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Leica R 35mm Summicron or Contax Zeiss 28-85mm f/3.4-4.

Agreed about the close ups. Any smaller scale formats really shine in this setting. The extreme being Super 8 or Polaroid film. Portraits on polaroid look like they've already been airbrushed. On the discussion of 16mm. Stuff I have shot with the Bolex has just been the most rewarding for me. The colors, skin tone, and overall feel are very hard to replicate. I think someone saying they can easily copy the 16mm look with filters, is the same as saying the GH5 can look like an Alexa or a F35. I suppose there's different traits that people would to copy. To some people that would mean analog inconsistency; film burns, grain, jumping gate, etc. There is a huge difference in the film stocks alone. These first two frames are 1080p scans on the Shadow. This is a 10+ year old scanner. The 3rd frame is a 4k scan from a Scan Station. This is just cheap c-mount glass. I've n ever used Zeiss on a bolex, but I am sure the results would be very nice. I've never seen this but the trailer looks good. I'll be checking that out this week.

haha! yeah. i'd say you can drop the "web". the internet as a platform for content is so ubiquitous now that it doesn't need its own category. if it were me, i'd get in the mindset of referring to it as "an original series" or something like that.

For the Tiffen, do you just use that filter and no ND? I think I'm going to experiment with no ND and motion blur in post processing... According to the Dave Dugdale test, the Shure is better in build quality and RF shielding than the original Rode VideoMicPro and better at off-axis (side) sound isolation. However, the overall sound quality was better on the Rode. Always the best to get a mic as close as possible and sync even if you have to hide it somewhere. Doesn't help with people moving around though. Yes, sync is a pain. I haven't figured out a good workflow or habit for run-and-gun that makes it easy to remember to start/stop record on the Shure or to deal with the hassle of one long audio track on the Shure and syncing with multiple little video clips. I did use the Rode VideoMicro when I had my Olympus OM-D EM-5ii (with not so great input preamps) and it worked better than the built-in mics with excellent wind muff. I'll try to bribe my son to sit in and model for me tonight to test my audio. I'm actually pretty rubbish at audio (especially post-processing) but it is something I want to improve in. Here is a BTS from a Rode Reel short I did showing my minimal audio setup from when I had the Olympus (I still can't believe how great the IBIS in that camera was!). I also plan on doing a colour swatch / skintone comparison with my lens collection and GH5 (when it arrives). Man, that really sucks. I think the only reason I got a couple of mics from the first batch is that I had a couple of projects planned and they wanted me to try them out. The original firmware was flaky (bluetooth connect), but after upgrading them they work much better. I've supported a few video/photo kickstarters myself (PeakDesign - excellent, Instamic, Breakthrough NDs - great, Rolocam - haven't used it, SteadXP - refunded, PlexiDrone - refunded, Aetho gimabl - refunded, several documentaries) but have been lucky with most having shipped and being useful to me. I try to keep my gear as minimal as possible, which is why I love micro4/3 and cameras like the GX80. The Instamic is just so good for getting better (but not the best) audio quickly and unobtrusively.

I get that, but are web series that popular anymore? I don’t really know. I remember them being popular 2-3 years ago but I haven’t heard much about them lately. When I said short film, I meant a 3-5 minute short. I am in the same place as you. I don’t really have the answers, otherwise I’d have an agent and a deal, but I have done a little research and created some theories. In the end, you really just need to do what feels right to you. But I love this discussion. It’s probably the best thread in months.

Indeed, the NX1 (with 16-50S/50-150S) produces the best video quality i have ever seen. I like my GH5 for IBIS, 6K video, V-LOG etc but i prefer the 4k video from the NX1 (color, sharpness and contrast).

Frequency and viewer retention. Correct. To really "work" YouTube she should plan to do regular VLOG, BTS or some other relevant, regularly-scheduled uploads to the channel. Over time it will "raise all ships" in her channel. I gave the same advice to a producer a couple years ago. He stuck to it and now has more than a million subscribers on YouTube and a full time staff. I don't do this myself even though I have a channel, since I make the bulk of my money producing for other channels.

Greetings, Anamorphic Community, I've been working on trying to restore an "as is" 36 purchase I made in a foggy haze of ebay madness earlier this year. See original listing pic below: (Those are dead bugs under the front element. Yep, dead bugs. The inner elements have what was believed to be either fungus or deteriorated glue.) After sending it out to a well-known specialist for servicing, it was returned to me with regret that it couldn't be worked on because the front focusing element was not accessible due to tightness in the threads (after the four front screws were removed). Also, the plastic ring w/ label took a little beating in the process, but I'll get to that later. However, it seems that before sending it back to me, lubricating oil was generously applied inside in the hopes of loosening up the parts, and by the time I was able to inspect it again, the lens was able to open up this far without any tools. At this point, I have only to attempt to unscrew the inner element housing (2nd from the left) in order to clean the lenses, although I'm a little nervous about alignment after the work. It's very possible I've already set myself up for some extra trial & error work because I pretty much accidentally opened up before I even realized what I was doing, let alone set some markers (or, yes, even some masking tape to protect the glass--will be rectified immediately, I promise). Anyway, I'm a sort of crossroads here. I could use my spanner wrench to get in there and do the deed myself, or send it back to the service shop to clean, lube and align for several hundred dollars. The other option, however, is to send it to Van Diemen for the $1,100 VI housing (assuming the optics are up to snuff, naturally). What hurts, though, is knowing that the VII exists for more than twice the price. If they ever sold the (what seems to be vastly improved upon) updated version for around $1,500 USD (or even via another batch purchase like Andrew Wonder's in 2014--any takers?) , I'd be in, but right now it'll come in over $2,600--a bit too rich for my blood. Another option is to go with a half-mod, at an appropriately lower price, but given the age of the current plastic housing (and the unsightliness of the damaged ring--a merely cosmetic, but still costly hit in the hypothetical future of selling my stash for recreational drugs), I'd really like to explore a full-metal body design, despite the weight increase. Also, the improved minimum focus and the shorter focus throw are a given if I'm spending anything more. I know I could file the stopper myself, but the anxiety of either worrying about it separating on me by rotating it too far on a shoot or even popping a hole and screw in the lens just seems too stress-inducing and/or ghetto for what I've already paid. BTW, no offense to anyone ghetto-rigging anything--I just have a knee-jerk reaction to this particular op on this particular class of lens. Any suggestions/comments/news on the housing front? I heard Rich was developing something a few years ago, but it seems viable options are fairly limited in this understandably niche market. The perfect scenario would be if someone could just 3-D scan the shit out of the current plastic housing parts and simply recreate it out of a far more durable material. Note: I say "simply" because I probably don't know what hell I'm talking about. :D Best to all, and thanks to everyone for your contributions past, present and future. -Jason

In response to the “one camera” for life post, I thought it might be fun to ask the same question for a lens. In some ways a more realistic situation as lenses do not become obselete at the same rate as camera technology. Me? I’d love to say a Cooke Anamorphic. But I’ve never used one (and am never likely to although it is always added to the Christmas list!). I do like my little Voigtlander 35mm Leica lens - possibly sentimental rather than artistic reasons. So, you’re allowed a lens. Which one & why? Tim

Yeah the entry level stuff is still a bit junky. I have been playing with the Insta360 one (300 bucks) and it’s not up to it yet but they already have OverCapture type software. I think you need 8k to get decent results. I think the Insta360 Pro does 8k (6k internal camera auto stitching 8k external stitching). The next 12 months is going to be interesting as the higher end stuff is coming down in price fast.

From your sample it seems, the Panny might be second for certain light situations compared to the sony though. Lookin creamy as heck! Lookin forward to seein more.

Probably with TRM on that one. Only have the 35mm in addition to the 50mm f/2 E55 very recently, but it's so versatile. You can use it as is, throw it on a focal reducer or use ETC. It's a really solid lens and it's really not big or clunky. Surely you can pick a 25mm f/0.95 (which was tempting to pick!) or something else bright... or something with AF and other electronic control (e-aperture, OIS), but the Leicas have already transcended time and they age like a good wine! All about that rich flavor and character.

Majority of what? The majority of humans (not even the majority of humans in the USA) certainly didn't vote for Hillary *or* Trump!! No, what is meant is the majority of the electoral college. That was the "rules of the game" which I referred to earlier. And following the rule of law, that is what the president won. Oh, and I just described this as well: So on both counts, yes, democracy.

Well yeah if the question is "has technology gone far enough that one camera could last you the rest of your life?" It's suuuuper lame to pick the latest camera. Pick a well tested classic that you might still remember next year.

GH5+18-35 Beginning of the day, preparation of the bride and groom, mostly monopod or handheld. During the day and at the ceremony i used Gimbal. And GX80+42.5 is hanging on the throat and everything is handheld. Pan 42.5 has fantastic picture and great stabilisation. (manual focus is bad, i used FN button for focus) GH5 - Profile 709L , 0,-5,-5,-2 , luminance level 16-235 , Master Pedestal Level +5 , White balance AWB (A5,M1) exposure 0 , zebra 95 % GX80 - Cinehack :-) . 0,-5,-5,0 White balance AWB (A5,M1)

You just described the Sony FS700 Available for around US$2.5K secondhand.

I think he just meant like what the a7si can do. Not recording both at once, just an internal option and a better option externally

If you correctly expose while using the PMW-F3 in Cine EI mode (native 800iso out of the 3G SDI into a 4:4:4 recorder) with good lenses it will be the closest thing to an Alexa for under 1500Eur. To use Cine-EI mode you just operate the camera as if it was a 35mm film camera loaded with 800iso film stock. You expose for your skintones and let the s-log roll off the highlights. Very filmic rolloff indeed. The 4:4:4 files will allow you to push or pull by as much as 2 stops. F3 footage shot in cine-ei 800iso in 10bit 4:4:4 and pushed to 3200 iso with a +2stop boost in post will look better than A7Sii 4k footage shot at 3200iso via 8bit 4:2:2 external recording. Also the sensor readout is very good meaning your motion has less of the skew you'll be used to seeing from most 4k sensors. Good motion response and 4:4:4 at 1080p is better than 4K with skew to your motion. You can shoot with very flat 4:4:4 s-log profile into an external recorder while recording a nice lutted 35mbs internal file to the sxs card. The internal recording is very very good and holds up to quite a bit of pulling around in post.

Be careful if this is tooooo "to get your name out there" and not at all because you think it'll be good. I've heard working on something you don't love isn't just draining, but rarely goes well. Sorry if I'm misreading this, but if you have something you're more passionate about, that you can still do with your resources, do that. If you're good, the thing that's most "you" will be more marketable than the thing you do to fit in. People actually do want something unique. And even then.. keep doing more and more before you should expect to be noticed, really. A webseries would get more of an audience than a short film I think, and not just because they're short episodes. People keep seeing the new episodes pop up and finally decide to stop ignoring it. Why don't you want to do festivals? Youtube is a tough business

I might just pick the GH2. It's what started my journey with interchangeable lens cameras and back then things were so straight forward. These days you're trying to overachieve and things are more complex and the shear amount of options and possibilities are a blessing but it also means more thought has to go into which choices you make. Going back to the roots is definitely something to consider, rather than chasing after all the tech advancements opening up yourself to more creative thinking that needs to make the difference. Not sure how scared you need to be of lacking quality... remember the GH2 shootouts by Philip Bloom and Zacuto, it held up quite decently to the big boys back in those days. And you'll still watch the IMDB Top 100 etc movies that are probably mostly before 2010. Some movies only ever made it to VHS and people still enjoy those. Wouldn't worry too much about that aspect, if anything it will set your filmmaking apart from everyone elses that has gotten on with the times.

Gonna be testing F3 in a couple of weeks from now to see what fuss is about. I'm also looking at cameras with 4k sensors that shoot HD internally (which must look sharp, since it's oversampled from 4k, right?) and record 4k only via external recorder. This way I can have a nice sharp HD and rent an Odyssey when I need 4k, or even buy one in a year or so. So far I've only found Canon C500 that does this, does anyone know of other cams that work the same way? Thanks!

Just try, and do. There is no other way around it. Watch classic documentaries, read a few books, be a more complete person, amd decide what kind of documentaries you want to make. There are dozens of different styles and hybrids between them. A lot of times someone started a documentary for a reason, and found out a different sub plot with more filmic value, or a more important story, or the real deal revealed to him after.

@Beritar GH5 has the advantage of 10bit video and IBIS, but everything else, NX is better. It is even lighter and smaller, something that was the comparative advantage of m43 since its conception. GH5 is a great workhorse camera though, hugely respected and admired! I do not understand how people have C200 and EVA in this logical excercise, cameras that most haven't even touch yet. I would expect more personal replys (like @IronFilm 's!! +1 ) than "hypothetical" cameras we have seen on Vimeo just.

Just to chime in on the audio stuff. I'm awaiting a delivery of this: https://www.bhphotovideo.com/c/product/1349307-REG/saramonic_sr_vrm1_compact_liner_pcm_recorder.html I thought about the Shure recorder, but wanted more flixibility, as I already own a number of mics. This funky device essentially turns any mic into the Shure one. It should arrive today, so when I can I'll do some comparisons and post them here. Ideally I wanted to Tascam DR-10X, but for some totally bonkers reason it doesn't have phantom power, making shotgun mics unusable. Speaking of the Tascam DR-10 line, you could look into the 10SG, it's a shotgun with built in recorder. You can also set a clap tone, so syncing up later is much quicker. Again though, it didn't fit what I wanted it to do, but might be a good option for other people.

Thanks for the kind words! Obviously I watched some weddings videos before, but tbh - I dont really like them, so I gave it a bit of my own unplanned style of doing things - glad it worked out. At least my cousin was super happy, so thats that. About the the look: I used the Tiffen Ultra Contrast 3 as always, graded with FilmConvert in post including some shadow / highlight adjustments, but nothing too spectacular. About the the Shure: great offer! I will think about it. Your review sounds quite promising. Does anyone know if the sound quality of the Shure is better than, lets say a Rode videomicro directly connected to the camera? I know myself and the less I have to fiddle around when recording, the better I can focus on what I want to do. Switching on the camera and a mic all the time and then synching it in posts sound rather.. annoying compared to connecting a mic without a preamp directly to the camera. But maybe the quality is way low with such a mic compared to the ones with integrated amp... Then again, a videomicro should be way better than the onboard mic. Choices.

I'm not sure if anyone has mentioned this already, but I fill my Panasonic treats with whipped cream. Goes down great at election parties.

Why, because you think the election was a fraud? Ah I see. Well, everyone had to play to the rules of the game. And then do their best to succeed. If the election was under a difference rule set & instead about winning the popular vote, then I'm a 100% certain that Hillary and Trump (and the rest of the candidates as well, and their parties) would have campaigned very *very* VERY differently! And then who could predict what the result would have been instead?? Not me.

Hello. I'll maker this short but informative. Firstly, I sold my FS5 Raw setup - took a big risk, got a GH5 to replace it. The reason was mostly down to portability. Recently shot an entire paid music video with the GH5 and some stuff on the A6500. I'd never used the GH5 before - it practically just came out the box. Shot in Vlog L. Had an awesome experience. Main Pros IBIS. Much better than the A6500. Invaluable. Speedbooster XL gives a very different look to typical M43. Sigma ART's + XL = win! 1080p 10bit modes are fantastic. Made the A6500 in 1080p look fuzzy and blurry. Body design is one of the best I've experienced. Battery grip definitely gives a steadier feel to handling and definitely gives a higher impression to the client. Big impact. VlogL is fairly easy to get into (coming from Slog). Colours are accurate and lovely when graded. Custom white balance is very quick and easy. Menu system is pretty nice, especially the My Menu bit. Way better than the A6500. Small and powerful enough to put straight onto the Zhiyun Crane and Edelkrone Motion Kit. Battery life is decent (but nowhere near as good as the GH3 - which was ridiculous). EVF nice and large. Again much better than the A6500. Full Size HDMI. Yep. Main Cons (I'm being picky here) CineD skintones - finding it hard to get it where I want. Looks very odd off the bat. I need to work more on this as V-log isn't always the best profile to use. Photo Style options are very lean (compared to Sony). Not a massive deal, but would be nice to have more options. Autofocus is essential for my gimbal stuff. A6500 is excellent here. GH5 before V2 firmware is not. Hopefully this is reliable now. Dynamic range is a bit less and steeper in the rolloff than what I'm used to. Again, need to mess round with things to get it smoother in the grade. I think the record button is in the wrong place. I just use the shutter button anyway. Overall An absolutely outstanding piece of kit. I've only used the camera for one shoot, but using this camera has already made a big impression and is already serving my creative choices to a greater level than the FS5 did. I've not updated the firmware yet, but what Panasonic have give us is an incredibly valuable tool with almost very single feature you could ever ask for, or actually need. With a great emphasis on online video distribution, and video being consumed on smart devices - if that's how you're playing it, I would say you would never need another camera for a very long time. If the Autofocus is reliable in V2, it would relegate my A6500 to just a carry around camera. Got to say, I'm incredibly pleased and looking forward to shooting more. (see below for quick VlogL grade).

@kidzrevil , hey, could it be that this has the best kidz colors ever? lookin fantastic! But there are still two pieces of yours with equal great color, both with the G85 and one shot in portrait mode I remember. So neutral style means cine3 profile was turned off and not in use then? cheers Edit: really lookin massive! what strength did your tiffens have?

Hey @jase, First of all, I really liked the wedding video, and I actually like it a bit more raw than some of the overproduced wedding videos that I see. Yes, you can see the judder in the beginning, but I don't think it takes away from the images. I had the same problem with the IBIS during my documentary when I tried some pans and camera movement (see the shot of the costumes in the museum) or when someone might have bumped me. Overall though the GX80 IBIS really helped me be able to move fast, and unobtrusively compared to having to use a monopod or tripod. For shorter static shots you probably cannot tell that it was handheld. I like the look of your movie too. Was that due to a filter that you are using or done in post? As for the audio and microphones - I think you are in Europe. I own the Shure VP83F (I got it second hand) so if you want to try it out PM me and I can see if I can loan it to you. Since I mostly have had cameras without audio input (LX100, GX7, Olympus, GX80) I decided to get this one with built-in recorder. The microphone works well and is very sensitive it picks up great ambient sound. I have had troubles with wind noise as the deadcat I have isn't the greatest, but the low-pass filter helps a bit with that. The mic has a shockmount and which isolates it quite well from the camera body. Dave Dougdale did a comparison with the Shure VP83 (the one without the recorder): I my last documentary, I used a combination of the Shure VP83f, the Rode SmartLav+ and Tascam DR-10, the Instamic Pro, and a Sony ICD-SX1000 hand recorder (small and way better than a Zoom H1, but unfortunately discontinued). If I had some time, I should put a few clips together from the documentary comparing the raw audio. The Instamic was a bit of a godsend. It doesn't have as good sound as the SmartLav+ but it can be controlled remotely with a mobile phone and can record a safety track at a lower dB (configurable). (The DR-10 also has a safety track but only records in mono). Also it has magnetic attachments so I hid it out of sight on walls, chair legs, overhead lights. The magnet also made it easy for kids and other on-mic talent to put on their own mics. The instamic has a mic muff which helps with the wind. It is a bit uglier than a Lav mic, but I don't think that it was too bad. If I can get my son on-camera I will set up a test comparing the Instamic, my SmartLav+ into my phone, the Shure on-camera, the camera mics, and the Sony hand recorder close but out of camera on the floor. Hi there, I really liked the shots. Was everything there handheld or did you use a gimbal at all? How did you match up both cameras? What profile did you use for both cameras? How do you like the 42.5/1.7? It seems to almost double as a macro lens. I'm really curious about this combination as trading in one of my GX80 and have sold my 12-35 and 35-100 2.8 lenses to upgrade to a GH5. I was thinking of using the 12-60/2.8-4 on the GH5 and the 42.5/1.7 with dual-IS on the GX80.

Factory is onto it.

So, for image quality for the most common type of film, I guess, it's very near its peak. We don't need more resolution, nor dynamic range, if you shoot it right. Film was plenty good more than 70 years ago I don't know how hdr will change things. I haven't been loving the hdr stuff i've seen, but tech for that will get better in other areas too. And plenty of current cameras work alright for hdr. 360 video and vr will advance quite a bit clearly, but it's something I don't care about. Multiple uses is just a different way to interpret the question, but a good point. Fitting in your pocket is a nice feature, but the lens you like most wouldn't fit in your pocket on its own, not including the large sensor camera. So that's 2 cameras I'm hoping for a revolution in work flow, I guess. Immediate cloud transfer and teeny files is something that could make us look back and scoff

“So... it’s a numbers game?” Extra points for anyone who can guess what movie that line is from. Anyway, thanks for the reply, great information. @kaylee after further thought, I really think that maybe you should write this out as a feature or motw. If you have 90 pages of material structured with “commercial” breaks, every 5 minutes, in mind you can get more episodes out of the story if it starts picking up steam. After an initial run of teasers, promos, BTS footage, banner ads at horror sites, etc... release an episode a week. I would probably have 3-5 episodes ready to release by the time you run the first episode. And then as the first few episodes run, continue to film and edit, while releasing a new episode every week. So, with that in mind, perhaps also have a logical conclusion to the story after 7-10 episodes, just in case you only have a few views... then why bother continuing to film it. If it does pick up viewership, then continue to pump them out. If it doesn’t, you will have a solid short web series and then a feature script you can try and sell or shoot yourself. Also remember you have a built in audience in other filmmakers. So plan on marketing the web series on sites like this with BTS videos you can post across the web. I would think a lot of your initial views could be from other filmmakers interested in how you made the web series and how it looks. Take a look at David Sandburg’s Vimeo page. If you don’t know, he is the filmmaker behind the viral short Light’s Out, the subsequent Hollywood feature of the same name, and the sequel/prequel to Annabelle. He is really good at creating content for other filmmakers... https://vimeo.com/ponysmasher

Hm..I see VR and 360 video to be a necessity as we going forward, and those 2 need a lot of resolution and a lot of processing power, so I see a lot of things change in the next couple of decades.

@PannySVHS The G80/85 body just dipped close enough to 800 dollar where I live. I was about to jump on it when I got an offer to buy a GH4 in great condition at 750. IBIS must win over the Headphone jack, I am however currently trying to make sense of the different recording formats... but at least I will be a Panasonic shooter by the end of next week. Cheers!

Simo, have you seen these?

Yeah, I’ve described the 5D3 as a point and shoot cinema camera... especially since I have been shooting handheld with it with my Canon IS lenses. I’ve been working on a project since April. It was originally intended as a short film designed to get my feet wet with ML Raw, but then I’ve been getting such good footage, it has grown into something more. Here are a few screengrabs from it... Since this project may just end up as an impromptu feature, I’m currently writing some micro short film scripts to shoot in between. I’m hoping to get 60p working and it will be the ultimate camera for my needs. Btw, I really enjoyed you Last Day of Summer short. You obviously have a firm grasp of cinema.

Only one to say: now having gh5 i dont want to buy RED camera))

Prior to C300/C100, then Nikon lenses were by far the default option for stills lenses on film shoots. (such as on RED or F3 or AF100 or an EX1 with a S35 adapter etc...) Even C300 owners, lots were using Nikon lenses on it. Nikon was already first to market with the Nikon D90, if only they hadn't let the Canon HDSLRs then get ahead in the early years of the HDSLR Revolution, and pushed on with better innovations (it took until the D5200/D750/D500/etc for Nikon to catch up and then take the lead from Canon, too little & too late for many people!). Then brought out a "N300/N100" video camera of their own, it would be easy to imagine a world where Nikon lenses are still the default option for lower budget shoots. He shot it on a GH4, we're talking about EVA1....... that is kinda sort of relevant! It certainly is a lot more on topic than some of our other threads which go off topic! :-o (such as those which drift into political discussions.... ha!)

Yeah, crazy how the tools in cinematography can change over time, it is so fast that sometimes is hard to keep up with all the new tools. I was aiming for Hero 6 then I found out about Fusion and now I am in confusion.

@kidzrevil please update with how you like it. I was quite fond of the camera when I had it. And I would have kept it if I didn’t get the overheating warning in 40-45 degree weather after shooting a half a dozen 20 second clips. It never shut down, but it scared the crap out of me. I loved sLog3 and sgamut3cinema (or whatever it’s called) I felt that it had the closest look to Raw from any compressed video footage I had seen or used prior to it.

I just don't understand why they haven't done a swappable version. The swap on an Epic between PL and Canon mounts takes a few minutes with an allen key and even with RED doing their macho bullshit styling and etching everything in BOLD CAPITALS on it can't get it to be over $700 (although inevitably they have also an operation-desert-storm-kevlar-titanium-and-granite version of it for a gazillion quid). The bottom line though is even doing a swappable version is all a bit of a wheel re-invention as having an MFT mount on it from the get go just gives you more options. They could've gone as far as bundling it with a Metabones smart EF Speedbooster and I think everyone would've been happy. It won't stop me buying one as I wasn't going to anyway so maybe they have listened to the right focus group from that perspective ! Now you're 'over' IBIS the future AF200 for you is the current LS300

in my evil mind i thought there is a connection between panasonic releasing the 400mbs update and sony's a7s 3. What i mean is that panasonic holds the update as a response for sony's launch. Therefor the roughly announcement of the update coming from pana should coincide with the sony launch of a7s 3. But i think i am just paranoiac.

Glad to hear! Myself, I'm sorta getting fed up with Instamic. Now, I've backed numerous crowdfunding campaigns (100+) but this is absolutely one of the worst ones I've dealt with communication wise. There's just no information and they'll even ignore e-mail inquires (friendly ones, with patient intervals of weeks/months), just responding to them with... silence. I've recommended Instamics to a fella doing car reviews stuff (would be great for commentary and exhaust notes I figured) once and then he's gotten his in before I did mine... now I'm okay with delays, complications and what not, but man, no communication is really something that's no bueno in my book.