Cinegain

Yeah, put PED (portable electronic devices) in the hold... much safer... as then they're not accessible for additional firefighting (cargo hold extinguishers are one thing, but a battery cell runaway might not give a damn): identify the source, isolate the problem, cool it. Or do you have to check them in as dangerous goods and follow up on special safety instructions (like special transporting containers), which is probably more hassle than just renting it from wherever you're going?

Of course there's the 'J'adore tes transitions' in the comments, because you know, people are simple beings. But to me it's like people aren't inspired to find their own thing, they just copy what others do. It's not just the transitions... of course the video itself is a wink to/rip off from Phil Holland's 'Forged':.. it's like we're losing originality.

Those Sam Kolder transitions, though. Everybody is doing 'em now these days, all them zooms and twirls. I mean, maybe it can be done tastefully, but this was just tacky as hell, no? Everytime a Casey Neistat rises, we get hordes of copycats that just do the same for the sake of being hip... but with poor execution.

Well, first of all, it's Shane Hurlbut, not Shaun. Second of all... he also mentioned that you should 'shoot with the camera and determine for yourself if it fits into your workflow', as we find ourselves in an 'exciting age and place in digital capture, where every camera that is developed does have a place in the industry'. After all, we all have different wants and needs, there's no absolute right or wrong. It all depends on the person you ask and the project it is for. Admittedly he regarding the GH4 he mentions 'what came out of the box did not live up to my expectations'. Yet, a year or so later he goes out on a quest to find the best lenses to match the GH4 in a three part elaborate series and finds the Voigtländer 25mm f/0.95 on which he comments 'F2.5 on this 25mm is amazing. This looks stunning. If I were to do a movie with this camera, I would be shooting on this glass'. Which is a much fairer approach... problem solving, rather than just giving up after one try. Plus, of course you're going to like RAW out of a BMPCC or perhaps 5DmkIII better (I wish there was a GH5 that did ProRes/DNG RAW, even if 1080p only too). But you gotta realize what that entails (size, features, workflow) and what the camera is and isn't. Anyways. We're all grown ups with a certain level of common sense. I bet we can all figure out what would work for ourselves. Again, there's no absolute right or wrong, there's something that works for you that doesn't really work for others and the other way around. Such is life.

Europe with 12-60mm in either Lumix (GH5M) or Leica flavor (GH5L) (thus far). http://www.panasonic.com/uk/consumer/cameras-camcorders/lumix-g-compact-system-cameras.html

Maybe it's fan-tasy, but it's not fantasy. It's just different perspectives. Alternative facts, you could say. *chuckles* If you look at this camera as a unit for a production, it's just well suited. The approach and manner in the way it can be used. That it is exactly an ARRI, with same features and quality, just smaller and cheaper... that is not the case. But it can approach parts of that better than other cameras can at the same (price) level.

Jup, from both Panasonic and Olympus themselves. http://www.panasonic.com/uk/consumer/cameras-camcorders/camera-accessories/others/dmw-ma1e.html & https://www.olympus.co.uk/site/en/c/lenses/adapters_converters/adapters/mmf_3/index.html Not sure if either has an advantage over the other (-- guess the Oly is dust & splash proof and doesn't have that oldschool styling of the Panny). Pretty sure I've seen like perhaps a 3rd party one from maybe Kipon or something on eBay once (-- ah, and e.g. Commlite & Viltrox as well)

There's a bunch listed here: http://geizhals.eu/?cat=acamobjo&xf=227_14%7E816_Zoomobjektiv%7E8219_Four-Thirds#gh_filterbox , there's a couple of f/2.8-3.5, even a Leica in there and a killer 14-35mm f/2 ED at mucho dinero however. Never really explored FT. Does anyone have any info? -- It's interesting to see the Amazon ratings for FT optics. Think people back in the day didn't read reviews, didn't shoot charts, they just went out with their new lenses and shot stuff and loved the results. Like all of them only get like 5 or 4 star ratings. Seems like those were much happier days. Or maybe they were just built to much better standards, or pixel peeping hadn't been invented yet. Need to research more 'bout this set-up:

That's kinda what I thought. V-Log key kinda makes sense, but some talk around here made me 2nd guess that. That they don't offer the new 12-35mm II in a kit kinda surprises me. Maybe the new 12-35mm II isn't ready for the market when the GH5 hits the shelves. Of course getting the kit would make it like 200 bucks cheaper, so that was something I was willing to consider.

And you don't even get the red dot to show off with. There's not even 'Leica' on the lens cap. It's really just the name that takes up most of the premium price. Nah, they do have a certain je ne sais quoi, but like you said, they're really squeezing out that lemon as much as they can, when others have high standards... as a standard.

Yeah, if Sigma can make the 18-35mm f/1.8 for APS-C, imagine what they could do for MFT. They did have the great 19 and 30mm f/2.8 fitted with MFT mount, as well as the 60mm (that I didn't like much, because of the gripless rings styling) and the new 30mm f/1.4. Optically, piece by piece, stunning pieces of glass at super fair prices. They make a zoom, that's like f/1.8-f/2-ish, that's like multiple primes into one, like the 18-35mm f/1.8?

Like, maybe, probably hmcindie's ELIZA? Also on YouTube: https://www.youtube.com/watch?v=ob9td6Ic2f8 https://filmmakersprocess.com/blog/filmmaker-story-mikko-lopponen-short-film Also:

I'm really not into f/4, otherwise the 12-100mm would've been superb for that. I do like f/2.8 in a zoom, so for me to get the benefits mentioned, but with f/2.8 and for that a shorter range, it's worth looking at the new and updated 12-35mm f/2.8 II (I have the Oly 12-40mm f/2.8 now).

With the Olympus 7-14, 12-40 and 40-150mm f/2.8 PRO zooms (w/ MC-14 1.4x teleconverter), is there any more you could possibly need (except for primes faster than f/2.8)? If you're in the EU, there's now the Olympus Test & Wow campaign going on, where you can borrow any one body / lens from a local Olympus dealership with atleast one full day of testing. Might have to plan one of those days with the E-M1 Mark II, 12-100, 40-150 and 25mm.

And I wouldn't, I'd just call out the camera alone.

The Grand Tour is on Amazon Prime and features GH4s already. Of course because you can cram it in just about anywhere, but still. If anything. It's the other way around. Take the whole YouTube vlogger crowd. They don't know and care about getting to know settings and principles of filmmaking, they just want to hit record and go. That's the reason Canon isn't actually quite dead yet. Vloggers pick up a G7X (Mark II), 80D or god forbid, the EOS-M5 Creator Kit and they know they're: getting pleasing colors right of the bat and know autofocus doesn't hunts around, but smoothly transitions (it doesn't however always lock on, mind you). They dump the footage on the computer and rather than taking flat footage and correcting and grading it, maybe the most they'll do is throw on a curve with some post sharpening and start editing the timeline. Professionals shooting a RED/ARRI/etc don't rely on camera's autofocus systems. You'd rather have someone pulling focus either directly or remotely. AF is a sign of convenience, not of professionalism.

That BMPCC is so so good. I'm thinking about just like hack modding/cannibalizing my G7 and fill it up with BMPCC internals. :P

Yeah, it's really no use to fanboy over any brand, just use what works best. If someone claims something and you cannot relate or can even de-bunk it... then well, there you go. That said, Panasonic just kills it in terms of features, usability, reliability and affordability, that even Sony can't touch. I'm open to a good APS-C mirrorless system, but I've yet to find one that's as attractive as the Panasonic and Olympus eco systems where you just everything you'd want in a camera and system, including native 'n compact lens options and adaptability in combination with sensor stabilization and other body functionality that's a dream (vari-angle (frontfacing) touchscreen, dual cardslot, both mic-in and headphone ports, dual cardslot, weathersealing incl. freezeproof, highly reduced rolling shutter effect, etc). Yeah, you can blame the sensor... not enough dynamic range... improved but not super flexible high ISO noise performance... but as has been said before... not each scene has to have tons of dynamic range and you can and should light your scenes. It's hardly any different with an actual cinema camera like one from Blackmagic (which does have that insane DR and color advantage however).

:P Sareesh and his 2 cts regarding the 8 VS 10-bit pre-release controversy...

He's genuinely excited about the value of these Lumix cameras. Just as he is excited about Metabones Speedboosters, Contax Zeiss lenses and other lenses such as the Nikon 'Bourne' zooms or low contrast Tokina RMC optics. Instead of just being openly excited about these things, he had the chance to get involved in some degree. Doesn't mean he sold his soul to the highest bidder and agreed to bring us the Lumix gospel regardless of what it stands for. He's still advocating the same genuine opinion and recommendations he's already had before, so nothing has effectively changed except for perhaps a little influence in pointing the company further in the right direction? I friggin' respect the guy, he's great, skilled and knowledgeable! __ Regarding the V-LOG Key... when upgrading the GH4 to the GH5, you do need a new one, right? Or is it 1x per model type? Does anyone know if there will be a kit with new 12-35mm f/2.8 II zoom? I expected so, but, haven't seen it listed anywhere, also no like DMC-GH5A product designator for it?

Yeah, I love this presentation by Larry Jordan that also mentions Alexis Van Hurkman's book:

I think it's why Simon Cade (DSLR Guide) sticks to a 1080p Canon. He can focus more on the content once he shifts his focus away from the camera itself towards what's happening in front of the camera, actor performance, lighting, sound, etc. I appreciate that approach and statement that gives off that content is king. But... good content, with superb execution, I mean, like, technically, might even be better content than the content shot on a potato. Plus... tech advancement gives you more creative oppertunities. Slowmo, 4K, HDR, gimbals, aerial shots etc might be regarded as gimmicks, but it's just the progression of traditional filmmaking. Everything is a tool you can possibly put to good use. But as it is with any tool, it requires knowledge/instruction, experience and effort to apply. If you're a one man band, it might take a lot of your capacity away that could otherwise be spent on less technical camera related aspects.

Correct. You can mount C/Y lens to EF taking, but not EF lens to CY taking.

That's the reason I have the Metabones Speedbooster XL in Nikon mount. Like, I have a bunch of Nikkor glass and Sigma, Tokina etc are all Nikon mount as well. Allows for easy dummy control with a mechanical ring for the aperture. That means the SB itself is a bit cheaper. Also that alternatively, you can use it without a focal reducer, just with a simple and affordable adapter. But I agree on EF, as a taking mount, it's more flexible though. So for my Contax Zeiss (C/Y) and Leica Summicron-R (L/R) I have the ZY Optics/Zhong Yi/Mitakon Lens Turbo II in EF mount (to m4/3). I then use a simple C/Y or L/R to EOS/EF adapter from K&F (Kent & Faith) Concept.