itimjim

DR and low light monster. Will await tests, but mostly disappointing.

Well that was disappointing. Seems to me Panasonic caught Sony a little flat footed.

I prefer MF but AF is getting very good. Tracking is going to be perfect sometime soon, and things like touch focus allow racking. It hunts a little too much at the moment but it'll only get better. Not that the focus pulling industry needs to be worried any time soon though as cine glass is just not designed with AF in mind.

I've already got the 24/2.8, 28/2 and 35/2...the 24-35/2.8 is just so unnecessary...but I'm just sooooo tempted :)

It does doesn't it :D

File name says RAW. Don't agree with the DR. Look at the clipping in the door ways, much better on the GH4, plus Andrew said there's slightly darker grade on the GH4. DOF does look very different, 'too' different if you ask me. I don't know what's going on there, as it shouldn't be that different, but on inspection the GH4 certainly looks wider FoV and focused mid scene and the 5DIII at infinity.

In fact, even a 3.55 to 2.40 should do well on this beast, there's that much RES.

Agreed mate. That all important thing called light eh! :). Samples I've seen thus far seem to be OK in the blues of the sky though, so there's hope for the compressed in camera image. I have seen some macro'ing on the skintone test on vimeo, but it takes a keen eye. I know where you're coming from with film convert, love it on a clean frame, but it doesn't rescue the macros and posterisation. When will you be publishing some YAGH footage? Or is that further down the pipeline? And pretty please can we have some 1.5x Isco on 4K as I reckon the 2.40 horizontal crop from 2.66 will survive marvellously.

- 4K HDMI recorder, obviously. Would be awesome if it had balanced audio input to completely circumvent the YAGH. Not that there's anything wrong with the YAGH, it just won't be for everyone. - One of the big boys to release a non 420 8-bit internally recorded camera - Or at least someone like GoPro taking on Blackmagic for the RAW recording bits box (using Cineform)...RED prosumer? - New BMCC v2 with 60-120fps 1080p in ProRes, improved rolling shutter and decent firmware with general improvements plus VU, WF, active MFT mount. - Ground breaking price on a wireless FF would be nice - Sigma to announce more ART lenses because they're awesome - DSLR with global shutter, but it'll probably be Canon and they'll cripple it with 420 and some other rubbish - Price drop on Adobe CC with options to license packs like the old CS studio SKUs.

What do you think to the macroblocking and posterisation Andrew. I know it's pixel peeping a bit and I think it held up well, but it doesn't look to pretty in some areas. The 5DIII has immense noise structure like the BlackMagics.

Nah, can't agree. It's a slightly different angle and the car window on the GH4 is reflecting a much bigger surface. What I would say though, if you look at the finer highlights that are clipping, like door ways, street lights (the ones at the back that are in focus on the 5D video at least), the highlight rolloff of the GH4 is very very good....like super duper good. However, all things being equal, the exposures aren't the same so that's one thing to consider, but even then, the roll off wouldn't change 'that' much. I have high hopes for the GH4's highlight rendering - Blackmagic high hopes! Add an external recorder to reduce the shitty 8-bit 420 compression and this thing should sing. As is though, it's a bit meh...but still a nice improvement.

Andy, stop making me spend money!!!!

Close to a stop yes. Shouldn't make 'too' much difference in gauging what it's trying to show though.

Just downloaded the .mov from Vimeo. The GH4 is still displaying macroblocking, mud and posterisation in gradients. The 5DIII on the other hand has wonderful tight noise pattern, even stretched to 2.5k on my monitor. There's a hint of vertical FPN on the 5DIII, but it's really marginal. I was expecting more from the GH4 truth be told, although I appreciate this is just a single test. My hacked GH2 shows better control of the noise pattern than the GH4, all be it more cranked.

I see no files on Copy.com :S

I'm more concerned about compression. Double face palm if it's nothing better than 8-bit 420 without the option to output something better.

As the question implies. The only 4:3 shooting I know exists on RED (I think), but it's never surfaced on a consumer camera, and it would be oh so awesome for 2x anamorphics. I don't want a crop either, I want maximum sensor usage. So the whole sensor on mFT, or a vertical stretch to the top of the sensor on 3:2 cameras. I'm surprise BM didn't implement something as a USP. They're pretty crap at anything bar dynamic range and encoding, or lack there of, so I suppose it's too much to ask!

Know your focal lengths with the adapter, know your subject distances and test lining up focusing distances on the lenses. The taking lens is usually less forgiving than the anamorphic adapter, and the throw of the focus ring will typically be much shorter. Use a monopod or a glidecam variant. It's totally possible.

If you want bang for buck the Canon FD is hard to beat, and they have a very nice Canon look to them without being sterile like their modern EF counterparts. I have 20/2.8, 24/2.8, 28/2.0, 35/2.0, 50/1.4, 50/3.5 Macro, 85/1.8 and 135/2.8 all on a mFT > FD Speedbooster (0.71x). Fantastic collection, which I think I would struggle to ever part with.

Why is it a shame? What's with the obsession of full frame? Hollywood sure doesn't use it (S35, approx 1.45 crop), closer to APS-C than anything. Typically fast glass equals big glass, so you might struggle to find small faster than f2. Canon FD 28, 35 f2 and 50 f1.4 are all relatively small lenses.

I'm almost 100% sure it won't require P2 (UHS-II). Panasonic are unveiling UHS-I Class 3 (U3) SD cards. Still not cheap, but not P2 crazy expensive.

If you want a cinematic zoom lens, then you're barking up the wrong tree with almost all stills lenses. Arguably Panasonics 'Video Optimised' HD lenses should be better though.

You mileage will vary, but I use... Nostalgia - Contrast +2 - Sharpness 0 - Saturation +2 - NR 0 White Balance (Normally Auto) - Magenta (M-) +2 (i.e. 2 clicks down) - Amber (A) +2 (i.e. 2 clicks left) I use this for stills mode only, as I prefer Smooth -2, -2, -2, -2 with WB set against a grey card for video.

Don't agree about stabilisation, I think it's fine for handheld and has that POV feel that is popular with TV dramas of the past 5-10 years. Most important thing is your handheld work didn't introduce jitters which destroy the image due to rolling shutter.   Regarding flares, yes it's controlled. I quite like it though as I think it's a better all round lens for it. In terms of leaping off the screen as an anamorphic image, remember you're shooting with a 1.5x on a smaller sensor so it will struggle. What aperture were you shooting at by the way?   Really nice look, I'd be happy with what you've got and go out and do some more :)

BMCC passive mount. Only works on the BMPCC. My go to wide is on MFT BMCC + Tokina 11-16/2.8 + MFT>NIK SpeedBooster. It's as rectilinear wide as you're going to get before going fishing.