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Dear folks, I have been stealthily snooping around and making grateful use of your experiments and knowledge exchange. Thought I'd pay it back with a little test: Cinelike D. Settings: 0, -5, -5, -3. GX80 had a Olympus 12mm, and the G80 a 17mm, for the rest settings are all the same. Hope it's worth your while. Jpg 1 is G80, 2 is GX80.

(IMO) I cant believe we are still having this discussion. Canon is the number one best selling camera company. They haven't forgotten to put in 4K. Nor made a non thinking decision. Or because of conservatism. Or any of the other hundreds of reasons we will see on forums across the world. They have made the decision based on MONEY! They have spent lots of time, research, endless meetings, focus groups, analyzed data, you know... all that stuff that people in forums have absolutely not done. And based on their findings they have made a decision. So far they have been right every single time. No matter what Panasony puts in their cameras Canon is still outselling them. And if that wasn't enough. This is the 6D... its always been their sub 5D model... And its an awesome stills camera. Aimed at the people out there who actually buys cameras.. stills shooters. Now if they would have put 4K video and IBIS in their 6D. Driven the cost to the same level or at least to close to the 5D. And scared of the biggest bulk of the camera buying target group, who actually quite often gets mad about having to pay for video features... Well that would have been truly stupid. But whats most supricing of all. This happens every single time. They are not now nor ever going to release a stills camera that will wow the video crowd. So just let it go. Its the same thing when all the whining about Blackmagic delays are rolling the interent. Even though its how they do it every single time.

Sounds like you are describing 'Gate Weave'. That is when a film frame passes through a projector, sprockets outside the image area control the vertical motion of the frames through the projector. Over time, a film can become warped or the sprockets can wear, causing the frame to appear to move side to side. It can also be caused by a worn mechanical movement in the camera not keeping perfect registration with the sprockets on the negative or by the film itself being warped by heat. A good plugin for exactly this (and other old film effects) for Premiere/AE is Red Giant's Misfire: http://www.redgiant.com/user-guide/universe/misfire/ or you could try and see if you can customise the parameters in this free camera shake plugin: http://premierepro.net/editing/deadpool-handheld-camera-presets/ Gate Weave is primarily a horizontal motion (like a soft sway left and right) that can have different speeds. You could possibly keyframe your clips to have this motion with a Bézier curve to mimic the effect with the inbuilt motion control tab within Premiere. The most 'scientifically accurate' way to achieve the effect would be to shoot on film with a worn movement in a camera that does not have double-claw pull down...or you could purposely introduce movement during the telecine scan.

- How do you speak free on camera? Do you memorize a script or is it completely free? Script is the way to go unless you feel very relaxed. Use cue cards and don't worry to much about jump cuts. There are ways to use them as an effect. Look at Ray William Johnson's old stuff or I'm sure many here can link to others that use it successfully. - How do you feel when you see you on the video? I feel terrible. Seeing one self and hearing once voice is always uncomfortable. I've worked a lot in live broadcast radio and I can speak for many when I say that the feeling never goes away (exceptions to confirm the rule of course exists). Just try to ignore it. - What is the biggest positive thing initiate by your channel? My personal channel is just a hobby and for fun, I don't even really try to make it grow. But still it tends to do so and has opened some doors for fun projects and real work. I work a lot in social media professionally and there youtube has lead to profit, market awareness, etc, etc. Its a channel and an outlet for communication with a wide reach. - Do you have some tips for me how i can start my channel? Allow yourself to fail, don't skimp on the audio, remember that content is king.

Panasonic get's praised because they offer different codecs for different shooters. Why is that so hard to understand?

@Hans Punk Literally no one else commenting has read your first reply Well, at least I care.

You've done it now mentioning the B word haven't you? I've only just finished reading that C200 thread

Shouldn't this thread really be called "the other issue with my budget"?

Work tools are boring. I've always found mirrorless cameras way more fun to actually shoot with. In his day job John Brawley has an Alexa. Why on earth would he shoot 'for fun' creatively, with an Olympus E-M1 II? But he does. There are a lot of talented DPs who shoot with DSLRs and mirrorless cameras once they down their RED and Arri cameras at the end of the day. Yet I find in the mid-range market for video pros (wedding videographers for example) there's an aspirational value attached to the higher-end pro cameras, that is stupid and pointless. Aspirations should be creative. Owning a Sony FS5 or Canon C500 doesn't make you more creative, it makes you more efficient at work by a slight bit, and you appear more professional because of the big nobs and bells & whistles. Sadly, it doesn't necessarily make for "better" work because I have yet to see a clear distinction between work shot on mirrorless cameras and on stuff like the C300. In fact often the small camera stuff looks better and more inspired. The legendary Anthony Dod Mantle is known for his rough and ready work with digital, but when he went Canon C-series on Oliver Stone's recent series of Putin interviews, the look they achieved was slap dash and lazy to my eye... Could have been so much better. He used DSLRs as well on this shoot (between 2015-2017) and those shots actually came out more interesting! Too many pro videographers seem to dream of cameras like an Alexa and RED, why shows to me how important the professional label and look is to people, but creatively, they are no better and actually worse than the small cameras. I hated shooting with my Sony FS5. A fiddly pain in the ass, for my music video work in Berlin, it needed an OIS lens and rig for handheld - limiting the choice of looks from the lens. With a GH5 you can put any lens on there and it is instantly stable for handheld work, with a tiny form factor that gets out of the way. The FS5's image was worse than an A7S II but double the price. Aside from high frame rates it didn't offer anything creatively over a DSLR or mirrorless camera and now I have 120fps full frame on two of my small cameras along with 240fps 1080p on the pocket RX100 IV - So why bother getting a more expensive camera if it doesn't power you along creatively as much as the cheaper stuff!? These pro cameras aren't cheap... Sometimes I got lucky and I bought a Canon C500 for a very good price used, but do you know how many times I have felt compelled to take it out and use it for artistic work? Zero times. Kendy Ty is another example of a pro who downs his workhorse RED and shoots with a DSLR... The camera gets out of the way to such an extent he can shoot short films in public and direct the actors at the same time as being the main cinematographer. His work sticks in the mind as some of the most creative and spontaneous I've seen and there's not a C200 in sight... zero need for one! I think pros have by-and-large completely forgotten and lost the spirit of the DSLR movement back from 2010-2012 as they sought efficiency. XLRs, built in NDs, yadda yadda. Blackmagic as well, when they ditched the small cameras and went all-out URSA on us. Canon too... Oh wait, they never got it in the first place, and they invented it! Cameras should not just be about making money. That's how an art-form gets boring. That's how it dies. They are not just about doing a job. They're about creatively enabling artists and they're about democratising the art form so that price doesn't act as a road block to new talent. Of course Canon only care about profit, they are not interested in that. The Olympus E-M1 II's stabilisation isn't seen on any of the pro cinema cameras. It's unique. It offers something creatively to the result that a bigger, more complex shooting rig simply does not. On the audio side, so important creatively, small mirrorless cameras used to have limitations and some still do - but with XLR boxes with phantom power that fit in a hot-shoe, you can't really complain. Audio is not a big limiting factor on the Panasonic GH5. I still know that pros have their professional reasons for going Cinema EOS or Sony FS or RED or even Arri... Workflows, codecs, ergonomics, power, performance, looking-the-part... I'm not denying their reasons for one second, it would be so naive to suggest they drop the workhorse cameras and use a mirrorless camera for paid work. But the creative side of the small cameras is what matters to me and I think it is being overlooked as specs in the $6000-$10,000 pro market hot up. Sure, you can shoot all day on a big battery to a small broadcast ready codec with the C200, very practical... But can you put a 1970's Super 16 lens on there? Can you increase the character of your images by a factor of 10? Does it have an anamorphic mode? Nope. If I ever buy a C200... Shoot me. It's over.

This is developed for the people who like to build a definite professional looking anamorphic lens with Rectilux HardCoreDNA or SLRMagic Rangefinder. Customized engraving service is available, so you can put focal length & T stop engraving on the lens, like real cinema anamorphic lens does. Features: Exchangeable connection to Rectilux HardCoreDNA or SLRMagic Rangefinder Rail support bracket with ¼-20 screw mounting hole to use with SmallRig Quick Release Lens Support Build-in locking mechanism to prevent focus ring of the anamorphic lens from rotating Standard 82mm thread connection to Rapido V2 clamp Customized engraving service (with additional cost) Maintain minimum distance between variable diopters and anamorphic lens Supported anamorphic lens list: Kowa 8z/16H Kowa B&H ISCO Cinemascope Ultra-Star (Red) ISCO Cinemascope Ultra-Star 50 mm (Golden) Schneider Super Cinelux Anamorphic 2X MC Schneider ES Cinelux Anamorphic 2X MC For more information, check over here: http://www.rapidotechnology.com/products-services/rapido-front-metal-jacket

The Canon 100D is £250 used and I have always had a bit of a soft spot for it, being the smallest and lightest Canon DSLR body. I recently installed an experimental version of Magic Lantern on the 100D and am absolutely taken-aback by how good the image is! It practically eliminates moire and softness. The 100D shoots continuous 1.7K RAW video in 25p and 24p to SD card. Read the full article

Yes, many presets default to settings that may not be ideal (often too strong). The trick is to play around with the settings to tune it to taste. Sometimes you can apply an effect onto an adjustment layer, then dial the opacity of that effect layer down and also apply multiple copies of the effect to more adjustment layers in an offset fashion so as to build up an influence that is subtle and not 'intellectually' created by the computer. Same goes with grain/dirt/scratches...subtlety is often key. As mentioned earlier by someone else, After effects has a very simple expression called 'wiggle', there are many good tutorials online to explain how to apply this effect. Also as mentioned here before, motion tracking real footage is an idea worth trying, but is not nessesarily more of a realistic method, unless you find a perfect range of motion that you can track and loop without noticing the repetition of movement. Two adjustment layers with a small wiggle expression applied will often give a nice random and subtle move that with nicely achieve the gate weave effect, or simply add a bit of life to locked off shots. I used to work at a large Kodak facility, batch processing photographic film back in the day. When taking digital stills was a novelty back then, yet we had digital to film scanners to give customers physical prints from their images. It was that strange period in time when Kodak could not understand (or want to believe) where the market was going. Within two years of me being there, the plant closed and everything went digital. I then had a short stint at a cine lab, processing and scanning film rushes for features and commercials...the process and machines were very similar. Then I bought myself my first proper camera, a Arri 2c 35mm. Using connections I'd made at work to get stock, I could actually shoot 35mm film for short projects and get it telecined to tape for about the same cost as it was to hire a HD camera back then. Now I've transitioned to post production work (visual effects) and often try to incorporate the analogue methodology whenever I can. Most of what people think they love about the 'film look' is often too nostalgic in my opinion..the artefacts of bad handling/transfer/age of print etc. The real power of Film is it's latitude and colour rendition when selecting negative and print stocks. Thankfully digital has come to a very respectable stage, where good lens choice and a talented colourist can keep most film traditionalists happy. Besides, if you shoot film these days 99.9% of the time your film is projected digitally. Film projection and its degradation through many cycles of showings in theatres is what made a huge influence of the viewers of the 'film' effect.

Yes....they are bomber...the only higher capacity cards I use (more Gigs) are 240 G SSDs...but I'm old school!...SSD is a much more robust media format...you may find with time you add a 2nd GH5 and a Shogun...you can then record in Prores HQ at 800mbs and your footage gets ridiculously good...the other seldom mentioned fact about something like a Shogun, are the exposure or focus tools...I use reading glasses, and a DP lol...but most of the stuff I see posted on the internet is out of focus...you catch focus on a GH5 and the image is amazing!...if I get funding for a feature plus a series I would pitch to Netflix, I would buy the Varicam LT, and use the GH5/Shogun as a Bcam to the Varicam LT...not the EVA1!..and I don't mean by that, as a crashcam!...but as a second camera in a 2 camera shoot...of course...image is totally subjective....you ultimately have to make up your own mind....but RELIABITY is not subjective...it's an absolute must for any paid work or narrative....I would also caution against buying the camera and shooting a wedding with it a couple of days later...you have to put in the time...this camera may be rated as a consumer level camera, but it's not...it's very much a camera for a professional.

This is why I'll never sell mine lol...this camera will always be unparalleled in so many ways...primitive by today's standards,but a rare image....as is the case with the BMPCC...these are and always will be jewels, if you speak purely in terms of image!

Even all the more reason to try before you buy!...however....the combination of IBIS and the EVF pushed up against your eye will give you solid focus and extremely detailed footage...and the Voightlanders like the SlRMagics kill on this camera...forget all the mumbling about oversharpened and on and on...I repeat....this camera is extremely DETAILED!...the "negative" is very "thick" at 10bit...you are going to use the camera professionally...this camera is ridiculous at $2000!...I would also probably recommend a Tiffen pro mist 1/8 or 1/4 depending on your needs....you need to play with the picture profiles to see whether you can match to the C100 to your satisfaction...not sure I would recommend Vlog for you, but then again, you sound like you already know what you need!

Thanks @Orangenz, I was starting to think...

You are right. But that does not mean they might be wrong you know. Also Kodak did their research, did their decisions based on that, and were number one... at least for some time Don't think you can't fall just because you're too big, it happened before and can easily happen again. I hate to say that, but look at GoPro

I addressed this pan judder in my answer already. All these shots of his are going onto a 60p timeline... When he interprets the footage to match the timeline what does he discover? No jitter. You can't go from jitter to no jitter if there is a problem recorded into the footage by the camera so there can't be a problem there. Interpreting the footage also slows the pan down. Most cameras in the USA are at 30fps (or so) and 24 is a different thing. There are some curious aspects to his tests for sure but it's kinda hard to comment when it's all on a 60p timeline. He certainly picked a good codec torture test on the leaves. My pans are at 25fps and are smooth unless I move too fast. http://www.red.com/learn/red-101/camera-panning-speed If you have a clip on a native timeline you wish to share I'll have a look. As for the eye fatigue, I'm not a doctor. Sounds pretty weird. I've heard that a certain percentage of people are susceptible to DLP projector refresh rates and see rainbows from the spinning colour wheel. If it's along those lines then you might need a camera with a much higher refresh rate evf. I'm not sure that running with the camera to your eye is a good idea? But it's a beauty. If you can get to a shop you must try it out.

For anyone looking for a cheap 4K travel camera with a 30x zoom (!) that can have cinelike d then I can confirm that it can indeed be done for the Panasonic TZ80 And if you are travelling through Stansted airport then if you go to the Dixons tax free shop then ask to buy the demo one as I've just been there and left it already enabled on C3 for you

I shot these footages While I was working on a project at City of North Bay long time ago. In fact, it was my first time using an anamorphic lens! All handheld and double manual focus...........hard & crazy experience........let me know what you think and guess what camera did I use! Taking lens: Olympus OM 50mm F1.4 & 100mm F2.8 Anamorphic Lens: Bolex Moller 8/19/1,5x (redstan clamp)

Andrew, I'm with you on this as I'm having a similarly "off" experience shooting on my FS5. It has everything I need in a very versatile package and shoots some great stuff for me, but..... I much, much prefer shooting on small mirrorless, certainly at a creativity angle. I do t own a GH5, but on yesterday's FS5/Inferno heavy pop music video shoot - I held the BYS guys GH5 w/ Speedbooster Ultra and my Sigma 18-35mm. It felt really cool, very exciting in fact. Today I got some pickups shots, and ditched the FS5 in favour of the A6500. The 4K XAVC-S (minus RS), is just fantastic. It felt very good. The bigger cameras are there for covering all bells and whistles, and being a reliable workhorse. To get creative with them, you need a team around the camera to pull off the shots (grip / lights etc) as they are much more stationary. The FS5 / Inferno covers this heavy production need, but for smaller projects, it wouldn't be my first choice. In the pro world, clients do get very excited about seeing the Kit being used, and do feel more value is being attained by a bigger camera, even if that bigger camera is actually shit. I've had weird thoughts about selling it all and just going GH5, as this method is just fun. At the same time, I could sacrifice the "expectation" I've built by selling up, or it could be a case of finding a new lease of life by using what I find most fun and enjoyable (small powerful mirrorless). I guess you could relate to that?

What a good analogy, I always enjoy the parallels between music and filmmaking / video. They nearly always hold up. I have rarely seen a higher-end shoot that didn't have a lot of complexity and setup, unnecessary in some cases. Overkill is common too, in pro video industry... guys doing interviews with an EPIC. What's all that about? Are they doing lip sync at 240fps? Haha. This is exactly how I feel about my C500... It has sat on the shelf, mainly due to needing the beastly external recorder to get a decent picture out of it. Workflow for my GH5 - Hold it, press 1 button. The end. Workflow for my C500 - Plug in SDI cable, make sure battery is charged for external monitor, turn on camera, turn on screen, wait quite a bit, oh you forgot the audio, silly me, grab an XLR mic, attach a module, attach the mic, check the levels, plugin headphones, dive into the menus a bit... And now my arm hurts, because it's all rather heavy. And what's that icon, oh dear my 256GB SSD just filled up in 5 minutes with 4K RAW at 120fps. Stop shooting, down tools, put the SSD into laptop, wait 30 mins for it to offload, wipe, reformat in the Odyssey, re-initialise, repeat every so often. And with the FS5, the sheer amount of buttons really pissed me off as did the fact that when I took it on a shoot in public, people stared. Some of them robbers. Indeed, the end result is so close, between even a RED and a £400 consumer camera these days, that just like in the audio world, the diminishing returns up-high just aren't often worth the hassle.

@buggz...personally I would always opt for the widest FOV and the fastest adapter: the XL...others may not feel this way, but disregarding vignetting on some lenses, is an extra 1/3 of a stop worth it to you?....could well be the difference between getting a shot or not...for me, that alone is worth doing a bit of cropping in post, in the case of vignetting on some lenses...as everyone does some post now anyway, why not simply crop in post on this more versatile and faster adapter...for my needs that seems the prudent choice.

People can't be creative while they're working? Or efficient when they're not? Wedding and event shooters aspire to pro cams because they're sick of fiddling with NDs and tiny batteries and rolling shutter and too-big or too-small codecs. The time lost dicking around with these things doesn't make anyone more creative, it only endangers their paycheck/career, AND loses them creative opportunities. There are plenty of subjects and shooting styles that lend themselves perfectly to photo cams and their slower, fiddlier workflow... and there are plenty that don't, even past weddings and events. And this is a separate issue from creativity and freedom vs. efficiency and appearances. Someone can be completely creative whilst shooting fast-paced or high-pressure situations- at least they can if they have the time to. I do definitely agree that the IQ gap is so much smaller nowadays that this is a much blurrier argument than it was a few years ago. A7sII, GH5, etc vs. FS5/7, C200, etc is certainly a smaller gap than 7D vs. C300, or whatever other matchup from 4-10 years ago. Smaller price gap too. The lack of IBIS in pro bodies is also definitely adding to the blur.

Actually I wouldn't be surprised if their Rebel line gets 4K before their mid line does.

This guy shoots amazing stuff on an eos M with Magic Lantern & crop mode

The enable purely tells the app what to display to the user, it doesn't determine what the camera is capable of doing but just what the app enables the user to tell it to do. By and large, this does correspond with the camera's capabilities but not always. So, this isn't the reason why you can't get Cinelike D to work. If you followed the instructions that I mentioned in my reply earlier regarding selecting another profile etc and you don't see a blank when you do the deploy for Cinelike D then the camera unfortunately isn't capable of doing it. With regard to auto iso, again the enable/disable is purely to do with what the app displays to the user. However, if you connect to the camera and send this http://192.168.54.1/cam.cgi?mode=setsetting&type=iso&value=auto Then if the camera is capable of the function then this command will enable it.

Hans Punk, have you ever been a projectionist? You sound like one. Only you and me and maybe a handful of freaks will notice a difference between a 'scientifically accurate' simulation and a cheap retro effect. This is true for a lot of film effects (light leaks transitions, grain overlays, filmstock simulating LUTs). Anything goes. In the end, no matter how 'realistic' it is, it's still a travesty. It's like the spice smoke burger restaurants spray on their meat, triggering a vague association of something that was char-grilled. No chief would fall for that.

Moire is not 100% absolutely completely gone but it is FAR better than the 100D out of the box video mode! Yes a good second unit to a 5D3, but it depends on how you use it. The 70D is double the price but has the benefit of articulated screen and Dual Pixel AF. I have always had a soft spot for the 100D though with it being so small and light compared to 5D3 and even the 70D. 80D, EOS M5 have a brighter future if ML port ever comes to fruition, which I think it will do eventually!

Andrew I could not freaking agree more! This is a ridiculous situation. Coming from film, then super early video (Betamax, HI8, MiniDV) and then the 5dMKII it literally seems like canon hasn't moved since 2009. The 6D MK II was really there last chance in my opinion to make one hell of a camera for the full frame entry level market.... and what do they do? Pull the same stupid shit they've done the last 7 years... this is why I left Canon a long time ago and am happy straddling the sony/panasonic playing field. what Canon doesn't understand is nobody wants to buy 4 c200's when you can buy 1 c200 and like 3 5dmkV's or 4 6dmkIIs that have 4K 60p, 10bit 422 and get amazing quality while having multiple cameras that dont break the bank.. but of course no, Canon once again cripple their users and I just cant stand it. Ive said goodbye to my canon bodies and haven't look back. If color science and 'dual pixel af' are the ONLY things canon is offering that is worthwhile.... then no thanks I'll be happy right where i'm at with Sony and Panasonic and now the upcoming EVA1

That's interesting. Inside I'm a textbook introvert, ridiculously shy, but I can jump over my shadow at will. Learned that in three years psychotherapy. The key, in a nutshell, is doing at any costs what your fears tell you to avoid. So do speak in front of a camera. The smartest people with the most interesting things to say often don't have professional voices (Stephen Hawking comes to mind, among others). And vice versa, some textbook extroverts, radiating self-confidence and with loud, pleasing voices, bundles of joy, are completely hollow and boring. Some novelist wrote, those extroverts wear their shallowest feelings on the surface. A good voice is an authentic voice. You can't feign that. Analyze what bothers you about your voice/appearance. Are there false notes? Be yourself, say what you mean and feel in the most direct and simple way. Does your body language and facial expression betray your words? Then you may have the perfect radio voice but still won't convince yourself, let alone others.

OK...enough rambling on my part....did not want to steer you in the wrong direction lol!

Wait. Full frame, mirrorless, true IBIS, articulating screen, DPAF, "Canon colors", 200mb 1080p, 4K60p, med/low 4k codec in body, high quality codec clean 4k external output, optional XLR audio module, for around $3000 from Canon is not going to happen in 2017? /S

Well, it isn't quite what I was looking for. I don't think either of you are the target audience. I wonder if anyone really is? It feels consumer-oriented. I've only tried the lens indoors with poor light so maybe it gets better outside. But it seems to flicker exactly like in the videos above (less than some lenses, more than you want) unless you zoom in wide open, in which case the aperture racks just over a stop between 18mm and 135mm. It doesn't seem like that much, though. This is pretty acceptable. At a consistent f5.6, it flickers noticeably but subtly. Both On my SL1 and C100. Even in auto ISO. I think? Auto ISO pulses for some reason or another. And the C100 doesn't have it. Even if the flicker weren't a problem, the ramp acceleration takes a long time to begin and is difficult to control in both fast and slow speeds. Inadequate to follow action or fast-moving events. It's not all the smooth either. The rocker feels great but doesn't seem analogue but instead very granular. The rocker might have a total of five steps on it. It might have just three (zoom in, don't zoom, zoom out). Slow zoom looks cool, though. Programming a zoom into a wireless FF seems the better option. By far. For the 80D crowd it's nice, though. Great balance, good ergonomics. Weird rocker placement makes sense for C series and dSLRs given the grip placement. Image quality seems okay. Great zoom range and light weight. And despite the adapter's flaws, it approximates the job closely enough to be functional and fun to use. Non-picky consumers will like it. Creative people willing to fix problems in post or who need to shoot a fake newscast or something will have fun with it. I might sell my hvx still! But this thing is a lot of $$$ for a toy/consumer-grade (not that controllable so not professional-level, but intuitive and workable enough to be fun, at least, so not garbage) product. To me it just seems like an immature consumer product. Not particularly good at anything. But not an embarrassment, either, and a cute novelty. But... not very good. What's really crazy... REALLY crazy is that it seems the contacts are only for power and they don't do anything to zoom or focus. They're also exposed all the time unless you attach the adapter and ate kind of unsightly. Strange for such a ubiquitous kit lens to behave that way... The zoom mechanism actually seems to be similar to a wireless FF where a lens gear on a motor catches the gear on the mechanical helical zoom/focus mechanism. It's not internally controlled at all, it's controlled by a gear in the zoom mechanism. The finely notched grip on the zoom ring on the lens catches a fine gear in the PZ-E1, and so that physical might account for the slow acceleration and slightly inconsistent zoom speed and feel. Really weird! So it's not very good. But it sits well on the C100 in terms of size and feel. And if you need that slow Kubrick zoom for the absolute bare bones price, this will be able to communicate that intent. Horribly awkwardly and inartistically and not even consistently, sure, but it does function. That might sound like a dismissal, and I think for most people who want a real zoom rocker a camcorder is the better choice, but it's why I'm keeping it despite not recommending it to anyone.

Am I wrong with great aesthetic admiration for such unpretentious using of GH2 + Voigt 17.5 f0.95 ("cinematic") combination... even at just 720p? (Need to say that I've found that CV 17.5 is the most usable and produce the most beautiful picture in whole m43 range of lenses, IMHO.)

I believe you can find some static stock footages of old 8mm film online. Using that, it's not too much trouble to motion track the image and apply it to your own shots. This'll give you that old looking analog/mechanical image shift and jumping.

You fail to quote correctly.

Hi It's time to let go of this monster. It"s in great condition. The lens is located in Leipzig, Germany. I can put it up on eBay if someone is interested. I'm looking for around 500euro for it .There are some some light scratches from the clamp, the glass looks great with perhaps micro scratches and it to be some very small balsam separation. However this lens is in top condition! It comes with the clamp adapter to 72mm and the 72-77filter adapter which makes it very easy to use with taking lens. Looking to sell as I need some more practical lenses. I can also swap for canon 70-400 f4 L or partially swap and pay for canon 16-35mm. Also I can consider other EF (like 17-40 ) lenses, Hero4 or video/photo lights or some other video, photo equipment. Here is some great video taken with this lens https://www.youtube.com/watch?v=lQNCVtuFzJw -yes, the results are jooooooicyyy ! Any question let me know

You mention two different things here. The viewfinder refresh rate and the final output. The final output is not dependent on what the evf refresh is doing. The final output smoothness will be dependent on your shutter angle and the speed at which you are moving the camera. Also the GH5 has better readout speed for reduced rolling shutter at 4k than most other options out there as far as I know. In terms of the final files showing jitter, 9 times out of 10 that will be the computer struggling to play huge 4k files and uncompressing the codec. Viewing 1080 files or off youtube will be smooth for those machines. The viewfinder or evf refresh seems to be a very reasonable on the GH5 considering this is a huge oled display. The monitor refresh goes up to 60fps, I don't know if the evf does. Some people may prefer a low pixel lcd with 120fps or higher refresh. I know I prefer the amazing evf image quality. Just as with tvs I'm sure future evf's will be faster and faster. The refresh speed, while somewhat average is still ridiculously faster than the one on the rx100v, that's for sure.

Agreed...different lenses give a completely different look...good enough reason by itself, not to mix and match...my set of SLRMagics have a warmer "classical" look, and yet are completely distinctive from my set of FDs...one of the best aspects to the old Cine Zooms...Sergio Leone shot his films on an Angeniuex 25-250...and they are still one of the most beautiful examples of Cinematography around today!

No surprise there; the Sigmas are notoriously clinical. I'd say your results are specific to the lenses chosen, and not to native and speed boosted lenses on the whole. The results with my Leica 50mm Summicron-R or my buddy's SLR Magic 50mm APO would be markedly different.

No sign of this on my camera. I would however recommend as always that you try the camera at a store if possible...or rent it. In fact...the viewfinder is superb....lol by comparison the viewfinders on S35 film cameras were a nightmare...no seeing what you got beforehand...it was a skill to know what the image was going to look like...the processing lab saw it before anyone else! thats why I always thought the complaints about the BMPCC LCD was funny considering the incredible image out of that little 900 camera.

Don't think Canon has a colour advantage any more. I am getting often superior results with EOSHD Pro Color on the A99 II, and the GH5's 10bit is something else.

Point taken, but it's not really an issue with the C200 is it?

I don't understand why the OP considers an FS5, an A7sII, an 6300 and an RX100 a match made in heaven. I haven't great experience with Sony cameras, but most of the times we are trying to mix and match different Sony cameras it is quite challenging. Even their APS-C cameras seem to have different color science. A s35 camera, a full frame one, an APS-C one and a 1" one. A couple of different mounts and a compact. It seems to me that Canon has more reliable and similar -to different products - color science than Sony. Sony will try to evolve their color science, so most of their future cameras will be different, as they aren't there yet. C200 and C200B, I am wondering what the "B" stands for. Could it be "B" cam?

Waiting weekend to detail test single focus for 35NAP

It's appropriate that a Kubrick fan would want this. I really suspect that this product isn't going to be very good, but there are times when I want a smooth zoom, too. Another option is doing it the old school way and putting a lens gear on your zoom ring and using a wireless FF. A friend tried this with my 70-200mm and my DJI focus. Mixed results. :/ Felt slightly granular and rough but only slight... it kind of worked. Definitely felt like a motorized zoom. Actually pretty darned good and obviously no aperture racking there. For super great results, renting one of the Canon or Fujinon zooms might be the right way to go. But I'm not after the right way, just the cheap way and the easy way and the portable way.

Yes - I guessed that!

This has so much nice texture to it. Curious why you decided to go with the Micro rather than a digital bolex? I know they're cheaper and you get 60p with the micro, but the Digital Bolex is pretty special. Shot this 3 years ago. The movement you get on Super 16mm zoom lenses is one of my favorite things ever. Svitar 26mm 1.1 C Mount Lens and a Som Berthiot 17-85 f3.8 Compact Zoom Lens. I really recommend the 26. Razor sharp at 2.8 and on, but a really cool look if you shoot a 1.1 wide open.

bump and price drop to 450euros !