Cinegain

1389 EUR. I mean, cool focal length & quality, but that's like a whole set of Contax Zeiss primes (25, 28, 35, 50 (f/1.4), 85, 135mm f/2.8) and a focal reducer though (Hollywood f/2). That much for one lens is something you really need to think twice about. But if it's worth it to you, it's worth it. The wide end spectrum doesn't offer that much selection and you make solid arguments behind your purchase. There's some psychological limiter in my head though that doesn't allow me to purchase lenses that are more expensive than the top body in the system, even with the knowledge that what really makes or breaks an image has got more to do with a lens than with the camera body. But... it's just one focal length. If that's all you shoot. Great! But like the Veydras a 12mm, 16mm, 25mm, 35mm, 50mm and maybe 85mm are pretty much must have focal lengths in my book. If you are willing to spend good money on top notch lenses, how are you going to approach that financially? If money is no problem, then no problem! And again, you only shoot one focal length, awesome! But a couple of times 1250+ EUR for a consistent set adds up quite considerably. If you're mixing and matching... won't it be tough matching mix branded lenses or just lenses of such different stature? Dunno, for me personally the Leica would be a tricky option. But it sure is an incredible one. Quoted for truth! The sensor performance itself and the stabilization thereof are quite attractive! Purely on imaging results, those might be the more interesting options to explore. Yet... until the GH5 comes out, the GH4 remains a great production friendly tool with all its bells and whistles of course. If I were to be in a position where I'd have to pick a camera to stick to for the next year (or two, maybe three) and could wait it out... I'd definitely would wait to see what the Olympus E-M1 Mark II and GH5 were going to be all about. If only, because it might cause a drop in price of the GH4 and other cameras and see the 2nd hand market getting flood with camera bodies from people who are upgraden from camera X to that GH5.

You guys seen this one? ~ http://www.kodak.com/consumer/products/ektra/default.htm Yeah. Hum. Not sure. Kodak used to be a household name, now it might just be a gimmick? We'll have to see about that. Meanwhile Xiaomi is at it again! Note 2 http://www.mi.com/minote2/ and concept (but real and soon availlable??) MIX: http://www.mi.com/mix/ . That's kind of exciting, no?

My SLR Magic 25mm T0.95 Hyperprime CINE did great on my Panasonic bodies... mounting it on the E-M1... not a perfect fit at all. That was metal on metal scraping... I didn't dare to continue fitting it. Then I read somewhere online that margins for the mount indeed differ. My mind was boggled! SLR Magic offered to exchange the mount, but there was a risk of it being too sloppy on my Panasonic bodies afterwards. Someone online said that you just had to push through and it would fit... and so it did. Very very snug and a little bruised perhaps from forcefully putting it on there. Weird. One system. One mount. But not exactly universal.

Ehhh... SLR Magic creates some magic stuff! It's perfect. Yeah, not wide open, then again, don't start claiming Samyang lenses are. Atleast the SLR Magic is nice 'n dreamy wide open, whereas imho Samyang just shows a lack of quality. I went with the 25mm T0.95 because it seemed to outshine the competition in just about every single way. Sharper stopped down. Creamier bokeh. Work of art really. Got nothing to do with imperfections or a vintage feel? I found 'em pretty modern with a twist. Voigtländers seem a great alternative if you were looking at all manual solid lenses, but I'm digging the SLR Magic CINE approach personally. Also the Veydras are a superb option. Just... you can't squeeze out more light and it has a fairly tame character. But it means you get results after results everytime. If you want to get the most out of 4K, like resolving wise, that's probably where it's at. The Lumix lenses (the older ones especially) tend to be very poppy and modern. Saturated colors, contrasty, sharp. The 14-140mm was nice combined with the softish 1080p GH2, but I probably haven't used it since. It's very videoey because of its characteristics and I'm someone who likes the possibility of shooting at f/4 or faster as well. Especially on this crop sensor format, you've got to let the light in, so I've turned to f/2.8 or faster zooms and sometimes even brighter primes. Added bonus is the ability to increase the subject isolation and really pull your subject from the background. And primes really excel at their focal length, a zoom is always kind of a consession between convenience and performance. If you forget about the Lumix glass and leave the pricey Leica glass alone, you'll find the Olympus glass is a little more classy and more middleground. You can't really fault most of their lenses. And the outstanding PRO zooms could be everything you'd ever need. 7-14mm, 12-40mm and 40-150mm f/2.8 PRO with 1.4x teleconverter option. Wowzahs. Non-PRO primes have been solid too. Think everyone here must have or have had the 45mm f/1.8 at some point. The 60mm f/2.8 is probably the best macro in the system line-up and the 75mm f/1.8 is like the holy grail portrait lens. Heard great things about the 17 and 25mm too. But... these really shine on Olympus bodies, on Panasonic, especially the non-sensor-stabilized GH4, less ideal. Sigma had some EX DN lenses dirt cheap back in the day. 19mm and 30mm f/2.8, optically brilliant (built wise maybe not so great), cool for shooting 4K on the GH4. Earlier editions had a grippy ring. The 60mm and the newer ones had a gripless finish for some dumb reason. In the end though, it all depends. You need the 4K for its crispness and resolving power? Do you need it for flexibility? What do you need the lenses to do? To be flexible as well? To be compact? Be close to perfection without any quirks? To nail focus? To give you a nice base image? To give you moody looks? You pick a certain camera for a reason, you pick certain glass for a reason. Needs and wants. And then there's just personal taste and preference. But atleast we live in a day and age where we get to have all these options! There isn't one lens to rule them all. That's why many of us have vast collections of different lenses, even with same focal length, just because they handle or render so differently. That's not just between modern and vintage, but as well between Panasonic Leica VS Olympus PRO and Canon FD VS Nikon AI for example.

Not really, but a studio set-up is way different than what you'd use for actual filmmaking. You'd use specialized studio/broadcast equipment. So, something like this (and that's just one in a multicam studio set-up): For over the shoulder work and on-location type shots some broadcast ready type of camcorder. ENG. A little more in this direction: Guess they use a lot of Sony. Other than that. Google is your friend. It's the easiest to find out about movies and series, though: https://shotonwhat.com/ http://www.imdb.com/title/tt5778848/technical?ref_=tt_dt_spec (e.g. with very limited information)

That Pilotfly H2 would work pretty sweet, no? Single pistol grip, or configure it with the optional handlebar. Mount it onto something and remote control it. Came-TV has some similar stuff. But my memory is pretty decent, so I remember you posting the following: ... that seemed to have worked out pretty well? So what exactly calls for this wanting to change things up? More stability and weight distribution with two handles?

Is that ever going to work with a C100? Going from a Ronin-M to a Beholder DS1 is quite the stretch there... Although, I did see a Pilotfly H2 being set-up with a Sony FS5, so who knows. Not sure if you'd want to be walking around like that, though. Do you even lift bro? Dunno, for gimbal work, I'd probably stick to A7/GH-series or something. OR... if you must have that Canon swag, go get a Canon XC10/15.

Yeah, don't think that's really going to make you all that happy. I think some proper entry level rigs are e.g.: Maybe something like this from Kamerar: http://kamerar.com/collections/rigs-stabilizer/products/socom-video-shoulder-rig Or Ginirigs... http://www.ginirigs.net/product-category/dslr-rigs/ Then there's Proaim/Camtree (Cinecity)... https://www.proaim.com/camera-rigs-supports/camera-cages-shoulder-rigs/for-dslr-mirrorless-video-camera.html Or just do something modular you put together yourself. Get a cage or base. A raiser with rod support. A rod displacer. Some rods obviously. Handles. All sturdy but lightweight metal or carbon. A shoulder pad. Magic arm. Movofilms has some decent stuff. Smallrig of course. If you really have no budget... well, maybe hit the casino to atleast double it? And then something like this? http://www.ebay.com/itm/Filmcity-Shoulder-Support-Mount-Carbon-Fiber-Rig-Stabilizer-fr-DSLR-Camera-Movie-/122152704355

I love the BMPCC look. It's very low-fi S16 filmic sorta speak. But I don't like mushy aerial shots. It just doesn't feel right. There's nothing filmic about it to me. It's like lowres spycam footage with ugly color. Just makes me want to puke almost. But izallgud. To each their own. I guess it's the other way around as well.

You know what. I actually liked the Phantom when you'd just hook up a GoPro. * note how relatively ancient these video are... already an awesome job back then. I guess we just have the prizes, compact size and level of automization now, but for me the Mavic's image is a step back Not much wrong with the Phantom 4 either though, like in all previous non-Mavic Casey vlogs, or e.g.:

It's 4K30 twixtored to 60p. Really think so, huh? Well. I'm with Luke on this one! The 4K high detailed and 60p are terrific on aerial stuff!

Look at those colors, look at the stuff in the distance: Of course, it's a class of difference. But that just hits the spot with me. That resonates. But even Phantom 4 footage does. Casey Neistat. He started using his Phantom again, after having lost his Mavic Pro... ( Casey, Casey, Casey...) I found the footage instantly much better. I've talked about it before... the stability, the color, the rendering of objects further than the plane of the subject. It looks off to me on the Mavic.

Yeah, that stuff is definitly off. I can't be charmed by it, I'm afraid.

Hear ye, hear ye! I love the sensoric results of the D5300... but man, I come from an interchangeable lens background that started with the GH2. I just don't get OVFs and I like to work in liveview. That makes the D5300 just a horrid experience to be quite honest. That slapping around of the mirror. Geez. I mean, especially when shooting stills in liveview; I like the spirit, applauding yourself and all, but just 'no'... atleast the higher-end bodies have some tripod mode or something, that only uses contrast based AF detection and keep the mirror from slapping around. And indeed, with EVFs and liveview you get that what-you-see-is-what-you-get experience and all the aids that we're used to from all these mirrorless cameras making shooting a breeze. Why can't they include that? Why do DSLRs remain to be so traditional? Ideally, I'd be shooting a mirrorless D5500, because that 24MP APS-C sensor and those colors right off the bat... ooh la la. That's where it's at. I don't need fullframe. Big bodies, big lenses. No chance of keeping things small and light. But APS-C... a great combination of compact and performance (& price). And closest to S35. Yet, when needed with mirrorless systems, you could boost it towards fullframe if so desired. With a mirrorless APS-C Nikon, finally people would give fighting over the Samsung NX1 a rest already. I've been wanting to go mirrorless APS-C from the M4/3 system now... but Sony's not going to be it. Fujifilm is kinda close, but things like no vari-angle display and no sensor stabilization, still put some of the M4/3 cameras in front for me personally. Samsung NX1 and EOS M5 are not going to work for me. It would just be great if Nikon made some efforts there. Tell you what, they could give Sony and Panasonic a real challenge, 'cause I'd be all over it like *finger snap* that. But you know... it is what it is. Purely based on quality of the results... it's pretty spectacular; I guess that's why we just put up with quirks like that...

If you get a good alternative (Zhongyi!), rather than the cheapest (brandless), you're fine. Maybe it's 87% of the performance at 25% of the price? The cheapest might be 45% performance at 20% the price? (*just pulling numbers out of my ass for illustrative purposes) Means, *ting ting ting*, the Zhongyi Lens Turbo II would be best bang for buck. Though... I do agree on the 'going handheld' part. Not sure about the 18-35mm as a handheld lens... add a cage... a rig... maybe a lens support, follow focus, mattebox with filter trays, flag/barndoors, put it on a tripod and yeah, foh realz. Sure. But you've got to realize it's a huge and heavy lens indeed. The benefit of course, is what it's known for, it's like multiple prime lenses in one lens. So... it's good optical quality and you don't need to switch out lenses. But everything at a price. So purely handheld in reality you might feel a little cumbersome. It's not something I'd just do with the Nikon 28-70mm & 80-200mm either. But if you can handle it and know what you're getting yourself into... no problemo! Different people... different styles!

If the Alexa Mini was an option, I would have one by now. No. Two! Haha. I get where you're coming from. Some are reporting success with it on some G7 bodies. Not sure what the key is there. I don't really need 30+ mins recording per se, and as I didn't want to set-up my cameras again from scratch after checking out how legit it would be... and being scared of losing the installed legit V-Log L... I haven't tried it myself. You can try recording externally... but yeah... that's not really 'solving' the real problem.

You mean, with like ?

Yes, but again, this is not something new or unique to the G80/81/85. If you've ever shot with a lens (like the 14-140mm OIS for example) or body with built-in stabilization (or a compact like the LX100 as well), you might have already noticed this (but probably not if you're used to having the camera/lens out in normal conditions and not putting your ear up against/close to the camera in a serene quiet room). Reasons as discussed above. Of course if there's really no sound to be heard, the only sound that remains is ambient room tone and that of the camera itself (especially if the (auto)gain is increased to pick 'something' up). And that's most case scenarios when some folks get this in the mail, unbox it and have a little fiddle with it without anyone home or an appliance running (tv, radio, disher, etc) in the background keeping them from noticing the slight hum. Unless you're a sound proofed studio shooter though or mainly shoot room interviews, I can't really see how this harshly impacts anything. In a real world environment this is hardly an issue, is easily filtered out and layered on top of in post and/or could be worked around, maybe ideally not with a unsuspended omnidirectional mic, but a suspended directional mic should make a world of difference to those who are still critical of it. As for shooting interviews in pretty much noise-free environments... sure, it's convenient to use in-camera audio with a mic on the hotshoe, but also consider using a lav, or some other solution where the mic is closer to the person being interviewed, that's the best method anyways. I wouldn't sweat it.

Go with the ZY Optics/Zhongyi/Mitakon Lens Turbo II mentioned. Alternatively there's been R.J. Camera . The Kipon BAVEyes range. But I would definitely recommend the Lens Turbo II over either of these. There's even cheaper brandless ones on eBay, like sold by the Roxsen store. But there you really pay bottom dollar for bottom quality.

The reason they are so expensive is... the superior optics. Which... may or not be more valuable to you than a just fine enough performing cheaper ZY Optics/Zhongyi/Mitakon Lens Turbo II (dumb, without electronics however). And the fact they have that electronic connection and offer firmware support for it... now... there's one other option out there, the Aputure DEC LensRegain. But it's more of a system and kinda in the same ballpark. Otherwise you I believe you only either have the one or the other. Focal reducer, but no electronics... or electronics, but no focal reducer. (edit: actually, there's also the Kipon BAVEyes 0.7x EF-MFT with electronics as well, but if my memory serves me right, the optical performance is pretty much of the bottom level) My solution... don't buy Canon, don't buy EF lenses and get everything in Nikon mount. Allows for easy and simple mechanical aperture control and shaves some of the price of a Metabones XL by not requiring the costly electronic bits. Of course... the EF-mount itself is a little more flexible than the Nikon one... so... I went ahead and bought a Lens Turbo II for that (EOS - M4/3). So I can also mount e.g. the Contax Zeiss lenses with a C/Y to EOS adapter, whereas that would've been a bit troublesome with a Nikon-mount. Albeit not with the same focal reduction as the amazing and one of a kind Metabones XL.

That is a result of the 5-axis stabilization. Whether it's Panasonic or Olympus, it's kind of unavoidable and present to a certain degree on all these cameras. The FZ1000 for example is like really really loud, I think (even when switched off, as otherwise gravity would have it's way with the freely moving elements when they're not supposed to move at all). It's not thát bad on these cameras, but the built-in mic does pick it up ever so slightly (you won't actually hear it recording something on the streets of a busy city, but you will when shooting a test in a silent closed off room). Then again, I'll hardly just solely use the audio from the video. And if you do, use a suspended directional mic as with the G80/G85 you now have a mic jack, anyways.

True that! Just alone having the SD-slot moved from being co-located at the battery compartment to a dedicated one on the right of the camera! Just makes life so much easier. Too bad the mic-jack has been moved from the up-ish region (G7) to the side below one of the main seal flaps, that kind of puts any plug in the way of the screen (tilting). I guess, if that's the only real thing wrong with it, it's still cool! Saw on a 43rumors article someone saying he doesn't care about the E-M1 Mark II anymore, he is so in love with the G80 that he's getting a 2nd one. We'll see about that! Gotta get this party on the road first.

I know of http://www.shipito.com and http://www.borderlinx.com . More like it: http://www.moreofit.com/similar-to/www.shipito.com/Top_10_Sites_Like_Shipito/ .

Then just add one of these, geez https://www.indiegogo.com/projects/snoppa-m1-innovative-3-axis-smartphone-gimbal-video#/ Though... not as smart as something like that DJI OSMO Mobile, which looks pretty nifty:

Haha, yesterday I was already thinking that one alternative to the Olympus would be... Sony A7S/Canon 5DmkII + 50mm f/1.4 as Contax Zeiss Planar or if lucky the Leica Summilux. I just can't imagine a world where a single lens of single focal length can be worth my money like that, unless I had too much money to spend to begin with and would live by the hashtag #YOLO ... because 'why the hell not?'. But there are arguments to be made that glass is key and that a body is outdated in half a year and optics are forever. Also, giving up sensor realestate for a compact system with noticeably smaller sensor that can't keep up with the big boys regarding performance... there's something to say for using the best lenses to make up for it. Yeah, thing is between Pana on Oly and Oly on Pana, that the manufacturer has profiles of their lenses and corrects for their quirks rather well and play together nicely. If you can find a good deal on the Panasonic, you might be able to test it out and if you don't like it for any reason, give it a bon voyage? Consider, if you can't manage to sell it for the same, whatever you lose on it a rental fee. Can't imagine that turning out real bad though. The 25mm and 45mm I think are somewhat Lumix territory. You just have to look at the lens to see, that the Leica touch is mainly in the optics alone. Think they've really upped things more recenty, when they found out people are going nuts over legacy brands with top notch built, manual control and stellar performance. Perhaps as a response to the Olympus Pro line-up. Which I think have become more interesting to use as manual lenses on Panasonic bodies now that Panasonic cameras have started to include sensor stabilization as well. It all depends! But usually going with your gut feeling ends up being the right choice. That transcends test graphs and prices. It's got to fit in with whatever you're doing creatively.