Cinegain

Also on YT: https://www.youtube.com/user/djiinnovations/videos .

If you want crazy fast... Handevision is finally selling at a price it should've been from the start: https://www.bhphotovideo.com/c/product/1056300-REG/handevision_hvib4085m43_ibelux_40mm_f_0_85_lens.html . There's a reason for the pricecut, nobody really likes the hugely overpriced underwhelming lens... but maybe things get a little more interesting now that it's 499,- . Although... probably not.

'Bout that... https://www.sandisk.com/home/memory-cards/sd-cards/extremepro-sd-uhs-ii So indeed what Don was saying about them new video standards: https://www.sdcard.org/press/thoughtleadership/160301SD_March_Thought_Leadership_FINAL_video_speed_class.html . Would be good to see those kind of cards hitting the market! And more dual-slot cameras, with indeed new media format support like UHS-II. Funny to look back at earlier post speculating about/suggesting things for the GH4 successor... I think the E-M1 Mark II is pretty sweet though, but Panasonic could kill it. I was thinking about that battery grip solution for storing stuff on a more sizeable and faster medium. Could be cool. Hope they'll have more info out soon!

60p isn't 10-bit 4:2:2 internally ~ official page: http://www.panasonic.com/global/consumer/lumix/gh5/

I really think that's something we'll see a lot more of in the future, from Olympus as well. Initially I believe for primes over at Panasonic it was restricted to the Leica ones... now we have the affordable Lumix 30mm f/2.8 Macro OIS and 42.5mm f/1.7 OIS. Especially the importance of hybrid or dual IS is not to be underestimated. Olympus realized that and added IS to the 300mm f/4 PRO. I don't think Panasonic and Olympus will support dual IS for one another... but... atleast there's 5-axis sensor stabilization now.

Yeah, I read about that (1, 2). Well, now SLR Magic did it. And they were going to be sick expensive. So, not really something for me. I need to check FM Lens. I read on Facebook a week or so ago that they were up to something new (>).

Ha. No worries. I do enjoy taking stills and a zoomlens is very practical, especially if you're accompanied and nobody wants to wait around for you to figure out the best composition and settings. You know, the Veydra Mini Primes were created with the MFT system in mind and come in the flavors 12, 16, 25, 35 and 50mm (and well, 85mm). So basically, a 12-60mm is like a whole set of nice focal lengths for M43. Image quality isn't terrible, but isn't stellar either. Sensitivity isn't that great. Like you said, it's a compromise. The dual IS2 is killer, though. It was a hundo more with it than without it and indeed, you can always sell it. But it's a new lens in the line-up and I was curious. Though, that's a problem as I'm always curious and I always rather find out myself than read a review by some tech review site I don't know.

GX8, GX80, G80, then version difference amongst the same model, they really make it easy on themselves... someone else made a good comment the other day. Reviews and exposure are going to suck for Panasonic because there would be a lot of hits on a single name... yet... now it's spread between G80, G81 and G85. 675 US$ would be a damn good deal. My order total was £815.96, which was a tiny bit over €900 back then. Body only here sells for €899, but my order from the UK included the 12-60mm and a Panasonic 64GB card. Plus, because I bought it there within a promotional time frame, I was able to apply for the free battery grip (did that two days ago, for some reason you have to wait atleast 28 days before submitting your claim), let's see if they'll actually send me one. So, not too bad of a deal. I think the G80 shares the E-M1 Mark II philosophy. It's for the hybrid shooter, but one that doesn't neccessarily need it for cinematic applications (where one would appreciate LOG, anamorphic mode, et cetera), as such they're not paying the premium price of having the GH-flagship model. Think mainly, they just appreciate to have the weather sealing, vari-angle touchscreen, 5-axis body image stabilizer and a mic-in socket, the more practical things. The G7 stepped up sensor performance quite a bit, the GX80 introduced 4K with sensor stabilization. Then they smashed both together and added some whipped cream and a cherry on top. It's currently the best thing Panasonic has to offer, until the GH5 arrives. But word is... the GH5 is going to be priced along the lines of the E-M1 Mark II (€1999; which I actually think is a supercool price (for the GH5, not so much the E-M1 Mark II; they should've just called it the E-M1 Pro already, then we wouldn't perhaps be arguing that the E-M1 successor is way more expensive than the original... but the public might've understood that a pro/premium body to go with pro/premium lenses is just going to have a premium price)). So, overall, the G80 remains attractive for all sorts of reasons.

Me neither. But it looks like a good deal. For Nikon adaptability I'd have to change the mount apparently though: http://www.leitax.com/leica-lens-for-nikon-cameras.html . That's already what I was thinking. So either do that (as I have the D5300 and a Metabones Speedbooster XL (0.64x) for Nikon)... or just let it be and use a cheapo simple adapter for L/R - EOS and use the Zhongyi Lens Turbo II (EOS - M4/3 0.72x) (like with Contax Zeiss; would be interesting to see how they compare, as some people swear by a Leica R set and some by CY Zeiss). Hum. That does sound like a good time! And a lot of footage, ha! Yeah, sometimes there's a lot of pressure to nail a moment, but indeed, why not take a burst? Sometimes a micro expression can make a lot of difference. It's not cheating if the results speak for themselves. Yeah, the GX85/80 isn't the most ideal camera to use, but it certainly is a convenient one for size and results! Well done, good luck on the edits and replacements. -- btw, Olympus is also killing it, this week's headlining picture shot with the 25mm PRO is stunning: http://www.43rumors.com/weekly-43rumors-readers-pictures-roundup-123/ .

Yup. The E-M1, but that's mainly for stills. More serious stills: D5300 (although I think there would be an issue with adapting a Leica R? Need to check that). Video mainly the Panasonics (GH4 as a production tool (though gets less and less use (Andy Lee would probably understand)), BMPCC for that thick footage, GX80 for keepin' it compact, G80 that rivals the E-M1 Mark II in some ways).

Yeah, Mirrorlessons really gives everything a fair shot, I like 'em. ZY Optics/Zhongyi/Mitakon has great stuff. It's like modern vintage lenses, but not in a hippy dippy Lomo Pezval (albeit pretty slick!) or Meyer-Optik-Görlitz Trio-/Primoplan kinda way. They're like somewhere in between Zonlai, Samyang and SLR Magic. Cool options, fine prices. Northrup is one of these polarizing characters, but this video was kinda fun, going on this whole rant and then the plot twist... You really fetched yourself a nice deal there! You've gotten me curious about the 30mm, gotta try that out. Maybe a boosted 50mm Summicron-R could get me somewhat close to that 42.5mm Leica magic at roughly 1/3th of the price. Plus, it's usable on other cameras as well. Again, never had the luck of shooting Leica glass (unless you consider Panasonic fixed lens cameras with a Vario lens a real Leica). Good food for thought for sure.

Oh, I'd do that too. Always good value to get a lens with a body (I just about did that with every camera I bought that had a kit version availlable). You can usually sell it for what it costs on its own, so why not give it a try. Might turn out rather beneficial for stills shooting, but also for video the on-the-fly flexibility and dual IS are two solid ones. You don't have to zoom when filming, I use a zoomlens as multiple primes, so between shots I can pick different focal lengths (do have to set things accordingly of course), so the variable aperture in that case isn't a biggie. It's just convenient not having to swap out lenses. If you're shooting an event during daytime, you might not care about the sensitivity all that much anyways. But of course in all these regards a f/2.8 throughout is very nice to have.

Just tell 'em that what they're shooting should be motivated by the story/emotion it's trying to convey. And always ask yourself the 'what?', 'how?', 'why?' of things. Everything begins with a 'set'. Doesn't have to be a legit studio set, it just describes the location you're going to have your shoot at. Pick/create a setting that itself supports the story; to make it believable within its own reality. Often when people are starting out, they care too much about the camera and technicalities and forget about things like location and wardrobe/props (like kids (in their everyday clothing) playing actual warfare (guns, bangs, bullet holes, blood) in their urban neighbourhood (without any real interaction with/response from their environment)). Once you have your story, create a universe where that story is taking place, be consistent and make it believable ('believable' doesn't neccessarily mean 'realistic', I could imagine a comedic take on previous scenario and kids are playing warfare with cardboard costumes on and having cardboard guns that shoot Skittles, people coming out of their homes to collect the yummy richochets). Thing is... you've got to really sell it to the viewer, suck them into your reality and make sure they're not thrown off. On set, before any legit shoot, there are checks for 'light', 'sound' & 'camera'. When everything is in order there's the call for 'action'. These are the principles you need to think about. The impact of light (and shadows), sound design (maybe more so a 'post' thing to think about (foley/SFX/ADR/music)), camera set-up/use and the actual action (it's about 'motion picture' after all). What mood are you trying to set and how do these individual elements work together to create said mood? When you introduce a change... make sure it's done with purpose. A lot of times when people get new gear, they start using it... because they have it, not because the story asks for it. It gets boring quickly if every shot is a slider shot. It's just too much. Don't be a slave to your gear, let the gear work for you. Do things with moderation or when it actually supports the story to do it otherwise. Think more about your framing, about the movement of the camera and that of the subjects... what can you do with that? What does it (subconciously) tell the audience/what impression would that scene make? I think we all agree... you can shoot something enjoyable on $0 budget and a potato, if that potato was used to tell a interesting and engaging story, that took its audience's mind offa things for a second and made them experience 'something'. Sometimes I say, it kinda is emotion pictures. It's conveying mood and emotion. It's visual storytelling. It's art. Like a painting, but one that is in motion. There's a mood, there might be a message, there's room for the viewers to explore these things for themselves, wonder and try to figure it out, but hardly anything ever is something completely random without a pay-off or reveal. Just make sure there's some motivation behind what you're doing and you'll be fine. In the end it doesn't really matter all that much if you shoot something on a RED or a Panasonic Lumix... in 1080p or 4K... or in potato quality. Just make sure that what's in front of the camera is solid and makes sense... that's the bigger picture. Technically... most you might ought to know, if applicable at all (smartphone or GoPro could just be as easy as hitting the red record button), is just the basics of light capturing. Framerate, shutterspeed, aperture & ISO, with the possible addition of light or ND... what each does and the relationship between them. Maybe lens characteristics (effects and use of focal length, compression, focus and separation). And how to edit everything together in post... especially when and how to make effective cuts. And well, it does help to make sure the audio doesn't completely suck before they show it to anyone. But that about it. Technical information is always at your disposal. Ideas and creativity... they need to be sparked. It's much more the global understanding why one would do certain things a certain way, rather than knowing specific technical details.

The CY Zeiss 21mm is pretty legendary... that means pricey though... I'd say that might be the best sub-24mm option out there. There's the 15, 16 and 18mm of which the 18mm most usable, but also pretty rare to find. Maybe look at the Zeiss ZF/ZE-range as well to open up options...

The Olympus seems very prone to clipping highlights. Think I've noticed that here and there. I believe the consensus in this particular case is: you protect your highlights and you raise the shadows. Sensor performance apparently has gotten better and the introduced noise looks fine and organic, keeping things acceptable and in check (the GH4 behaves poorly in this regard, improved much on the G7 and later cameras already).

Who? Steve Huff? The Zhongyi 42.5mm f/1.2 is a decent much more affordable alternative... though it behaves more like a vintage Zenit lens. Mirrorlessons did a good piece on that: http://www.mirrorlessons.com/2014/11/17/the-zy-optics-mitakon-24mm-f1-7-and-42-5mm-f1-2-micro-four-thirds-mount-complete-review/ .

Yeah, doesn't matter what gear you have, what car you drive, Murphy will find you. The lens is heavy enough, imagine more metal! I kinda understand that one.

Possibly the best lens M43 has ever seen. Just the price... I never shot with Leica, but if I would, I'd probably use the money to buy the Leica R 35 & 50mm E55 and boost 'em.

'Check yo stance befoh you wreck yo lens.' Ouch! Sorry to hear man. Hope you can put it back together alright! Agree with Damphousse! I feel the sorta the same way about batteries. One time nearly fried my GH2 back in the day, because I wanted to be a cheapskate and import the cheapest I could find shitty (DSTE) batteries from China to save a few pennies. What was I thinking? Only quality stuff, man! A good tripod is like a loyal pet that with some love, will accompany you for years to come!

You could get a FocusShifter, if that's what you mean: http://focusshifter.com/follow-focus-dslr/ . But it's generally not a good idea to touch your camera and the lever will shift the center of gravity ever so slightly. Indeed as said, the Aputure DEC is a nice system, but restricts you to EF lenses for M43 cameras of course. Cheapest way: squeeze your aperture to create a plane sufficient enough to have some wiggle room on tracking your subject and just keep you focus fixed and stay a steady distance from your subject. You an increase/decrease your distance to create out of focus as a tool to reveal something for example. Or... switch to a Canon with dualpixel AF and enjoy continuous AF.

Yeah, but isn't that another case of the:

Tbh, Obama had a lot of plans too, then he bumped into the actual system and found out he's more of a face/puppet than someone with actual powers to make change happen. He still needs his radical plans to get legal backing and support from everyone in the system. I mean, for Obama two major issues were Guantanamo and Obamacare. He didn't have any power to just snap his finger and have it done with. As such, Trump will need to jump many hurdles, but he's like a spoiled kid, that's used to get what he wants. So... I think this won't last more than 1.5 or 2 years. He either gives up, because he can't get his way. Or he pushes crazy ideas and in turn needs to be pushed out of office by force. Anyways. I'll get my popcorn out... and hell, I might even start watching tv again...

Assumed correctly. Without one, maximum 10-bit internal (1080p)/external(4:2:2 over 3G HD-SDI/HDMI up to 2K/4K) (non-RAW).

And... it's official! Sony https://blog.sony.com/press/sony-expands-fs-series-with-new-fs7-ii-camcorder/ | https://pro.sony.com/bbsc/ssr/show-highend/resource.solutions.bbsccms-assets-show-highend-fs7ii.shtml | http://www.pro.sony.eu/pro/lang/en/eu/product/broadcast-products-camcorders-digital-motion-picture-camera/pxw-fs7m2/overview/ CVP http://cvp.com/index.php?t=product/sony_pxw-fs7-ii B&H https://www.bhphotovideo.com/explora/video/news/unveiled-sony-pxw-fs7-ii-camcorder