Cinegain

The one at 23:24 you mean? Seems some form of a Sony. But honestly, you can shoot anything with any camera. Get yourself a JVC GY-LS300 perhaps.

Haha, okay, yeah, these things are a b*tch regarding that.

Oh, dang it. Although I'm not surprised. But friggin' focus-by-wire should be forbidden already! Don't you have one of them low-profile folded pop-up reflector kits with like 5 reflectors in 1? They have 'em in different sizes. The fold up into that little round black bag she's holding. Shouldn't really draw much attention getting in to some place.

Oh, I get it now, so... there's an XLR hotshoe adapter, without any cables running into it. It is... because the 2nd gen XLR hotshoe adapter... doubles as A RAW RECORDER !1!! It takes the signal from the hotshoe interface! Incl. Dolby Atmos audio from the onboard mic they've added to the XLR unit (Vesku...). Dúh. And RAW has 3 straight elements in the 'R', the 2nd letter 'A' has 3 as well, 3+3=6, more so: the W of course has 3 peaks at the top and 2 at the bottom, 3*2 is 6. And RAW is three letters, so 666. Illuminati* confirmed! *Illuminati is a Panasonic trademark, all rights reserved

Good schtuff. Great reflection there in the mirror too. Tried instead of modern 'n light to try something a bit more moody, thinks works quite alright with the indoor scene:

I'm generally of belief that they've taken their turn and are too stubborn to turn around and drive the other way again. They're going with their depth from de-focus system... which needs to hunt around in order to analyze the change in depth character, in turn telling the camera something about the focus, which just causes unnecessary mechanical and processing strain (at the cost of wear & tear, battery life, speed/smoothness, etc). If they could pull that off quick enough to not interfere with the actual recordings, that's one thing, but in my opinion it might just be one of the most inefficient ways to make an AF system operate ever to start with anyways, so to me it doesn't even make sense to pursue the mapping of lens characteristics to make depth and focus assumptions on, other than perhaps assisting an otherwise already existing system (and then I don't mean a constrast based one). But you know... concerning AF Panasonic seems to live in their own bubble. And the thing about bubbles... they float around and don't change a whole lot... the only thing it does is pop in due time...

How's the AF with Blackmagic, RED, ARRI, etc tho? Brings it back to the point of IBIS once again. Is this supposed to be a cinema camera lite? Or is it more of a 'does-it-all' type of shindig? Or... a mini Sony FS/Canon C event capable device?

Those little samples regarding sensitivity, color reproduction and rolling shutter were promising. In the future maybe everything is being recorded vectorized and scalable into infinity. You can speculate a lot about the future and everything will be possible. There are these specialized Canon and Sony camera boxes for scientific/surveillance purposes that will run into the millions of ISO. Things will improve, no doubt about it. Just, for now I'd be happy with usable ISO6400.

I think a clean ISO3200, very acceptable ISO6400 and usable ISO12800.

Well, one of the things they've said previously is that you can't have a proper heatsink on a free moving sensor. The whole thing is just limiting the access to the sensor in general of course, it's like de-boarding a full train through one door rather than all doors, or pretty much having a single lane highway between two major cities, rather than a multiple lanes one: limited flow, congestion, there's going to be more pushing, it's going to be slower/less efficient. Ofcourse it's going to depend on what you want to pull from it and what technology you're relying on. The Samsung NX1 was ahead of its time and was reported to have some sick data pulling capability for instance due to having the right chip infrastructure in place. Think that's the thing you need if you want to pull 4K60p 10-bit 400Mbit/s LOG format internally. Also, better wiring may also reduce noise. And less pixels might be easier to handle as well (with larger photosites = better lowlight in general). Then it's all about finding a harmony between processing, buffer and writespeeds. I can also see a scenario for ProRes/RAW DNG recording of some sort, where you could use the dual cardslots for alternate frame dumping. They would need to be combined after recording. Think that's one of the more intriguing things about it... they could really make it a proper cinema camera. An eVND solution would be pretty cool too, but might be in the way for certain lenses or speedboosters. But not having to cater for stills photography would allow them to greatly enhance the video capturing capability. Of course, for more serious video work, you'd see more folks going from handheld run 'n gunning to putting the camera on sticks, dolly, gimbal, shoulder rig, jib, crane, etc, so no IBIS shouldn't suddenly be something new for cinema style shooters and for new operators in that scene, it's a good lesson to learn, should they rent and operate a Blackmagic, RED, ARRI, etc one day. Of course there's something to say for people who aren't looking at all to shoot like that, that just want their MFT handheld powerhouse in a relatively compact package. From Panasonic's perspective it would also allow them to keep other cameras still interesting and sellable. Where the GH5 is the handheld allrounder and the G9 the stills flagship. Unfortunately the segmentation game is still played strong by all parties.

Do we think it will lose the body image stabilizer (and using EIS instead) for better sensor data pulling ability (regular cinema cameras don't have in-body stabilization, also still making it more interesting to still own (and for them to sell you) a regular GH5)?

For European quicksters (deal runs out in 2hrs), the almost* perfect streetshooter for stills, the Ricoh GR II for €452,78: https://www.amazon.de/Ricoh-Sensor-manuelle-Blendenwahl-möglich/dp/B010DE7ET2 * has a known issue of the lens retracting system pumping air (and dust) into the body, possibly resulting in a 'dust creep'/dirty sensor if not handled properly; though enough people love it, just ask Mattias! __ Also, a bunch of Rollei tripods: https://www.amazon.de/s/ref=sr_in_-2_p_89_4?fst=as%3Aoff&rh=n%3A562066%2Cn%3A!6755387031%2Cn%3A!6755389031%2Cn%3A14221488031%2Cp_89%3ARollei&bbn=14221488031&ie=UTF8&qid=1511640735&rnid=669059031 e.g. Rollei Rock Solid Carbon (Gamma, 16Kg load) | 329,99 €173 | https://www.amazon.de/Rollei-Carbon-Professionelles-Dreibeinstativ-Tragkraft/dp/B01B1GYHEG/

Optically looks in line with the 30mm, so pretty sweet. Cleanly shaved smooth sharp look, one might say. Looking forward to more coverage and direct comparisons that undoubtedly are going to appear in due time.

Looks good. But still not sure if I'd be willing to give up the compact formfactor, again, given there's the Leica and Olympus that are 1mm off in focal length. It really looks beastly on there.

24hrs? Well, most around here are making it into a Cyberweek from 20-27th. Some deals that gotten my attention: DJI Spark | 399 EUR | https://www.amazon.de/DJI-Spark-Drohne-alpine-weiß/dp/B0723DCXWM WD My Passport Mobile 4TB | 94,48 EUR | https://www.amazon.de/Passport-WDBYFT0040BBK-WESN-Festplatte-Kennwortschutz-Oberfläche/dp/B01LQQH86A Logitech Harmony Elite + Hub | 159 EUR | https://www.amazon.de/Logitech-Harmony-Elite-Touchscreen-Fernbedienung-Entertainment-schwarz/dp/B014GXQOJ2 _ For you US guys, as a lens kinda guy I always keep a tab on a couple and saw that this Tokina Cinema AT-X 11-16mm T3.0 for MFT is back at 799,- USD again: Tokina Cinema AT-X 11-16mm T3.0 for MFT | 799 USD | https://www.adorama.com/tn1116cm43.html (FYI, EF mount @ 1499 and PL mount @ 1899 USD!)

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I had the GH2, but only with the 14-140mm kit lens. I as well started looking what would be the most affordable options, especially bright ones (the main reason for me to go from bridgecameras to an interchangeable lens system one was: bigger sensor, better choice of (bright) lenses, ability to throw background out of focus and manual focus rings!). So my first additional lens was the Minolta MD 50mm f/1.7. Nice little lens, I gave the guy an offer for the lens alone, he accepted and still send the body (XG-1) along with it, lol. xD Then I think the Pentax SMC Asahi (non-Takumar) 50mm f/1.4 and a horde of the cheapest eBay C-mounts I could find (incl. well-known the Fujian 35mm, though mostly just crap toy lenses). Not only did I love the fact these vintage lenses lenses were cheap, but they were optically amazing, had been built to last and it was proper manual focus! But... as I managed to pay back my study loans (I have a rather well rewarding job, though, hopefully in the near future (going parttime) commercially shooting stills & video will be a thing too), it opened up some 'treat yoself' moments. So, yeah, I might've bought a few too many lenses. And it doesn't help when you and kidzrevil can't stop to mention and praise these Nikon (pre-)ai lenses... (now, I have a bunch of Nikon lenses, but really only one Ai-s: 28mm f/2.8) that makes me feel I might need to check them out for myself. But, nah, let's not. Insert Spongebob 'a few moments later...' post with confirmation of won eBay listings of Nikon (pre-)ai lenses. xD

Guess the EUR-USD (or JPY) exchange must've been playing quite nicely in our favor back then for us paying less in EUR than USD (actually, 1499 EUR was body only launch price). Then I'd gotten used to EUR = USD prices. Nowadays I see a bunch of stuff that's lower in USD than EUR, although the EUR holds up better against the USD.

Yeah, pretty sure my GH4 with 14-140mm was 1499 EUR incl. kit lens. So that's nowhere near 1700 USD. Also sure the official launch price of the GH5 was 1999 USD or EUR body only. That's got little to do with how much one ends up paying for it of course and more with where Panasonic themselves think it's place in the market is. However, the G80/81/85 has not been replaced by the G9, instead the G9 is a whole new single digit Lumix G flagship category for stills. The GH5 itself is a highly advanced camera with a very specific purpose and audience, so, because of that, they've made it extra special to appeal to that audience (in turn turning off potential buyers with no use for those features, not willing to pay a premium)... yet... pricey. These to me give no indication whatsoever that the GX-range will be more advanced and extra pricey. I can see a GX90/91/95 selling for 899 (believe my GX80 was 699 incl. 12-32mm, at launch (but I believe still 100,- off from regular price)), but not much more than that, certainly not 1000+. If anything, Panasonic will keep playing the segmentation game... so any single digit camera model is going to be 1000+ (GX_ for rangefinder/lifestyle photography, G_ for professional stills (action & wildlife edge), the GH_ range with pro video features being just a hair off from being 2000,-) and will have a lot going for it. The lower tier cameras will have some features left out, forcing users that need more to cough up the do$h for a higher tier camera, or suck it up, therefor not breaking the bank. The GX80/85 for example didn't have: a frontfacing screen, any audio ports, dedicated SD slot (it was at the battery compartment instead), CineLike profiles etc. The G80 cleaned up that act quite a bit with all those things and then some (like weathersealing) except for a headphone port... yet, didn't have the new sensor or anything fancy like 4K60p, 10-bit or V-Log L. They're not going to release a camera that is smaller, cheaper and does the same things as the bigger players in their line-up, they've got to have that clear gap. And the double digit G_0 and GX_0 are just that. Affordable sub 1000,- cameras. Then there's even the 3 digits GX_00 line-up below that. There's a trend where all the somewhat better cameras and lenses are tending to get more expensive, but I don't think it's likely for a real 1:1 GX80 successor to be priced upwards from a thousand bucks, I just don't see that happening quite yet. Anyways. Again, the rumors were about Panasonic starting to offer choices in their high-end flagship line-up. First the GH5, a video allrounder. Then the G9, stills flagship. Now... who knows. A7S style? GH5 body but low megapixel count sensor that does better in lowlight? Personally I think there's still nowhere to go for a GH5 shooter... the EVA1 is supposed to bridge the gap between the GH range and VariCam LT, but is it really, though? You'd have to ditch your native MFT lens line-up and you're still looking at spending 5000+, more like 10k when you've got it kitted out. Now... what I think would be interesting... take a Canon XC15, right? Remove the fixed lens and give it a MFT mount and APS-C sensor (JVC GY-LS300 style, with variable sensor mapping 'n stuff). Keep the MP count on the low side (like the Sony A7S) for better lowlight... and forget about stills altogether. Add sensor stabilization, obviously... and do whatever you have to (in terms of body size: battery grip like bottom) with buffers, processing and storage (would be pretty cool to have quickswap mSATA drives like the Videodevices SpeedDrive) to enable ProRes and RAW DNG with the camera. Keep the price under $5k. Basically... you take the essence of the BMPCC... a fairly compact standalone (no need to wire ext. monitor/recorders) ProRes/RAW DNG cinema camera and bring it quite a bit up to speed.

I think given the prizes of these anamorphics, you don't sell them by putting online sample footage, you put the lenses out to rental houses and those who care, will just rent one and sample it first hand in whichever way they like. Of course, that's a bit tough luck with the vintage schtuff... then you have to go by reputation and example work.

He used to be on here all the time, think he's got good ties with Andrew/EOSHD. He started out with custom housing and modding the Helios-44-2 (58mm f/2, hence the '58' in everything) with Canon and Nikon native mounts, they were rather affordable and you could opt for different customized characteristics such as oval aperture, flare coloration and contrast. Unfortunately it seems that these days every succesful 'start-up' if you will eventually goes after the few folks with the deep pockets, rather than the many with less to splurge. And of course the prodution of front elements for different focal lengths to create matching sets isn't necessarily an easy and affordable undertaking either. Just thought I'd mention him because I remembered he'd been on the path to do something with anamorphics in the form of 'Olivia Scope'. I'm not really aware though if that hit 'production' sorta say. I've only seen like product teasers, not real footage, wasn't aware any was out there. But I always liked his stuff! Still regret not jumping on one of those customized ones back in day when he still did the FF58. Thought because you're on the EOSHD moderator panel you'd have an 'in' with him. Regarding observing quality from a video... well, you can also shoot 2D lens test charts and pixel peep, but I'd reckon that would tell you even less? To me it's more about the essence of what an optic is able to convey like emotionally. But you know, of course a diverse pallet of different kinds of scenarios, both 'lab' and real world would ideally be availlable for you to gain an idea of how the lens behaves and how it would fit into your own collection and style of shooting. Regarding regular Helios 58mm mods, there's still http://www.motionsix.co.uk/cinema58/ & http://ironglassadapters.com/ as well.

Well, it was already rumored that Panasonic would split their flagship into flagships... like Sony did with the A7, A7R and A7S series. So... now that they've decided to give us the photocentric G9... maybe up next indeed a low MP count GH5s with lowlight focus (clean ISO6400, usable ISO12800?).

Wasn't Richard Gale (DSO) doing something with anamorphics? Haven't seen him around here for ages.

Ah, so we do have enough in common to attend LAS meetings. The never ending quest to find the holy grail look (if you're a bit of an audiosnob, it's comparable to searching for that perfect audiosignature; as it happens to be I don't particularly have a single set of IEMs/headphones either, lol). Well, I have like 35 native M43 lenses alone, add tons of Nikon mount lenses (be it Nikkor, Sigma, Tokina or Vivitar for example), quite a few Contax Zeiss primes to make a set, only 2 Leica Summicron-R primes and a boatload of older really vintage stuff, like all the Russians and other quirky lenses in M42 mount, FD zooms and primes, Pentax-M, Minolta MD and a bunch of C-mounts or other stuff... and it's fair to say it might've gotten just a tiny bit out of hand. Good call on shrinking the collection, will probably follow your lead before I do a country swap and move 1000+ km away. Moving away is always a nice excuse to finally get rid of some stuff that doesn't necessarily enriches your life.

Was sorta hoping you weren't joking, would've made me feel less bad about my own buy & try behaviour over the last years in search of the holy grail look. Didn't you know about that yet? The ciecio7 adapters used to be very popular (and maybe they are still... things seem to have quiet down since the GH2, BMPCC & GH4 days). http://stores.ebay.com/c7-adapters/_i.html?_nkw=PL+Micro&submit=Search https://c7adapters.com/en Another well-regarded mount adapter maker (mostly Russian stuff like Kiev-16U, OCT-19, OCT-18, ...): http://stores.ebay.com/rafcamera/?_dmd=2&_nkw=Micro https://www.rafcamera.com