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I just received my EM1 Mkii from B&H used department and immediately loaded V3 on it. I am using the Panasonic 12-35mm f2.8 and the autofocus performs flawlessly. As good as Canon Dual Pixel AF IMO and more reliable than the Nikon Z6. I love the colors on the camera and I feel the size of this body is just perfect. THIS is what I wanted. The EM1X was overpriced and always having a grip made it unnecessarily bulky for a MFT camera. Going to do a review on this new setup soon. I feel the upcoming Panasonic Leica 10-25mm f1.7 paired with this camera will be my go to "YouTuber" camera for a while. I love the color science and IBIS is magical. Only thing "missing" is a good 120fps mode...which I can just get with my Z6 when I occasionally need it. So for now my current setup is this: 1DC on a tripod in my studio setup for that 4K MJPG Canon Log. EM1 Mkii for vlog style, run and gun shooting. Nikon Z6 for 120fps and run and gun shooting/ backup cam. Leica Q (which I just picked up used for a steal) pictures of my kid and everyday life/ instagram shots.

I think the camera should remain secret until after the vote. When doing camera side by sides we all know people vote for the one that should be best if presented with their identities. If there was a max budget for camera+lens+mic+what have you, then speed boosters should be fine.

Thought I’d found an interesting lens... But just getting over excited.

A quick peek at one of the expansion options for the PBC. This one is a focus controller where the focus range of the lens is mapped to one full turn of the control. Obviously, ignore the electrical tape thats holding it together. The production version will be using gaffer tape.

A couple more from the 7Artisans 28mm f1.4 that I got the other week.

Oh that it were. Oh that it were. And Brabham want to fit a fuck off big hoover on the back

Oh dear! It's turning into Formula One! Rulebooks volume 1 and 2 have got longer than War & Peace and although agreement on the budget cap is progressing well, Alonso wants to use his CineLike D profile whereas some other drivers would prefer Magic Lantern!! I reckon LX100 is a total bargain. However, it's a bit too good given the spirit of the rules aims to make us all shoot with much worse. So a compact still has to be £200 or under with lens! Or, we could have another competition later where we rise to £300 and the possibilities of what to use changes. For this contest, I think we really have to aim for total trash cams and somehow, with raw skill, make em look half-way decent. The scoring should work on two areas: 1. The treasure hunt part 2. The end results Say you have the luck and shopping skills to swoop on a 4K LX100 for under £200... That's going to net a good score in the Treasure Hunt. Then if you make something really cinematic with it, that makes it look more like a RED than a small-ish sensor compact, that's a high score in the End Results. So with just those two things to focus on, we can be free to use whatever camera and lens we like as long as the CAMERA is under £200 and the LENS is a relatively cheap favourite you already own. £500 modern lens not allowed, etc. I think that's WAAAY too long. The aim is not to go crazy on a multiple-day shoot, I think it takes a lot of cinematography skills to make the ordinary every-day and natural light look great, versus being a full on filmmaker putting all sorts of organisation into a project and a ton of effort over multiple days, that's not really in the spirit of a fun little competition. Then again I appreciate that a fun competition-experiment isn't exactly going to be a huge priority for people with jobs inflexible schedules, so we should definitely give everyone, even the most busy, enough time to join in. I'd say, if the main blog post marks the start of the competition this weekend, then 1 week to find a camera and 1 week to shoot something, even if only for 1 day, would be enough.

Good God Man! The last thing we need is for the majority of people in this country to vote even that many times... don’t encourage them! (Far better employed painting models of buses - although in sunny Spain that reference might be lost?)

Sounds about right. Only from the date that the rules have been finally thrashed out though. So...end of December it is then.

Can't wait to see your video! I wonder is there anyone gonna do GH5/EM-1 II video af comparison

My gut feeling is that Avid is dominant at the high end for now, but in the long run (or even merely the short/medium run) is on its way out.

Every man and his dog seems to have a FS7 in most parts of the developed world. Definitely by far the most popular low/mid budget camera here in NZ as well. With Arri Mini being the normal standard for any project with more of a budget. We're only in the very early days of the LED lighting revolution. Which will in a long run be a massive came changer for low budget cinematography.

Heh if u can't beat em, join em!

This full frame conversation for "less than 4000€" is mad. We do not need full frame on a JVC workhorse camera, there are other products for this. If anyone needs a Sony Venice or a Red or a SH1 they are free to do as they please. Most of us, JVC users already, need a better and more modern LS300 with the same or sinilar price.

Oh I don’t know. Internal NDs, built in XLRs, servo-zoom options (programmed to digital zoom or focus like the LS300). I’d much rather go s35 with those features than FF without them. Then you have codecs etc. JVC already have ProRes in their cameras, so it’s reasonable to assume this one will too.

Thanks. They're just jpegs off the SL as I only used the lens for about an hour after I got it before resuming holiday mode so today has been the first chance I've had to look at what I did with it so I was just pushing them to make a LUT with for when I do some video with it. I want to use it on the Pocket4K (or my newly acquired Micro ) but I don't know whether its just me but I don't seem to be getting much joy with M mount lenses on MFT. I picked up a dirt cheap A7Rii a few days previously to use with the TechArt to have a poor man's AF high res Leica M but only got chance to have this quick go with the 7Artisans 50mm f1.1, which I love on the SL, but the jury is out with it on the Sony although, again, I'm just pushing jpegs about so need to have closer look when I get more time.

I was struggling to think of what to shoot but I'm definitely going to use that title now to make a James Bond film where he goes after a deep state conspiracy to rig elections.

Also, I know this is supposed to be for fun, but should there be some voting rules... 1. You can only vote once. 2. You cannot vote for your own film. 3. So this doesn’t turn into a social media popularity contest, like Rode Reel, you must be a registered forum user with at least... X amount of posts.

I think this should be a 30 day challenge plus a two week treasure hunt for their camera... so 6 weeks in total?

I'd prefer if people use a lens they already have. Unless you don't have anything lens-related that's under $200, spending another $100 on a lens is getting away from the low cost spirit of the competition, as is adding rigs, speed boosters, etc. Rules are: Camera body under $200 US on eBay. If you are in a country that has different currency, just translate $200 to your local currency. That's your budget. If your camera is already in your possession, it has to be found for $200 or less, (or equiv. in your currency) using eBay and other online stores as a price guide. Put simply, it has to currently be in stock for that price. No finished auctions or faulty units can count. Has to be a live deal. Can be online or offline at local shop. In Europe and UK we'll have £200 / 200 euro as the budget, to keep it simple... 200 across the board in those 3 currencies, and the rest are converted from $. Gorilla pod or tripod only. No other rigs, cages, shoulder mounts are allowed. I'm gonna say Speed Boosters are indeed allowed. Although not strictly in the spirit of the task, I as a judge would be more impressed if you used literally the cheapest possible lens and adapter and make them look good anyway. Yeah, I'd say a cheap speed booster for $50 you might already own is just about in the spirit of things... But I think I will allow metabones as well, as like you say, end result is pretty similar... so metabones owners aren't put at a disadvantage from the owners of cheap stuff. As for filters, use whatever... Again the end result of an ND is cheap to create, but if you only have a top of the range $200 ND lying around on a shelf, may as well use it and pretend it cost $10

It works with any lens that the camera can drive so that is all the native MFT lenses but also EF lenses if you have an adapter (like the Metabones smart ones) that the camera supports. There is a switch module, a joystick module and a generic GPIO module. They can all be assigned to different functions so switches could do aperture or ISO up/down, joystick could do focus on one axis and aperture on another etc etc. The GPIO module is intended to let you trigger record from a pulse input such as a custom cable or even a radio trigger and also to be able to send a pulse out to trigger external equipment such as an audio recorder when the camera is in record. With regard to price, they will be appropriate to the cost of the PBC itself so expect between €20-25.

Maybe not because they're not cheap enough yet? But it would be nice if I was still allowed to use say one of my GH1 bodies (one of which I purchased years and years ago as a film student at what was the crazy low price of I think US$250?? Which is overpriced now! But back then it was dirt cheap! Partially because the dial was a little stuck, no big problem, just had to force it a little. And maybe also partially because the seller took pity on a poor broke film student and wanted to see the camera put to good use? My second GH1 I purchased dirt dirt cheap as well, but that was a couple of years later once the prices had started to properly trend down, and was purchased from a friend) I reckon if it is an expensive Metabones adapter then no, they're more expensive than the camera! But the cheap chinese knock offs are so cheap that even once paired with the lens, that the total cost is still lower than many "affordable lenses". Oh darn, we're not including mics into the total budget are we.... then my budget will truly be blown! Having owned both the GH1 and GX1, I'd definitely take the GX1 if we're only talking about image quality. (although the grip / flip out screen / EVF / etc might make someone nudge toward the GH1 maybe, but those don't matter for this competition) I own a GF3 as well! Truly below average video quality. But for poor videographer who wanted a "D Cam" for his weddings, then a $50 GF3 back in mid 2010, it was a screaming bargain!! No regrets. Was dirt dirt cheap for its time, nothing else could even touch its bang for buck. And its MFT mount made it compatible with all my other video cameras. There are a few hidden gems among the forgotten P&S options which have been lost to the mists of time. Worth considering if a person doesn't mind giving up the benefits of ILC But I reckon if a person goes with buying a P&S instead they should be allowed to boost their budget by another $100, because they're not going to buying a lens for their camera as it already comes with one.

Nope, a small minority are. Even VENICE can still be shot in S35 mode, and often is. The vast vast majority of blockbusters / commercials / higher budget docos / etc are still shot with S35

The EM1 Mkii is probably where its at for vlogging.

GH2 with a hack would have my vote. Any EOS camera with ML ought to do also for that price..

Kinda apples to oranges though.. C300mkii is really a run n gun doc video cam that can also do filmy stuff. (Smaller, lighter, easier to use, autofocus) Ursa is a cine cam needs a good bit of rigging to work like a C series cam for run and gun work. (Literally a poormans Alexa, better DR, shit in lowlight, no autofocus, heavier and larger.)

Jango buying a Sony, never thought id see the day ?

I don't find them in that way : ) You're obviously limited on the small size sensor but other than that, it is everything related how your device is noticed by the subject more often than you'd like to. The difference to take the shot or simply not.

With IBIS this camera for me is back in the race. Would love to shoot with it in the dark, handheld or at most with a monopod, focus ring in one hand, the camera in the other: High tech minimalism.

Yeah I am afraid m4/3 is a sinking ship.

Now having PDAF and OM-LOG400 in video I’m thinking about picking one up used. Seems pretty decent.

I'm down for it.... lets raise the stakes... Make it mandatory, else be banned from the forum ?

AIVASCOPE 1.5x anamorphic lens, 2nd hands-on GH4 after this two tests : vimeo.com/341289409 vimeo.com/342429735 this is my third film test with the new Aivascope 1.5x anamorphic lens on my Panasonic GH4. It’s a very sharp lens working great with some of my primes. It’s a single focus lens (you do the focus on it and let the prime on infinity) In this 3rd movie you will see different shots done with (aperture wide open) : GH4 4K uhd (no CC) 24p + Aivascope 1.5x anamorphic lens Primes : Pentax-m 40mm pancake f2.8 at f2.8 (most of the time) Pentax-m 40mm + 2x vintage Telemore95 II at f2.8 Sicor-XL MC 28mm f2.8 at f2.8 Despite the fact the Pentax-m 40mm is less wider than the others, I like the result with it. The TELEMORE95 II 2x lens converter (bought 3€ on a flea market) does missed sharpness to the 40mm from Pentax (and the Aivascope), and I loose maybe 2 stops with it. I’ve used a Dorr variable ND lens, on the GH4 the picture mode is on « portrait » with slight ajustments. I did no color corrections at all. Thanks for watching. Heres is the characteristics of the Aivascope 1.5x lens : Designed for Full Frame systems. Recommended taking lenses for full frame (16:9 aspect ratio) from 50mm to 90mm Single focus From 80cm to infinity. Non rotating front element. Focus ring rotate 190 degrees. Lens mounting clamp 52mm Filter size 82mm Weight 700 gr. Integrated focus gear. Price : 2 250,00 € Aivascope facebook page : facebook.com/aivascope/ thanks to Aivascope, Hayley, Nina, and the people of Bordeau. a Seb Farges Movie music : ”Stranger-Peaks” 23rd june, 2019

This implies monitor calibration will apply to Devinchi as well. Seems that if you do a separate 3D LUT calibration in resolve it will look a bit better according to him. So you are correct if you want flawless calibration. Another one from my new Z6. Nikon 24-70 2.8G wide open, lighting fill added from camera left.

Must of JVC's existing market is people buying 1" or much smaller camcorders, simply keeping on having S35 is already a big big leap forward for them. HOLY BLOODY CRAPPY-O ROONEY!!! Did Newsshooter of all places in the world just say that JVC never made a S35 4K camera??????????? Wow. Wow. Just WOW! If even Newsshooter (a site I highly respect, right up there with EOSHD.com!) is utterly clueless, then no wonder the great unwashed masses is up a shit creek without a paddle when it comes to being informed about JVC.

I agree! Unless it is Game of Thrones...

I am on the very low end lol as are most people on here, at least from what I've seen. Except maybe webrunner

The URSA mini G2 would definitely be my camera of choice if I had the money.

Maybe I can help. From mr Skip77 logic, GH5 is system of the past, and as such, people who still love and use it simply hate progress, of whom mr Skip77 feel himself as protector, because he knows what is road map and future - as well as GH5 relict-pensioners, being metaphorical ghosts from past, don't know anything about path to the future, and so they represent certain iteration of dark force against which mr Skip77 always remonstrate bravely and resolutely. As such defined haters, GH5 users deserve special treatment against their contamination influence.

What? I'm not sure what you're even trying to say? You said the GH5 was overpriced on release. That is just silly. It's $2000 price tag for what you got was a bargain two years ago. It wasn't overpriced at all on release. That it's $1500 now is a sign that the gap between it and the cameras that have come out since has narrowed, not that it was overpriced on release. It's a much more competitive market now than it was then, and things are moving faster than ever. It's also probably a sign that the GH6 is coming sooner rather than later. They've raised the bar with the S1H, for sure. Whether it's successful or not, everyone else is going to need to come close to matching it. That might not be an easy task for Sony.

Although talking of cameras under £10k the Varicam LT is now under £9,500 (I realise you need to spend more to get it up and running) and that image is hard to beat. The S1 and SH1 would be great b cam and gimbal cams to the Varicam with their 14 stops DR full V-log and Varicam colour gamut and 10 bit 422 internal. Neither Sony or Canon have such a small camera with high DR and 10 bit internal to support their higher end stuff, (although the lenses obviously have different mounts)

It's never going to happen. Sony won't allow it. They will never allow it. Kinefinity can say "future adaptors" all they like. Sony run a closed eco-system. This is their MO. Sony own the mount. No other camera other than one made by Sony will have a native E mount. Did you know that this year they went past 130 million lenses made ? 130 million EF mount lenses have been made ! Think of it like this....that's 130 million potential customers. Canon make the worlds most popular and numerously made lens mount. I personally hate them. They should NEVER be on a cinema camera and they suck the WORST for any kind of motion work. EF is an idiotic lens mount for motion work and shouldn't ever be used in my view. But there's a zillion of them out there and for the vast majority of those that are moving into a cinema camera eco system from a DSLR setup, chances are it's EF mount lenses they have. So they make a camera that uses that mount. Once you get serious about cinema glass, then you go to PL. Adapted 135 format glass...is amateurish. I hate to sound like a snob but it's really really hard to make them fly on real jobs. In the end it's often very difficult to make it work on set. Yeah I know you CAN do it, yeah go post your vanity projects and your music clip that looks great but i'm saying generally, it's a pain in the arse and no one aside from hobby-ist and indie shooters can be bothered futzing around with these jigs. Look at how successful that JVC was. Name a show shot with them. Show me someone who did some amazing creative work on that camera because it existed and did something no other camera could do. They're like anamorphic adaptors. Almost no-one uses them on paid shoots. They're just too punk and couture for anyone to put up with. You go get real anamorphic lenses. (and hey I've done it, I used a LA7200 on an Si2K and zeiss supers before anyone knew what an Si2K even was) I'm a lover of obscure lenses, but the obsession with adapting and speed boosting lenses... I say this with love of anything that isn't conventional, but to disparage camera manufactures for making a mount that services BY FAR the vast majority of the existing stills DSLR market for doing just that but holding up very marginal cameras like the JVC and Kinefinity as a beacon of success doesn't fly for me. Because the market has already spoken. We lens nerdists here on mostly THIS forum re the market. It's tiny. Making a camera that has a sensor that is LARGER than it's native lens mount (MFT) which FORCES you to always use and adaptor or advocating a mount that is proprietary (E mount) is commercial suicide. It forces the user to have an adaptor. Imagine all the idiots who go buy an MFT native lenses and post about the lens not covering their sensor. I'm a fan of MFT. But I'm a fan of NATIVE MFT lenses on an MFT sized sensor. JB

Well, we used to have John Brawley here...