Fritz Pierre

@Mattias Burling...I like this cultural "understanding" of value plus the ethical rules re what you can name the camera's condition...curious that camera shops would take the hit though, of bringing in mirrorless....perhaps their margins are higher than I realize and they can therefore knock the price down considerably after a while...B&H occasionally will have sales but they don't last...where I've had my best luck was building a set of FD lenses....I had a guy in Japan who sold FD's on EBay and the guy was so ethical re describing condition it was almost comical...what he described as a 6 would consistently turn out to be a 10 optically....allowed me to build a lovely set of the old chrome lock rings....at very decent prices!

@Chris Oh...I just got my GH5...the IBIS is almost eerie, it's so smooth...so if stabilization is something you're interested in, I'd opt for the GX85...it looks tiny but some members on this forum have posted amazing footage shot with it...also there's a member here who figured out a profile matching CineD for the camera....cost more than the G7, but maybe more fun too!...have to say I love the look of the camera itself. Edit: Lol @BTM_Pix who posted above me, figured out how to do CineD on the GX85, so you're in good hands here! I'm actually surprised how cheap cameras are in your neck of the woods...not crippling VAT or anything...why the huge price difference, or are these grey market cameras?

I would stretch your budget to 600 and depending on your location, buy this....I've never owned one, but judging by people who have, the price seems ridiculous. https://www.bhphotovideo.com/c/product/1148282-REG/panasonic_dmc_g7kk_lumix_dmc_g7_mirrorless_micro.html/?c3api=2572%2C138045278552&gclid=CMeS2-P_uNQCFVMDhgod-dIF-g

Nothing to say about the GH5, but really about your post....and your monkey see monkey do comment (spot on!!!)...there is a weird kind of Hive Mind mentality at work these days...I see this both in politics and as a frequent visitor to forums....members claim to be merely expressing their opinions, but in reality it's the same tired phrases being repeated over and over...hardly an original thought being expressed and in the case of the GH5, both a well loved and hated camera it seems excessively obvious...but what's also more obvious, is that we increasingly act like a herd of sheep stuck in some corner...bumping into each other...mulling the same thing over and over as if it came from us, as an original thought...now THAT would be an opininion...but THIS... is this loneliness?....is it a complete lack of intellectual curiosity... what it's not at allabout, is about cameras....@mattiasburling just posted a very interesting guess the camera thread and really nobody had a clue about the camera...so why the same old tired refrain that would be laughed off any movie set?...I really have no clue...

Bought a GF1 for both my wife and my 20 year old daughter....they both love the camera and for stills while traveling, ridiculously good in such a small yet tank like package...IMO...a classic...at an unbeatable price!

Yes...the slrmagics feel lovely in the hand....I have the 12,17, 25 & 35...I know what you mean!

Great thread and point you make!...I personally could not begin to venture a guess...and this is an important bit of food for thought...it's really not cameras, that stand in the way of us shooting films...or anything we choose for that matter...our biggest obstacles are as always ourselves lol.

Agreed...except one of the best aspects of that lens is the fact that it's a pancake....on a stabilized camera, you can be on any street corner grabbing stellar footage while attracting no more attention than a tourist!...huge value in that stealth factor for me...I've actually contemplated the 14mm 2.5 Panny pancake for this very reason...they are tiny and optically excellent for the price!

Yes...proceeding with caution is the right way...the problem often lies in lack of clear communication, rather than build quality...still, your needs not met, is money down the drain...

Have to agree completely with you and add that IMO the EVA missed the boat...Panny and Canon stand quite firmly in two camps and the biggest distinction lies in the different Image from the 2 cameras...and of course, the choice of lenses...good luck to Panny stealing Canon customers, but then again I'm no salesman...to equate the EVA with the Varicam LT in both EF and PL mount is a huge mistake...they're not remotely in the same league...and for Canon users I think the C200 will be a lovely camera and as @DBounce pointed out, may also pave the way to upgrades in the C300 and maybe even C100 series...the EVA may well turn into another YAGH...though I hope not!...we all only benefit from strong competition in the market!

My legacy glass is all in Nikon mount...I own Nikons, Tokinas and the Sigma 12-35...also I full set of FD's in the Chrome lock ring...I did not want to start adapting everything again...I own exactly 1 EF mount in a Samyang 35 that I've never used...I'm working on getting a feature into developement, and if funding for that came through, I can get incredible deals rental wise on Arri Masterprimes...so simply...(1) I never use AF and like manual lenses and (2) of course all my Nikon Mount Glass...I could go the Leitax Nikon to AF mount change... (over $1000 by the time I'd be done, and then I'd have to buy adapters to my GH5...I also don't like the lack of a lock ring on the EVA mount...makes the mount unshimmable...really more of a DSLR mount in quality, than I'd expect to find on a "Cine Camera"...so flexibility in the UMP made me start looking at that cam...and the more I look, the more I like!

I feel like you in preference...looked at the EVA but the EF mount is a no go for me...but I like Panasonic cameras...then started looking at the UMP after @AaronChicago did a comparison between it and the GH5...long story short....B&H offers this solution to those who prefer SSD (myself) to Cfast as media...and after the 1st TB of media the adapter has paid for itself! https://www.bhphotovideo.com/c/product/1245606-REG/atoch_c2s_cfast_to_ssd.html/?c3api=2572%2C138045278552&gclid=CPWB7oPPr9QCFUVBhgodIgcIsg

The mod looks good....if the optics are good and the Focus scale is accurate, the price would be amazing...never heard of this company...but one of the advantages of EBay and PayPal is security...I would start with email questions via eBay to the seller, as that immediately leaves a paper trail for eBay, in case of a dispute...also check if you're responsible for the $60 shipping and return shipping if they're misrepresenting the lens.

To anyone interested in the EVA but not the EF mount, Mitch Gross confirmed several times on DVXUser that the only mount the EVA will be released in, is EF mount...unrelated to the EVA but certainly pertinent to me, the UMP is 2000 cheaper, B&H sells a Cfast to SSD adapter for all my SSD media and I'm loving the footage out of the camera..a member on this forum did a comparison and the UMP & GH5 cut together beautifully...and it comes with 3 optional mounts...the PL being only $245 and a slightly more expensive B4 mount user swappable...the Nikon with aperture ring will release this summer...so goodbye EVA for me...I liked the name...but the EF mount not!...interesting how modular and flexible the UMP really is...sorry to get off topic! Thanks much for the information Roberto...looking forward to seeing your film!!

Indeed you can!!!...I was going to go the route of the EVA...unlike the Varicam, which would have to have a specificproject pay for it, I could buy the EVA (I seem to remember you gave your producer a bit of a heart attack when you spent a fair percentage of your budget on those Anamorphic beauties!)...anyway...I own a large collection of lenses and without a flexible or optional mounts, I'm looking at the UMP...a member on this forum shot a comparison between the UM 4.6K and theGh5..,they cut very well together, as will the Varcam LT if a get a couple of big projects funded....back to your film if I may,....I never saw anything but the trailer, which I loved...is it available on ITunes? I found every aspect of the film stunning...acting, cinepatography....your Male lead and of course your directing..and writing...would love to see it if there's Çcpd

Well for me personally,the only thing Panasonic's achieved with this mount choice, is I will now start taking a closer look at the UMP...it comes with optional mounts and is actually cheaper than the EVA...no urgency for me though....I'll see what Panasonic does between now and the camera's release.

The focal reduction on the XL is .64 and the increased speed of the lens 1 1/3 stops....the focal reduction on the Ultra is .71 and the increased speed of the lens is 1 stop the Xl gives you the fastest lens and widest FOV ("biggest sensor") possible...you will get some vignette with s35 lenses, with IBIS on... Can be cropped in post and will still give you the widest FOV possible....it does not vignette on FF lenses. The Ultra can be used with no vignette on either s35 or FF, but is a narrower FOV and a 1/3 of a stop slower. Ideally with an unlimited budget and a large collection of lenses, you would own both. For me, the widest possible FOV and the extra 1/3 stop in speed outweighs the occasional cropping that has to be done in post to remove any vignette get on s35 glass...a 1/3 of a stop can mean the difference between getting a satisfactory shot in low light or not...it is not insignificant by any means.....your priorities may be different.

Ahhh... the pink elephant in the room with digital cameras is and always will be secure storage...and the task is expensive and in the case of say a film, storage is vast...redundancy has to be built in...and if done right, a DIT on set...at least one RAID on set and another at the editing suite, plus an additional different back up system to hold all the footage backed off the RAID every day at the end of the shoot...so for anyone scoffing at the cost of the media to shoot RAW on, check out the cost of a couple of 32TB RAIDS....the one below has 8 drives...you can RAID 6 storage off 4 drives, so with good security you land up with16 TB of RAW storage...at 17,000 ...now do the math of how much footage you will land up shooting to finally land up with an edited feature of around 100 min...this of course does not include a recorder for additional backing onto to tape...runs you multiple $10,000s for just the read write drives alone...not including the cost of the tape...so with any of these systems it can be a bit like buying a used yet very beautiful Mercedes with the last of your savings and having nothing budgeted for maintaining it through the years, so it turns into a chicken coop....of course one could wing it...risk the moments and the time and the expense of the crew...and the time the actors give you...paid or for free...but if they move on to other projects...locations change or are no longer available...the short of it is, you do it properly and professionally...with a less data heavy codec/capture system and back everything up, as it should be. https://www.bhphotovideo.com/c/product/773921-REG/JMR_ELECTRONICS_EXTN_8_G4_32T_32TB_16_Bay_PCIe.html

XL...wider and faster...at least in FCPX cropping out a bit of vignette when it occurs is easy...you land up with both a faster lens by 1/3 stop and a smaller crop, so in effect a larger sensor...so why not a little work in post when needed.

Great image Aaron...but then you did make the GH4 sing too...I get mine on Wednesday...it's been a long patient two months! Ultra or XL?

RED stated 13 stops on the RED One...DP's found it at least 31/2 to 4 stops below that...not suggesting it's the case here...however until these cameras are out in the world, they're just numbers on a piece of paper...that of course goes for the EVA1 as well!

@Mercer....actually no....compressed RAW is not RAW....it's a codec.

Your points are all valid, but regardless of how companies intend for cameras to be used, individuals make their own choices, as to how they use what they spend their money on...a couple of lovely features (cinematography wise) have been shot on the $800 GH2....although I would not personally opt for this route!...you are right in that Panasonic used this logic when deciding on this mount...personally I would mate the Varicam LT with 4 GH5's before going the EVA route...but again the choice is personal....ultimately the wait and see what turns up approach, is the best thing with both these cameras.

@Kisaha +100...the camera I will buy if a project I'm working on gets funded, will be the Varicam LT....in PL mount....and The production company will rent Arri Masterprimes to shoot it on...at around $$40,000 kitted out with P2 express, an appropriate RAID for DIT,and ready to shoot a feature, that would be the minimum cost of admission....The EVA is a camera to go with the GH5 IMO, in the same way as the C200 would go nicely with the 5D +ML....the right tool for the right job....though I obviously am only an invisable blip for Panasonic, I had seriously considered just buying this camera....for no other reason than I could see using it for commercial work or TV in conjunction with my GH cams, lenses, rigging, support systems etc....a Varicam LT kitted out for example using Cine primes are going to come in around the 18 to 20 lb mark, requiring around a $5000 Cartoni or whatever your tripod/head of choice...the EVA would live happily on my Miller 20D head....and on and on....so IMO...in the big picture (and reading other reactions tothis mount on forums) a bad choice with this mount....though in spite of some opinions by members on this forum who must have MBAs, as they seem to be more into the business side of Panasonic than I'm privy to, I will venture a guess that Panasonic is already discussing this...Mitch Gross (previously with CD) is now with the Varicam LT and was very active in the prerelease of the EVA, though by his own admission Panasonic started on this camera long before he came on board...on DVXUser 9 out of every 10 comments is a complaint about and complete rejection of the EF mount, and not a peep in response...Mitch is a long term member on that forum and addressing all other questions but this one!...if this was a physical impossibility (of course it's not!) it would have been brought up already...it will be, when Panasonic makes a decision...one they'll have to, or this camera will bomb...makes no sense for me personally to buy a camera costing a few thousand $s after already spending thousands of $s on collecting brilliant legacy glass...I'll simply move to another camera system instead....my investment is in my lenses....cameras?...most of the time I read about cameras to put myself to sleep at night...

This mount may well be another "Yagh" moment for Panasonic...(1) if they think they're going to win over canon users (who love the colors from Canon, NOT Panasonic), good luck with that. (2) The EF mount they are now offering is a DSLR mount....not a professional mount...you can't shim a Cine Zoom with this mount to achieve par focal (3) Their M4/3 customer base is much larger than the Varicam base...far more potential there for selling a "bigger brother" to the GH5 than Varicam down...If I owned a Varicam, I would have several GH5's as crash/Bcams...not the EVA...and lastly...for those who think a smaller sensor...say s16 or the pertinent available lenses are of now value....I suggest you watch Hurt Locker...best picture/best director oscars in 2008....not 40 years ago...if you call it a Cine Camera, there is an implied suitability for Indy filmmakers and as Panasonic is slowly but surely deepening it's reach into the Cine market, this is not the way their....to wit....the overwhelming complaints at Cinegear about the mount, to the point where Reps were mumbling that they were considering other mounts too....Panasonic sold a lot of GH x cameras and for those here who think you can't use them professionally my advice is, get your head out your ass!... an upgrade from their GH and G series cameras is where the market path lies for this camera. @Kisaha to be clear...I'm agreeing with you!