more headroom if I had shot RAW.

That's how it works. Who you know... The creative world is not meritocracy. And Cannes plays the celebrity game probably better than all other film fests I can think of. BTW, Angelina Jolie is a director too.

@Alt Shoo...I looked at the very first clip they released...which I liked...and then started hearing rumors of a different sensor used after the clip was shot...at that time the camera was around 10k...and then the complaints about very low DR started coming in....I liked the form factor purely from a Cine style camera though...I like what Panasonic does with their cameras though...the KineMax was really the only other camera I considered...but you could get a Cion for next to nothing now...and as with all cameras, the negatives are always never ending...I would advise if you were considering it, to find one to rent...maybe it's a sleeper....we tend to blame cameras far too much these days...there's a great Cooke Masterclass series where Ridley Scott's DP, Mathieson talks about how he shoots battle scenes and the Fstops that are practical and how they solve various problems...the word camera never comes up in the discussion lol...the Cion may well be a camera you'd love...B&H lists the camera for $5000 and specs it out at 12stops....go figure??....link below...the camera I really want is the Varicam LT ?? been lusting after it for over a year, but it would have to be bought for a big project that would pay for it in lieu of renting! https://www.bhphotovideo.com/c/product/1044863-REG/aja_cion_4k_uhd_and_2k_hd.html/?c3api=2572%2C113041916107&gclid=CMXhusbpmNQCFRBahgodKaUBCw

Glad you mentioned the RX1R II still being relevant. I literally just received one today. It's a beaut.

There's capital and then there's cultural capital. People will leverage their names to get cheap labor. It might not be right, but it's their right to do so. I also strongly doubt everyone worked free. No one is being forced to donate or forced to work. It's all voluntary, even if it's frustrating. I hear you, though. I have worked on high profile festival projects for cheap mostly because I wanted the credit, thinking I could exchange cultural capital for actual money down the line. We'll see how it works out. It definitely really sucks but I only have myself to blame if it doesn't. If anything, it should inspire you. If you can get better results for free than the House of Cards crew can get with $50k and tons of favors, you'll be doing so well soon enough that you needn't be jealous of them. Let it inspire you! Whenever you see something made by high end pros and think "I can do better," the only injustice is that you're not giving yourself the chance to prove you can. It's not like anyone involved in this had upsetting you in mind, they don't know who any of us are and don't care. So maybe it's not that their work is sub-par for the money, maybe it's that your work is better than you realize and you already have the skill to be in that upper echelon. If you do, then you owe it to yourself to prove it. Or admit to yourself it's not your priority. If you have the talent and want to do something with it but don't, that's the only injustice, you being unfair to you. (The Cannes shorts program isn't very competitive, either, but yes, nepotism plays a major major factor in the festival scene. Think of it like a social club trying to maintain an image and a guest list, with the films as the entertainment for the club. The social and branding components are more important than the quality of the content. But it makes sense, each festival represents a brand, and a brand is cultural capital.)

Yeah that is really lame. But that's how rich people stay rich... they use other people's money. If you want to feel better, go over to the shooting section to see a feature film shot on a t2i.

Sony always seems to elicit the "great IQ, hate the shooting experience" posts, and I'm no different. But after tinkering with an A9, Sony finally got it right IMO - the stuff that needs dials is there, the record button is fixed, body egos are better, AF is next level amazing, IBIS is much improved over the A7mk2's and so on. When it trickles down to the A7s3/A7r3/A73, it will be very tough to choose m43 or Fuji over Sony. If the A9 were priced at the A7rII intro price of about $3200, I would have two right now and be back in the Sony camp.

First weekend out with my GH5 a month ago, I meant to test most of the features while shooting some Parkour / Freerunning. First feature I tried was 180fps slowmo and I got totally obsessed. Amazing feature. Loved the footage so much I put together a proper video - talking intro. slow mo edit and then some discussion of my experiences with it after. First real video I've produced on the GH5 and am loving every second of it! Every time I film something it inspires me to produce more. YouTube 1080 compression is awful as usual but hopefully shows the feature well enough.

I just tried this on my zs100 and it appears to work as well. I can't confirm 100% but the profile appears more flat than the flat settings I was using. I can also confirm that the latest GX85 firmware update works fine with this. One thing to mention, if you have your camera in C1, C2, C3 setting when you apply this, it will only apply the profile to that C setting and leave all other settings as is.

If you're after vintage, cheap, big constant aperture zoom range and parfocal then have a look at some B4 stuff. I got this Angenieux for the LS300 as I needed it for the press conference stuff I do but obviously with it now being MFT mount I put it on the GX80 for a laugh! Its 8.7mm f1.7 with a 15x zoom. With the GX80 you have to deploy the internal doubler on the lens to get the image to fill the frame so its then 18mm-ish and f2.8 but the LS300 just laughs at that kind of behaviour and uses its VSM to scale it so you don't need the doubler. And it then makes it a 30x zoom by using its Prime Zoom function as well ! £200 for the lens, £70 for the adapter and about £50 for the battery plate, cable and Sony NP battery to power the servo zoom. It is ever so slightly unbalanced on the GX80 obviously ! I'll put a bit of footage up of it when I get a chance if anyone is interested.

Posting a movie showing a comparison between EOSHD C-log created by Andrew Reid and original Canon C-log. Reid's C-log can be loaded into any Canon DSLR. In shooting I used the C-log in the XC-15 and EOSHD C-log shot with the 80D. Both clips are hand graded, and they are graded with a LUT (C-log to Rec 709). How similar do you think the results are? https://vimeo.com/218753403

I have. It's ok, quite fast, small and cheap. I don't like how the manual focus works. If you are on a budget it is a good fastish* native prime to get started with if you are moving on from the native zooms. I consider 0.95 to 1.4 to be fast on the m4/3