Fritz Pierre

Nikon makes an incredible 80-200 zoom....don't get the 70-200....you can see the lens reviewed by Ken Rockwell...it was also used on the earlier Bourne movies...it's an AF-S F2.8 80-200 ED...it will cut with your Leica 12-60...the penalty is in weight...but speedboosted with a XL the lens is around F1.6 through the whole zoom range...the image is outstanding but you can't handhold it. https://www.ebay.com/sch/i.html?_from=R40&_trksid=p2380057.m570.l1313.TR0.TRC0.H0.Xnikon+AF-S+80-200+F2.8+ED+f2.8.TRS0&_nkw=nikon+AF-S+80-200+F2.8+ED+f2.8&_sacat=0 and this is around what you will pay for a good one...I own the 17-35, 28-70 and 80-200...and ar any selected FOV these zooms look like Primes.

Do you have any pertinent information on Kinefinity going under?....I considered the Kinemax at some point...personally I love the image out of the camera, and even more importantly as I seem to collect lenses, not cameras, their mount system. The reason I did not go forward was that I found in communicating with both Kinefinty in China and The HD shop in Germany, I was not getting my questions answered, in fact some questions asked over and over during a period of say 3 emails were ignored. Almost an attitude of you're asking too many questions! I then let the idea go, with some regret though. From what I understand though, they have a very large market in China, which may explain their seeming disinterest in distributing seriously in the US..of course this is all information from the Web....as for delivery failures, I never believed they could deliver a Global shutter 5K at 14 stops of DR, nor did I believe BMD on the 4.6k....as the Sony F55 demonstrates, there is a penalty for global shutter that few are prepared to pay in terms of DR today...that's why the F65 has been much more successful at rental houses.

There are for and against comments on using the XL speedbooster as opposed to the Ultra on the GH5 if you use Apsc lenses...firstly what does the extra 1/3 of mean as you go higher in ISO....it's the difference between shooting ISO 3200 and ISO 4266...maybe the difference in getting a usable shot or not...secondly the XL will give you the maximum FOV period....if you move the camera a lot, it may vignette....you can crop in post till it dissapears....that crop will still be wider than the Ultra...I use an XL with both a Sigma 18-35 and a Tokina 11-16, and as I prefer a camera whose presence is largely unnoticed (I move cameras as little as possible) I get no vignette in 16x9 AR....if you did get vignetting, however slight, you can always zoom slightly on the lens...as the wide end on M4/3 is sought after, and fast and wide is expensive, why not use the widest possible FOV and fastest lens and do a little post?...everything digital requires post....why is a slight crop difficult?...the reality is it's one of the easiest thing to do on a NLE system....so again, IMO the choice between the two is a no brainer....it's the XL speedbooster...my interest however is narrative....for fast turnaround adding an extra stop in post may be impractical....where you control the environment though I'd say the choice is clear...

I agree with @Ironfilm....several things I like, though I don't own one, about the UMPro, but most of all the Mount system which I believe is owner changeable and I read they are, or have come out with a Nikon mount too...So it's like the Kinefinity, which also has an appealing mount system. The value I build up long term in my gear, lies in my lenses (not my cameras which tend to come and go) a decent mount is first....to really make the right image you have to light....THAT'S really where the beauty comes from....so in reality any of the cameras mentioned daily on this forum and certainly any of the BMD cameras will give you that....there is however no LUT to light a set for you...you can also use a Cfast to SSD adapter on the Pro and shoot to SSD media which is much more affordable and then the built in ND of course is huge!....these are 3 things about this camera for me....lastly there's a member who shoots on a 4.6K...he shoots really great looking footage @AaronChicago so you can get an idea where the 4.6 or 4.6 pro can get you to.

Yes....I bought it as an afterthought...to try with the Focus point set feature with the GH5 (95 percent of my lenses are legacy and adapted glass) but this lens is hard to take of the camera...a joy to shoot with...

Sorry...typing mistake, I meant "but as my 12-60 already gets me so wide"...I would recommend that if possible you try the Leica 12-60 at a shop...you will be surprised at how wide 12 on the GH5 is. If you're looking to get ultra wide in a truly economical way, I've linked the SLRMagic 8mm below...at f4 but only $176 and no adapter needed....and it's tiny. You also don't need a Speedbooster....the mount is m4/3 already. https://www.bhphotovideo.com/c/product/1322738-REG/slr_magic_slr8m4_8mm_f_4_lens.html

I would never put a drone over a person like that....if you crashed into the ceiling or if the white comforter caused the drone to lose its perspective because it's not contrasts enough, well, the result could be disastrous...consult with a Key or Dolly Grip on how best to accomplish your shot....you're in SoCal..,find one in the 411 directory, offer to buy them lunch on a day they are not booked and describe your shot....there main objective is to rig anything safely!...they will know. PS...I own a drone and would never subject talent to that kind of risk!

The Tokina 11-16 gets you down to 7.4 mm at the wide end with a Nikon to M4/3 XL Speedbooster for around 399....the Speedbooster is of course extra, but considering crop factor and in the case of the XL adding 11/3 stops of extra speed to every lens you own in that mount, it is an incredible bargain....7.4 mm at f1.8 is Sigma speed!...I briefly considered the 8-18 Leica, bit as my 12-60 already gets me so wide, and as movement along the edges of the frame gets weird when you pan on a lens below 10 mm wide, I opted for saving the $1,100...the combination works really well for that rare occasion anyone would go that wide!

@Riadnasla you are referring to an actual steadycam style stabilizer with vest...is this correct?....If you are, I would look at a Came TV or symilar cheap knockoff style vest arm system, and the actual mechanical "steadycam" you buy that carries the camera is where I'd spend the money....although they take practice, IMO a gimbal will never equal the beauty of footage from a good steadycam operator. As the C100 is not that heavy and gimbals are the rage now, you can probably find a glide cam or something symilar quite cheap used.

At $3000 the Leica may actually turn out to be a bargain optically....very little in any format is going to touch this lens...lenstip does not glow easily in their reviews??

@EmanuelI could be speaking under correction here, but I don't recall the GH5s' DR being the greatest at 2500...what I've read is 400 is the cleanest...2500 is noisier but the GH5 does not lose latitude at the 2nd of it's dual ISOs which is 2500....400 which is the 1st and is apparently cleaner with the same DR....in an extensive article I read the other day, the way it works was described as (with a grain of salt at this stage) if you need above 800, you reset to Native ISO 2500 and dial back to say 1200 if that's required....the Varicam LT has also been described as being the cleanest when used accordingly, and in the old days of the hacked GH2 the ISO bug fix for the hack was to go beyond where you wanted to be, and to then dial back for cleanest IQ....Panny cameras just love getting pampered??

Maybe!!☺️☺️....if true, means I'm definitely buying another camera rather soon though!???

Agreed...but Frazer did not say it comes with VlogL included...he just said Vlog...could have been a slip on his part, but IF this camera has 14stops of DR it would use the identical log as the EVA and Varicam as it would have the latitude for the full curve!...anyway, a bit confusing at the moment.

OK...late to the ball...just saw Matt Fraser of Panasonic call the DR on the GH5s at 14stops!!!....whereas Nick Driftwood called it the same as the GH5...at 12 stops.....14 stops is well and deep into Cinema Cam territory...I know they tweeted and measured with the EVA before it was out in the wild and then before release it was called at 14 stops....Matt Frazier claimed it could also hold 14stops at 2500 ISO....can anyone confirm?...this would be extrodinary!

I was referring to the shot in the Video you posted....as I have already clarified also in the post you quoted me from, I never go beyond 1600ISO and in a post before that if there were skin tones in the shot, I would light...you may not have read that earlier post, as this thread is now the length of a small manuscript.....in a brightly lit night scene like this, as an establishing shot for my use why not....except 1600 would also be fine for this comparison video...anyway obviously standards and needs differ