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I think you'll be disappointed with the AF performance of the Canon with the metabones. With regard to the Lumix lens, its not going to get wide enough I wouldn't imagine for what you're after. If you're looking for the facilities that you are used to from the camcorder but in a handheld form factor then I'd recommend you have a look at something like the FZ2000/2500. Its a 1" sensor so its the same as the UX180, in built NDs, 20x zoom (with external LANC controller for the zoom if you need it too), VLOG if you want it, 5 axis OIS etc. Where it falls down for you might be the lack of higher frame rates at 4K (though it does 120 in 1080). The GH5 is a very, very nice camera indeed but as an overall package with the lenses you've listed based on what you are doing and how you are used to working, I think you might find it gets a bit unwieldly juggling it.

Right, after battering away at this thing all day from numerous different angles, I now remember why I put it on the back burner in the first place ! When you try and put cinelike d or v on it, it responds in exactly the opposite way you want it to and puts a ton of contrast into the image with a saturation boost just for good measure. The histogram looks like a truck has driven right through the middle of it and pushed everything to the shadows and highlights. And not a small truck either. A big fat one. Possibly with a sidecar attached as well. On both sides. Trying to correct this in camera with exposure compensation and highlight/shadow curves made a difference but still nothing even approaching usable. One interesting thing (well, interesting is all relative but after hours of fucking about with this you take your pleasure where you can) is that there is the expected colour response difference between the cinelike d and cinelike v so it knows what its supposed to be doing but this is also accompanied by a hue change. Again, trying to correct this with hue adjustment commands wasn't exactly a roaring success. What I suspect is going on is the other two cameras that share the same guts, the GH4 and the HVX200, have exposed (if you pardon the pun) controls for hue, levels (i.e. 0-255) and master pedestal and its a combo of these that the LX100 just falls apart on when it receives the cinelike command. The HVX200 is the only one that has an app (iOS only which makes it trickier though not impossible to harvest commands from) that can access those functions remotely so there is no chance of me finding anyone with that combo to have a look it. The camera I do have that has these functions is the FZ2000 but its all done in camera rather than via the app so no chance of harvesting the commands that way either. So, sadly, no cinelike for the LX100. Which is all the more reason to give EOS HD pro colour a whirl on it

Thanks Don! It's an exciting time for Chris and I!

In ETC mode you'd just about get away with it with a small crop. If the OP wanted servo zoom as he's described though, he'd have to go for old B4 ENG lenses with an outboard 12V supply to drive it. You'd have to be quite mad to do something like that though. Like this weirdo attaching an Angenieux ENG lens to his GX80 and lashing a Sony battery to it. Oh hang on..... Thats mine

With this diy method you can use any QC power bank to deliver 9v or 12v. Or just use this QC trigger: https://lygte-info.dk/review/USBmeter QC2-QC3 trigger UK.html

We plan for the beer. If any footage ends up actually being captured, that is just a bonus.

Getting very tired of reading this over and over and over

I recently finished this project. If you like the results, download the LUTs for free on colorizer.net.

Quite surprised to see one of the UK's leading photo/video retailers producing a brand new (and pretty comprehensive) video about the LS300 this late in the game. Its a very decent run through though for anyone who hasn't really taken a detailed look at its array of tricks (and foibles) before. I'd expect to see bundles with this probably around the £3K mark when the Ninja V comes out as the last firmware update gave the LS300 4K60p to external recorders. Used, I've seen them go for £1500-1800. I can't really see it making some sort of miraculous comeback as there are tons of other options out there now compared to when it was released. Having said that, sometimes for certain jobs you just need a camcorder and at the prices they are getting to used there aren't many offering more bang for the buck than this one does. Budget for an EVF though.

@Kisaha At the end of the day, it's subjective. But I will comment on each scene to help you understand why I feel the Fuji renders better. This is not the best example because the Fuji has some weird stuff going on here with the levels clipping or something (maybe due to DR400 being used) and also theres some green tones under the eyes. But overall I would choose the Fuji here due to the amount of red showing in the Sony. Even her hair looks red. See how the highlights in the Sony are burnt here while the Fuji maintains a consistent tonal range and colour transitions smoothly. The Fuji shows more warmth (WITHOUT looking orange, which is my complaint with Panasonics). Again note how the transitions between the different colours of her skin are quite smooth on the Fuji compared to the Sony. This one is extra subjective. The Sony has what I believe to be a more accurate representation of the subject. However, the Fuji has quite a filmic response here. More warmth, nicer contrast, less harsh. This is actually an example of an area which bothered me about Fuji rendering. Greens are often too vibrant and if you have a lot of plants/grass in a scene, it can all end up looking like a green mush).

Its for the LS300 really but I thought "Micro 4/3 mount....might as well have a go on the GX80 as well"

You.Are.Unlimited! You should have a disclaimer on those "Do not try this at home", or something, people can get hurt!

I will miss having the Fuji rendering but there are a lot of things about the Sony which I find advantageous Body button and dial arrangement Use of full frame lenses uncropped Eye-AF More natural AF and AE transitions in video Better DR and noise control Auto-WB with preference for white or ambience Battery life Less purple flaring (see the accompanying article linked in the video description) Better 1080p Less jerky IBIS in video Less recording limits Built in microphone jack

The color science has improved on the latest gen Sony cameras (A7III/A7rIII/A9). But if you stick to the same gamma and color gamut they should be fairly close and easily matched in post. Playing with the color depth can help with getting them as close as possible in camera. What I have noticed is that the colors of A7RIII compared to A7rII are generally less greenish, more warm with a more saturated red channel. You can use any of the Cine gammas or the Slog2. The color gammuts that I use most often are Pro/Cinema/sgamut3.cine. If you intend to grade a lot in post then I would use the Slog2/sgamut3.cine on both cameras with a slight increase in saturation (~10). If you want something looking good straight out of the camera, then Cine gammas with Pro/Cinema color or a more saturation with sgamut3.cine work well. Avoid Slog3 and sgamut/3. Since Sony picture profiles allow for extensive manipulation of the image, it is important to get them close to what you like. So spend the time optimizing the settings in-camera, and record test footage before you shoot the main gig!

Hello all, I have been in Scotland for a week, what a beautiful country and people and I just want to share some pics and a short video playing with the very cheap 16-50PZ. All auto WB, 0 Sat, -10NR, +1 Contrast and 6ºHue. Video is just 7 seconds in Waverley Station testing autofocus. NX500 Hack NX-KS 140Mbps https://drive.google.com/open?id=107TcnejXJJDhx8RpX4SGEc9lg2OFUe3z All colour in camera, no post.

Make sure you check the article as well, it has tons of comparison images and information.

In the US you don't have a problem of getting a citation. Its more likely you will get shot

Thanks for trying!

Just got mine, the biggest advantage I have coming from the SONY A7r II is how much cleaner the image is in SLOG2/SLOG3, and at high- ISO.

@sanveer I chose the Tamron over the 24-105 because it is lighter, cheaper and has a larger aperture. Also I am a person used to shooting primes so having a 28-75 is already more variety than I'm used to. I will test out the HLG Vs Slog.

im sure - the store where im looking at dc power supply is on official fuji site. and as you can see CP-W126 itself have 9V marking.

I haven't seen the X-H1, but I do not believe that Fuji have great ergonomics in general, but if you own one already, and you like what they got, then probably you like them ergonomics. GH5S probably is the best in ergonomics, among them, but I judge from the GH5, which I believe are the same. Video wise, GH5S again is the best, not even close, codec wise, and tool's wise, no external recorder needed and already has most tools, so no monitor needed either, and that helps a lot saving money and not carrying other things around. I am not sure about A7iii color science, in every review I can see yellow skin and the such, it is mentioned in some of those reviews, the other two are much better, and the GH5S is the best Panasonic hybrid ever in color science, very close to Canon color (per a few of the reviews, which are posted on the GH5S thread) and very different from the GH5 which is "greener". You have to consider the ultra wide shots that you may need thought. The 15mm isn't going to be that wide on a speedboosted m43 camera, but if you want to shoot stock footage, the best possible quality you can get, is very important (GH5S).

It may seem an odd suggestion at first, but have you thought about a Nikon D500? 1) Excellent dynamic range and image quality for your photos 2) Proven ruggedness, build quality and durability 3) Full compatibility with most of your lenses with no adaptor required 4) Great Nikon colours for video, but only 8 bit 4:2:0 internal with 8 bit 4:2:2 via external recorder 5) Cheapest solution for body only pricing Only downsides: 1) No IBIS 2) 4K video crop factor

It's not uncommon for a 2 cell 7.2V battery to have a voltage up to 8.4V when fully charged, so 9V is probably within the tolerance limit of the camera. On the other hand, it's not a bad idea to be on the cautious side. To the OP: Unless the dummy battery or the adapter has a QC2.0/QC3.0 chip, I don't think it will be able to tell the powerbank that it needs 9V. As far as I know, both the supplier and the consumer needs QC if you want anything above 5V.

Sony already has problems with overheating so that's probably why they can't run their sensors any faster. Even the latest RED cameras are fairly slow sensor readout even compared to Blackmagic. That's one of the compromises when you build a larger, higher resolution sensor.

Not exactly. Sensors tend to heat up when you scan them faster, so cameras will often run them slower. Not sure if it saves power too but that could also be another reason. They run them at the fastest acceptable speed that they can manage even though a lot of sensors can run much faster. On "The Resident" the micro shots are easy to spot. I don't know if it's just a wider FOV, but someting about them does look off at times. Micro shots match better in color than any other small camera would, but something about them makes them easy to spot. Ursa Mini Pro not so much unless there's an extreme highlight or something that clips a little harder than the Alexa would. But even then it's not like it's offensively clipping or anything, it's just maybe a little more. The strong halo/lightwrap around bright light sources might be a sign of the SLR magic APO primes, and the usage of the camera for me is another clue as to which camera is which. Overall though the look is maintained well across all cams. For the limited uses of aerial footage, if that's all from the DJI x7 then those shots are very impressive. That camera holds up well.

Our @Mattias Burling already gave the firmware a spin. That Eterna colors are really beautiful.

output of an original dc power supply is 9V 2A. maybe there is converter inside original dummy battery.

I might have another tinker with it over the next few days regarding what happens when I was trying to put cinelike d on it. Its been sat on the naughty step for a few months because I never got back round to trying to probe it a bit more.

They could do with getting on with it. This still isn't there for the longer lenses but for everything else these things are getting better with each version.

Of course, it depends on the purpose. I do travel stuff (“moving postcards”) so I take what’s given to me as and when I find it. Telling a story or making a documentary would be a totally different proposition (and much much harder I guess).

Totally agree. Unhelpful, unnecessary, ego-driven, snarky. No, Kisaha, it is not "simply pointing out information" if your reply swings that way. These sorts of comments just bring the purpose of these forums down. I'm looking forward to spending significant time with the new firmware later in the week. Curious if the slow-mo aliasing issues of the X-H1 show up in the X-T2 post-firmware update - in the 60p as well. Glad, glad for the Flog and Eterna LUT. Jonnie at Cinema 5D had a nice, short intro to the new firmware. Basic story but the images look good.

fwiw im doing everything on this list for an itty bitty lil 2 min no budget film

nope it got dropped just like on the UM4.6K. here are some numbers i found pulled from bmd forum: URSA Mini 4.6k: 4.6k – 15.17ms 4k/2160p – 12.64ms 2k/1080p – 6.32ms Micro Studio: 9.9ms Micro Cinema: 13.3ms Pocket: 17.74ms BMCC: 23.62ms

I'm going to get to work with a Venice tomorrow! :-D

" Show me some cinematic looking footage shot with this camera" - shows cinematic footage shot with the camera "They could make any camera look good" Yeah we all know that the skills of those shooting are the most important factor in terms of end result. But you asked for cinematic footage from the camera ?? One of those skills though is also choosing a camera / lens package. There have been Zeiss super 16 format Superspeeds as long as the 35mm format ones have existed. They're great and actually pretty cheap. Mostly in AB or PL m ount which can be easily adapted to MFT. Unfortunately at this price there are many users that are new to filmmaking, or maybe see filmmaking as a hobby. Blackmagic are exposing many users to a RAW or even high DR LOG workflow for the first time. I see people slapping on LUTs designed for other cameras, not bothering to grade or even learn Resolve turning out half arsed results. But. If you're willing to step up YOUR game, willing to LEARN how to grade within this workflow, the camera will not hold you back. The codec will not get in your way. It won't guarantee success either, you still have to be able to light, make nice frames and have a plan. But you won't hit a ceiling with the camera very quickly in terms of image fidelity. JB

If you use the camera everyday, then just buy a couple SD and/or a couple CF cards. I do not understand how suddenly recording on an external USB C drive became mandatory workflow, and puzzles us for 4 pages! It offers another option, it doesn't mean that replaces other media completely.

You realize how weird that sounds in 2018?! My 2014 cameras do that. Have fun!