Fatalfury

I think it looks eerily similar to the new Ghost in the Shell film, very pretty indeed but too sterile and glossy. Doesn't feature the depth of the original, same thing with Alien: Covenant. The music on the first half is good (because it's a version of the original Vangelis soundtrack, though not as good), the rest of it sounds cheap imo, standard modern action trailer background music that has no place in BR universe. I thought they would go the extra mile with this, currently it does not look very promising.

Anybody know when the camera will be finally available to buy in Europe and UK?

In my experience the Zuiko 25mm F1.2 was a bit soft when the focus was far (in case of full body portraits) but otherwise it was very sharp with pleasing soft micro contrast that is especially useful for portraits. If you have the time, it could be very helpful if you could post two full body or close to full body portait photos with both lenses wide open.

What about wide open or from F1.2 to F1.8, is the Sigma just as sharp as the Olympus at 1.4 and what about vignetting ? The T-stop is 1.6 for Sigma vs Olympus 1.8 (in contrast the 250 bucks Sony FE 1.8 has the same 1.8 t-stop), but i guess it would be difficult for you to test that since the focal lenght is a bit different. I actually like the colours from Olympus more than the Sigma from your video, but i will get the Sigma if it's as sharp as Oly + it's actually a bit better in low light.

Did you use the EOSHD Pro color for Lumix, because the video seems a bit on the red side?

Tbf, most cine lenses are marked with T-stop, as it provides the correct info how much light actually gets through, very useful for video especially. And obviously the t-stop is usually a notch beleow the f/stop, that's a given. The zuiko 25mm 1.2 is a beautiful piece of work, it's a pleasure to use. According to DXO Mark the t/stop is between zuiko 25mm 1.2 and lumix leica 25mm 1.4 is the same (1.8), while the sigma 30mm 1.4 is rated 1.6. So this means there is zero advantage when it comes to actual low light use, premium price is mainly due to the image and build quality, which may justifiable by itself. And yes the low light advantage with Nocticron is marginal compared to the much smaller and cheaper lumix 42.5 f1.7. But right now i'm looking for a solution that allows me to use as low ISO as possible while being reasonobly sharp wide open, focal lenght 35mm - 50m (in 35mm terms). I'd pay premium for that, but as it seems there are more budget friendly alternatives with the same low light performance. I'd really preffer a native lens, so i'm gonna probably go with sigma 30 1.4 next. As an alternative for zuiko 25mm 1.2 i have considered getting speedbooster XL + Sigma 35mm f/1.4 DG HSM Art (or 50mm 1.4) instead. Theoretically the speedbooster combo should let in more light than T1.8, but how much? Plus the speedbooster could be used for other lenses down the road. If i was loaded with cash i'd get the zuiko pro anyway, but right now this DXO test has made me postpone at least for me, a quite significant purchase. At the same time i actually don't trust Dxo that much, so maybe i shouldn't bother with their tests. Am i being unreasonable? Btw i'm waitning for the t-stop of 12mm DG Summilux and how it compares to the zuiko 12mm f2, a lens released years ago.

So DXO just released the zuiko pro 25mm F1.2 test. T-stop 1.8! Really? The same t-stop as lumix 25mm 1.4 (and better overall score for the Lumix). I tried the zuiko 25mm 1.2 for couple and was really impressed by the images, the low light perfomance + the very useful manual focusing ring. It's certainly better than the lumix 25mm 1.4, despite the Dxo score. But if the light transmission actually isn't any better for lowlight video, then i will go with the 30mm 1.4 sigma (t-stop 1.7) or the even cheaper lumix 1.7 (t-stop 2). Any idea what t-stop might the speedbooster XL + sigma art 35mm 1.4 combo provide? I want to buy one higher end prime for low light and so far i had my eyes on the zuiko pro 25mm. Not really interested in voigtlander or slr magic at the moment, because the image is a bit soft below f1.8. I'm also seriosly considering Leica DG Summilux 12mm f/1.4, love the look of the images. Now waitinig if the t/stop is any better than the zuiko 12mm F2.

Awesome lut, just bought it and will be using it for sure, thanks! While it makes a drastic difference to the usual Panasonic look as it is, and i don't mean to be rude, but i'd be thrilled if Andrew could somehow add additional third Panasonic lut that has more or less same features, but is less emphasized in the reds. I'm not very good with colour correction and this would be a huge time saver.

I think the IS on GX80/GX85/GX7-M2 is mechanically implemented thanks to the new compact sensor tech. GX8 itself is in difficult situation when the lower end model is in some (actually very important) ways more advanced model. Shame that the GX80 battery is so weak, but that problem will be liquidated in GH5.

So it seems that the IS is on the GX80 is more or less on par with the Olympus 5 axis! http://www.thevideomode.com/equipment/panasonic-lumix-gh5-2295/ If it doesn't crop too much, then this is quite amazing little camera. Oh and no shutter shock!

Very cool! How much time did it take to complete this?

There is a similar service in Estonia available from 2014.

​I too love watching bad movies that are great fun to behold, but these films are genuinely sincerely bad. It is nearly impossible to make intentionally a good bad film, and for me Kung Fury proves it. As i've said, Kung Fury has it's charm and couple really nice bits, obviously a lot of hard work into it yada yada but in the end it's a five minute viral sketch stretched to half hour feature. Seems that most people love it, and from the trailer and music video i expected to love it too.

OP is very wrong, aps-c and m43 aren't going anywhere in the next few years. True, the 35mm bodies are getting cheaper and smaller but it's a different story with lenses, which are still expensive and humonguos especially compared to mft. How come there are no pancakes for Sony A7. We all know that S35 is a standard for cinema and it gives plenty of depth of field control. I really dig shallow depth of field for photography but excessively thin dof doesn't make a film more cinematic, for me it can give the opposite effect. Often it gives a cheap student film/youtube look. Dynamic range, colors, compositions and the set design are what result in cinematic bliss. Many of the best classic cinema feature fuck all of thin dof. I felt that Upstream Color which was praised for beautiful imagery often featured too shallow dof for my taste and it was shot with a GH2. So very wrong about m43 being garbage for photography. A talented photographer should have no issues with m43, the system can truly shine with certain lenses and will prove limiting only in the most extreme situations.

I'd get the Voigtländer or Lumix Summilux 25mm 1.4 if you need autofocus. Sigma is nice and all but it will be probably a hassle due to it's rather large size and hefty weight. If compabilty with other system is a concern id get a speedbooster and some legacy manual glass. Lens turbo plus for example Canon FD 35mm F2 (any version be it SSC or NFD) would make roughly a 25mm 1.4 and you have some spare cash to add more lenses to the speedbooster. For a single price of a Voigtländer you'd get the booster, 35mm f2, 50mm 1.4 and 135mm F2 in FD mount. If money doesn't pose a issue id suggest to get the real Metabones speedbooster, i believe there is a difference compared to the knockoffs, but it's not huge.

Thanks, will check the making of asap, should be interesting. Saw the film yesterday. Id give it a solid 8, but i did go in with sky high expectations after witnessing all these ten out of ten reviews. The film is certainly much better than Age of Ultron or Furious 7 and probably will be the best action blockbuster of 2015. Feel it's slightly overrated but not as much as the first Avengers or Guardians of the Galaxy. Id rate it equal to Dawn of the Planet of the Apes. I was floored at the beginning of the movie and especially at the first carchase setpiece but the latter half of the movie failed to sustain or outdo the assault on the senses i got in the first hour. The second half was really good but it definitely peaked early for me. The last setpiece was more of the same and the sense of danger was somewhat lost sadly. The baddies could have easily won in the end if they had put some thought to their actions. But i guess logic doesn't apply anyway to film such as this. One nitpick - the high shutter speed in action scenes was way overdone and made the movements too jerky and less realistic. Overall the design and the world itself was simply amazing and quite mad indeed, if a bit comic book alike compared to earlier films. Tom Hardy was good but he doesn't quite have that fierce look in the eyes like Mel Gibson. Gibson could have still pulled it off imo. Theron was awesome if underdeveloped as a character, but we all now the drama isn't the main attraction in a film like this, so it's all good. Soundtack was nothing special, fitted nicely on action but not as much during the quiter scenes, overly pathetic. Big respect for Miller to pulling it off, Fury Road is a stunning action movie with incredible visuals and style but not quite a flawless masterpiece. Look forward to seeing it again. Id like to add that i secretly hoped for a cameo of Bruce Spence. I don't know if it's just me, but the film seemed to aim for PG13 like Prometheus.

Not sure if the megapixel label on the lens is necessary, but 100% agree on the T-Stop. I used to wonder why the Samyang cine versions are slightly darker, but they have the accurate T-Stop instead of F-Stop listed, of course the cine versions let in the same light as the standard versions. T-Stop for videography is absolutely crucial. I'd be furious if i had bought the Canon F2.8 L for video work and later found out that the T-Stop is actually close to 4!!! Wonder how my Zuiko OM 35-80 F2.8 compares.

How exciting! Im crossing my fingers for a BMPCC update with the same form factor with a 2x mft sensor with the ability to select lossless 16mm crop, so that the 16mm lenses would be still usable. I also wish that Ursa mini had a possibilty to for a micro four thirds mount version, like the JVC s35 mft camera.

​Yikes! Surely, the person who is responsible for the Olympus video department must be trolling. This is getting ridiculous.

Is it possible to get this review shown on 43rumors.com, this may increase the chance to let Olympus know that it's customers wont accept this. Oly needs to act now. I was ready to sell my A7 system to get back in M43 (solely because E-M5 II, really glad i waited for this review). Panasonic and Sony must be relieved.

Umm, no 25/50fps? Othervise the specs look good, same viewfinder as the E-M1. Seems like a nice upgrade for the videographers, but for photography it's a bit underwhelming these days.

Thanks for the list! Surprised to see A6000, h.264 5D Mark III and Nikon D5300 above Lumix GX7. I thought the A6000 is inferior compared to the Lumix.

48fps looks really unnatural and disorienting to me (glad im not the only one), i think the fps needs to be much higher than that for life like movement native to the eye. Anyway immersion isn't really that much affected by higher frame rate, Hobbit films are bad either way. Leave virtual reality immersion for future video games, cinema should stay 24 fps. That said reading a book or playing Silent Hill on psone can be just as immersive as watching Avatar in 3D or any PS4 game.

It's really hard to take him seriously after what he said about 5D Mark II trashing GH4.