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@Brother /Albert Fast has one! Looks top notch! Just gotta be able to convince yourself that the price and lens itself isn't too hefty for ya... If you're looking for more of a perspective/opinion/comparison. @jonpais Jon's got a couple of vids on this one too: https://www.youtube.com/user/paisjon/search?query=olympus , in one of which he makes a good point that the Sigma 30mm f/1.4 DC DN is a much cheaper alternative, that doesn't necessarily offer you much less quality (of course you do miss out on that build/MF de-clutch for example).

So far Santa brought me.. 3 additional Sony D11/D16 wireless kits SmallHD Focus Panasonic bundle Audio Technica 4025 stereo microphone, big capsules Sennheiser MKE440, a mild upgrade in Samsung SSDs and a new coffee maker!

Yep, I used velcro in order to filter out most of the vibrations. Its much easier to detach/reattach as well...

i wanted snow but it looks like thats not happening this year... its cold enough but no rain i left my mountain fortress of solitude to go shopping and found a six pack of bell's expedition stout for xmas~! yay!!! quite a find in the middle of nowhere o_O i just want santa to bring me good luck on my lil short im starting production on in January!! thats p much it. oh and the disclosure news is the best present ever omg

Never! Because this is one of biggest differences between Prosumer and Professional cameras. Professional cameras usually don't show any evidence of this kind of mess a GH5 e.g. produces. The 6K anamorphic mode is the closest to something like RED footage we can get. But I still would love to see an option to disable all of it, so I have less work in Post to do. And I don't need a better low light performance as much as I do need some better DR in uncontrolled lighting situations right now. ATM I have to use noise reduction a lot since DR is simply not enough in many situations - while I never use any NR in low light situations, lol Had to denoise all the clips in the chapel in the following film, while I didn't in the outdoor night scenes. (Shot on GH5/GX85/P4P)

I know what we all really want is an Alexa 65 and $100 Million to finance our feature, but there's only so much Santa can do in two days...

Dang, first gift. A book. 'How to cure GAS'. Really funny Santa, really funny... But yeah, I'm a sucker for a bit of a good deal.

I can feel the G.A.S. is strong with you! ;-)

Plus you could get a non-Metabones focal reducer which is 0.71x, such as the RJ Lens Turbo which is dirt dirt cheap. Is what I use myself with my MFT cameras. This is one of the benefits of the Nikon lens system, their plain adapters are a tiny fraction of the cost of a Canon adapter. Yeah, and if you're going to buy the GH4 for the benefits its has (such as anamorphic or 10bit external) then you likely are not on a budget for a G85 anyway! And you should just buy a GH5 instead. So in short: a G85 beats a GH4 in every way* (Exceptions: being in a few ways that are usually not relevant to a G85 buyer anyway, and if they matter to you... you should buy a GH5 instead! For instance who'd buy a GH4 for the 10bit external today?! For the cost of a GH4 + 4K recorder, you could just buy a GH5!!))

Dave, You said in an earlier post the camera is "fine in low light" -- how would you compare it to current a7Sii? I looked at a7riii quickly and it seemed miles ahead of the gh5 with lowlight... I was considering to get the r3 to replace BOTH the a7sii and gh5 and add a gimbal camera with that wicked AF and add a stills camera Thanks!

@Cinegain thanks so much ive seen this guys work its fab and yes i bit the bullet and placed an order on that badboy? So hopefully should be here after holidays

Though you feel you don't need or want 4K, perhaps the article I copied from Reduser will explain why 4K to you....it has as much to to as anything that (although not to you) to most people the holy grail in digital cameras is to get to the look of S35....this is in both the image, and the projectibilty....where no digital camera can BE the same image as S35 film, camera makers and users can aspire to get as close to that image as possible....so perhaps to those who don't want or NEED 4K, this article somewhat clarifies why to others 4K matters...in simple terms, they are perhaps hoping to get closer to that holy grail! No matter how it is cut – film material always possesses the same performance data: the smallest reproducible detail (20 % modu* lation) on a camera film negative (up to 200 ASA) is about 0.006 mm. We can think of this as the size of film’s “pixels”, a concept that is well known from electronic image processing. And it does not matter if it is 16 mm, 35 mm, or 65 mm film: the crys* talline structure of the emulsion is indepen* dent of the film format. Also, the transmission capability of the imaging lens is generally high enough to transfer this spatial frequency (0.006 mm = 80 lp/mm) almost equally well for all film formats. The film format becomes relevant, however, when it comes to how many such very small details are to be stored on its surface – that is the question of the total available storage capacity. In the table below the number of “pixels” are indicated for the image’s width and height. Based on the smallest reproducible detail of 0.006 mm the table gives an overview of the storage capacity of different film formats. S16 2058 × 1237 pixels S35 4153 × 3112 pixels 65 8746 × 3835 pixels this is taken from a very detailed article about sharpness and resolution from Arri. +100!....I have never sat in a single production meeting where a DP has said, I can't get this shot because it's too dark or I can't get that steadycam shot because AF is not good enough...lol...the director wants answers in that meeting then and there...if the DP did not know, they would leave the meeting rather rapidly to be replaced by someone who did and could...there are no shortcuts to excellence...someone who rolls 200 takes on a digital camera just because the media is so cheap, is not accomplished....they are hoping for a fluke...and if they did get the shot, it would not be repeatable for them, because they'd have no idea what they did...again, there are no shortcuts to being good at something....and the camera can't do that for you either....it's easy to luck onto a shot that lasts 20 seconds and to post it on a forum and to receive lots of ooohs and aaahs...the expert can do that throughout a 21/2 feature and in that lies the major difference!

Haha! I selected more than just that! Also wish for an EVA1 and a complete lighting kit. I'm one of three votes for it now! :-D I'm a poor man who is struggling by with his Sigma 50-150mm instead :-( (as the 50-100mm had not even came out when I made my purchase) And now I've decided to focus on audio instead, I doubt I'll be in a hurry to upgrade any time soon.

Balls! That’s a pain - thanks for checking it out.

Ewww (But probably user error or "Preference") The oversharpening and lack of low contrast detail is not a sign of good IQ tbh, looks almost like DJI Mavic Pro footage. The A6500 doesn't suffer from that issue.

@Chrille...presuming you're actually asking for advice, I would say no, based on your impressions/ comments of the GH5 you should definitely not buy one.

Whatever pre-production mirrorless Nikon ambassadors are testing right now

Olympus 25mm 1.2 ? 50-100 1.8 is superb combo with 18-35

An Ikonoskop A-cam DII

Have it. Its the best zoom lens Ive ever used. Such a gem.

Sigma 50-100

@IronFilm Audio is the only one that hasn't been picked yet... It's up to you to defend the most overlooked part of filmmaking

I have never had one but I think I would rather have both Voigtlander f/0.95 25mm, I know MF, and a Panny 20mm f 1.7 for the same money for video.. But if you have the money, and if you need the AF, which is nice, go for it. It is a heavy ass lens but you know that already.

Yeh i totally get you guys. Im holding off on the a7r iii and iv right now because the sony a18 is right around the corner!

Just tried it out for the first time It's fucking good. Looks more like A6500 than X-T2 No crop either. Super fine noise grain.

Just look at it...

Ive done tests and have found when it comes to baked in profiles the 5DIV actually appears to have better IQ than 1DC. I should do a real review/test and see. I haven't tested the 5DIV Canon Log yet. Im sure its great

Heck a Panny G7 is better than a GH4 for colors, and a few other goodies let alone a G85 being a Lot better with IBIS helping a ton alone just for that reason and even better colors etc... Now they don't have all the Anamorphic stuff etc, that a GH4 has but most people only use 40% of what a GH4 had to offer anyways. Things have moved forward surprisingly fast over at Panasonic Land!

you've got it wrong.

better at what? ultra low light, well that is nothing Godfather or other Bmovies were shot at. Not even the King of Darkness, Gordon Willis shot at ultra low light. Panasonic is not late at all. All their video orientated DSLMs have been top notch. GH5 will show less artefacts in low light but more noise. Which of the two looks more "filmic"? I say, noise over artefacts any time.

@Mattias Burling its on ML official thread ... back to topic GH5s has defintly caugth my attention i think its great that Pannasonic releasing another great fully featured camera for affordable price

AF is not that bad at all though I don't use it....I did however play with it to see...the real problem IMO is people want to bypass the skills to operate a camera this complex and essentially want a feature loaded GH5 that acts like a point and shoot....the gimbal issue comes up a lot...the sollution, unless you're Martin Scorsese, making Goodfellas, shoot shorter takes and employ some of the skills steadycam operators have used for years...like locking focus in manual mode, and then maintaining a constant distance from the sublject....or using a lens in the case where this is impossible with a short infinity distance and shooting away...for those complaining about GH5 AF on gimbals, I suggest viewing some steadycam reels on Vimeo or YouTube....and try to imagine the obstacle course the operators are navigating to achieve their incredible results....without AF and a camera setup that weighs between 25 and 45 lbs...in other words, stop blaming the camera and developer your own skills....for run and gun, either learn to focus manually or put up with what it can do, which is not as bad as reported...with AF the skill lies in where you can use it with this camera and where not.

Official ML thread https://www.magiclantern.fm/forum/index.php?topic=7873.0 No school films https://nofilmschool.com/2013/01/canon-legal-team-modify-hack-firmware-1d-x-1d-c Canonrumours http://www.canonrumors.com/inside-the-canon-eos-1d-c/ just google it