jonpais

@Inazuma It's variable.

@Inazuma I only tried manually focusing for a few minutes before giving up, so I really couldn’t say. If nobody else can answer, I’ll play with it when I get home and get back to you.

I sold mine bcs of that. But I thought GH5 solved the problem.

Thanks, @Jonesy Jones. Since I know absolutely nothing about color correction, imagine what someone skilled could do. ? I usually apply a LUT, then go into the color panel and drag the highlight and mid sliders down a couple notches, finished. This one was shot with the Veydra, no ETC.

Lucky I don’t live in NZ. Just kidding!

And I would rather have one Zeiss Compact Prime than the Fujinon. ? The point I was making is that the Fujinon is expensive and there are less onerous alternatives - faster, of excellent optical quality, all-metal build and greater flexibilty. I never said I would prefer to own one rather than the other if money was no object. I think I also mentioned that rental is always an option. The remainder of Sigma’s cinema lineup all cover full frame.

I don’t often take an interest in E mount lenses, since I’ve never owned a Sony - but if you do, and appreciate mechanical and optical perfection, then the Voigtlander MACRO APO-LANTHAR 65mm f/2 Aspherical Lens might tantalize you.

Today I started a new project - focus pulling with the Veydras. :=) Frame grab, Lumix GH5, Veydra Mini Prime 16mm T2.2, 400 Mbps, ALL-Intra, HLG, NR -5, Sharpening -5, T2.2.

@PannySVHS I’d go so far as to say that if all Olympus and Panny glass was available in manual, I’d choose it over AF.

@Mattias Burling I'm not trying to impose my personal likes and dislikes on anyone - I'm stating a fact. Whether I know plenty of people who do this or do that is beside the point. I know people who violate the 180 degree rule. I have friends who swear by underexposure. We all know people who don't like 4K. The fact is, the majority of films we watch, be it at the theater or on Netflix, at a film festival or wherever, are shot on cinema glass for a reason. And one of those reasons is that cinema lenses have a long focus throw. I already conceded that if you're pressed for time, a short focus throw might be desirable. And if Glenn's project requires him to carry a Pocket camera and Olympus 17mm concealed under his jacket, it may simply be out of the question.

Preferring short focus throw is an opinion not shared by most filmmakers: a longer focus throw enables smoother focus pulls and greater precision. I really appreciate the fine-grained control I have when shooting with the Veydras. Anyhow, if you’re not pulling focus, or if you need to work rapidly, I can see how a long throw could be cumbersome. In video, breathing can be distracting, but I can go along with Mattias that most viewers wouldn’t notice unless you pointed it out to them. As for the Olympus 17, according to lenstip, the Zuiko suffers from huge astigmatism, significant vignetting, very high distortion and weaker image quality in the frame center than Panasonic’s pancake. It is also costlier. I won’t argue that clutch focus isn’t better than nothing at all, but I would have to go along with @cantsin‘s recommendation if Glenn plans on doing much manual focusing.

Sounds good, I've never shot with the Pocket, thanks Cantsin. The Samyang has gotten lots of love around here, and I've noticed many reviewers have nothing but praise for it.

@mercer I've shot with my huge rig in public spaces and haven't encountered a problem with anonymity - even with the GH5, cage, BMD Video Assist and Veydra Mini Primes. If budget is a consideration and a small footprint is what you're after, get the Panasonic 20mm f/1.7. But I'm missing something here: if you need manual focus, why buy an AF lens at all? Why not adapt one of your own? I guess what I'd be interested to know is whether you plan to use the manual clutch just to acquire focus, or will you be doing focus pulls? Because the focus clutch on the Olympus is also fly by wire. And its short focus throw renders it all but useless.

(1) The Olympus Pro lenses will be seriously unbalanced on a BMD Micro. (2) The Olympus 17mm f/1.8 falls significantly behind even a pancake like the Panasonic 20mm f/1.7 in many respects, and is considerably more expensive. (3) When it comes to actual filmmaking, nailing focus either with fbw or a fully manual lens isn't the issue. Repeatability and being able to pull focus are. And for serious filmmaking (which I've never done :=), a cinema lens is preferable to any fly by wire, with or without hard stops. With manual clutch, the focus throw on my Olympus 25mm f/1.2 'Pro' is ludicrously short. And many photography lenses suffer from breathing, which can ruin a shot. (4) For little more than the price of one Olympus 'Pro' 45mm f/1.2, you can get two all-metal, geared, matte box friendly, budget priced Veydra Mini Primes that are compatible with X-mount, C-mount, E-mount and MFT-mount, so you aren't limited if you happen to own a Sony or Fuji APS-C camera, or decide to buy one in the future.

@Cliff Totten Cool beans!

@Cliff Totten What is the pixel density of the new Sony sensor?

We cannot determine pixel size from sensor size and pixel count alone, so my mind isn’t blown just yet. ? Does anyone know the pixel density?

@Inazuma Both good reads. All else being equal, I much prefer the 90mm focal length to the 85mm. Olympus seems to have hit another home run, but present owners of the Leica need not panic and put their Nocticrons on eBay. I bought mine new for $1,200, and don’t regret it one bit. If you’re on a budget; want something that is both razor sharp and has more beautiful bokeh than either of the two tested lenses; if you already own the PL 12-60 and are looking for something with longer reach; or if you dislike the form factor of the “Pro” designated lenses as much as I do: save yourself $700 and get the wonderfully compact Olympus 75mm f/1.8. edit: the Olympus 75mm f/1.8 is selling for just $750 now at B&H, which is a steal.

@maxmizer Can you explain?

I think I'm finished shooting sample footage with the Sigma 16mm for the time being, I'm planning to shoot with the Veydra 16mm and 85mm on Thursday. This was shot this afternoon 4K, 400Mbps, ALL-Intra, HLG, ISO 400, ETC Mode, Leeming LUT, quick color correction.

I think most here would balk at purchasing $4,000 cinema lenses, but rental's always an option. While it's comparing apples to oranges, I know, these make the Veydra Mini Primes look like an even bigger bargain than they already are at $1,000 each, and X-mount is available as well. The Fujinon lenses are plastic and unlike the similarly priced all metal Sigma Cinema zooms, they don't cover a full frame sensor; though it's true that the Sigma 50-100mm suffers from breathing and isn't parfocal afaik.

The Olympus 45mm f/1.2 and PanLeica 42.5mm f/1.2 compared.

But the color doesn’t ‘suck’. As for RAW, DPAF, and Canon color science - what you’re basically asking for is an $8,000 camera in a $2,500 m4/3 body. :=)

Question @wolf33d - first, what exactly is the point of this post? It’s a liitle lost on me. But I didn’t get much sleep, so... You are talking about two unknown quantities and then draw some vague conclusion. If we don’t even know what the specs of either the Fuji or the Panasonic are, this topic has little of substance. Aside from that, I find even your premise is quite flawed. For example, about the Fuji, you say, ‘if it has F-LOG, 4K and good AF...’, but since the X-T2 already has those, this doesn’t really make sense. The only two features you mention that the X-T2 doesn’t already have are IBIS and 60p. And if that’s all it had, for sure I wouldn’t be switching over to Fuji as my main video camera. Have you ever actually used a Fuji? Because the ergos are quite poor compared to Panasonic. The hand grip is too small, it’s got no swiveling touch screen, the menus can be confusing, it has a nonfunctioning app, the control buttons can be fiddly... The GH5 feels much better to the hands of this video guy than the X-T2. And your unusual conclusion that it would be some sort of ‘improved’ a6500? What this post really seems to show is that you are and always have been someone who waits around for the perfect camera that will never be, while others are already shooting beautiful videos with Sony, Canon, Fuji, Panasonic, and Olympus....

To see some great lensing, check out this thread. Sigma Art lenses. :=)