Cinegain

You could give it UV treatment to kill it off, but you might notice it still diffuses the image and/or creates weird bokeh texture. Then you've just got to keep it isolated from your other lenses. Although there's different thoughts and myths on this... some people want to trash it, some want say 'ah, it's perfectly fine'. You could always sell it under stated condition on eBay or classifieds again to someone who doesn't mind or has the knowledge to clean something like that up. But yeah, it sucks nontheless, wasted time, energy and money, little buzzkill after some excitement in anticipation. Also, maybe throw 2 or so of these silica gel sachets (like you find in shoeboxes) in your bag when you carry around lenses with you.

Wouldn't say the Contax Zeiss are clinical, that's more the Veydras. The C/Ys do have more of a look to them, but a cinematic one, like Leica Rs do in their own way. They're crisp and sharp though; right off the bat, great for loads of stuff, then again it's basically the same formulas seen in the Ultra Primes and Super Speeds. The 'wide' 21mm would set you back over a thousand bucks, though... it's got to be pretty epic, but I settle for 25 and 28mm. But if you're really about landscapes then it might not be the worst idea to actually checkout the Nikon Ai-s line-up. The 28mm f/2.8 MF for example is killer! Always felt the Nikkors perform well on landscapes. Especially if you throw 'em on a Nikon body (D5300/D5500/D7200/D750/D810). That's kind of the deal with M43, those kind of lenses thrive on fullframe and APS-C crop with their focal length and resolving power (and the additional megapixels)... on M43... suddenly you're not that wide anymore and focal reducers can bridge only so much. So yeah, if you really want to go wide for landscapes, you've perhaps got to find something that does the trick on the M43 system as you don't really find many fullframe primes below 18mm, unless they're from the likes of Rokinon/Samyang/Walimex Pro. Same for APS-C, it's tough, although there are a few zooms and quite some fish-eyes. 10mm is dope. The real question is... wouldn't 12mm suffice? I'd like to think it would. The Olympus goes there, but I feel it's overpriced (although I see it's already come down in a price a bit). There's a 12mm 2.2 VCSC or NCS (Rokinon/Samyang/Walimex Pro) that's fairly priced and looks interesting. Might want to check out reviews on that one. Seems it was used for the wide shots here: Of course, Panasonic is rumored to bring a Leica-branded 12mm to the market soon. You're right! B&H and Adorama have nice learning centers. AdoramaTV has some nice things on their YouTube channel, including a 5-part HDSLR series (down at the bottom), which might be kinda dated by now, but should be watched by everyone taking first steps into the world of filmmaking to get up to speed with the basics and possibilities. Then there's always room to explore more afterwards.

I first think of what I am planning to go and shoot, then I pick the one that's most suitable. Say, you want a crashcam, great: the C-mount APS-C one it is. Good for quirky character too, like the Zonlai or the Zhongyi/ZY Optics (with a bit nervous bokeh and weird purple flares). Want some smooth 'n chill bokehliciousness and/or lowlight? The SLR Magic will get you a long way. More serious stuff with rigging? The Veydras (yeah, I know they are overkill, but I jumped on their Kickstarter campaign as I figured these would be a great investment and asset to me in the future). They're especially nice for consistent results. Contax Zeiss if you want more of a look straight out of the lens, but also with some serious quality to 'em (w/ Zhongyi Lens Turbo II EF - M43 with K&F Concept C/Y - EF adapter). The Lumix one for electronic control, so more for stills/hybrid than purely video. So yeah, to me there's really something to say for each, they all render and handle differently. But yeah, sometimes it can be nice to just go out and shoot with the fixed set-up LX100 as well.

Or that mirrorless GX80... http://digicame-info.com/2016/04/gx8-3.html

Maybe Sanveer's onto something with Panasonic and I doubt they play April fools jokes in Japan... I'd actually fancy a mirrorless mount LX100-a-like cam. http://digicame-info.com/2016/04/gx8-3.html

It's like a more serious C-mount APS-C version. A little quirky, not the best wide open, so don't expect something like that to be Sigma ART level. Kinda goes towards the Zhongyi/ZY Optics style. It's decent. Great if you take in the price.

Bist du deppert!

Depends on what you think 'DP' stands for.

Oh, but I spoil myself. Not all, but I got a lot of it. I don't think GAS is a bad thing if you can actually afford it, lol. Doesn't mean I don't like sensible purchases, for a certain amount spent you've got to have some return on it that matches it, if that's not the case, I don't bother and rather spend it on something else. But I have Veydra Mini Primes, I have Contax Zeiss, Tokina AT-X PRO, Olympus PRO, you name it, the list goes on and on. 25mm concerned... not just the SLR Magic here, there's the Veydra 25mm T2.2, Contax Zeiss 25mm f/2.8, Panasonic 25mm f/1.7, Zonlai 25mm f/1.8 and some 'Mirrorless' C-mount APS-C 25mm f/1.4. Zhongyi/ZY Optics 24mm f/1.7 if you want to count that. All have their own qualities and character. Don't have anything Leica branded though. The 42.5mm f/1.2 I found too expensive to justify for a single focal length (whereas for something like the Olympus 40-150mm f/2.8 PRO with 1.4x teleconverter I mind a high price way less, especially to match the f/2.8 PRO 7-14mm and 12-40mm; but still think the value isn't there for the telezoom, especially if you'd use one on a Panasonic camera: no stabilization). The Leica 25mm I don't see much point getting, when I've got that range pretty well covered with different character to choose from and atleast one that's not fully manual, but electronic. And that's an another good point too... you like things to match, so do I. There's 4 Leica MFT primes. And I already don't want the 42.5mm f/1.2 because of it's price. 25mm I've got covered. I have the Olympus 60mm f/2.8 and Panasonic 30mm f/2.8 OIS for macro, so I don't really need the 45mm f/2.8. The 15mm f/1.7 actually is kind of interesting, also since that's DJI's pick for their multirotor gimbal camera, I see how that would work nicely on a handheld gimbal stabilizer as well. It's somewhere in between the 14mm f/2.5 and 20mm f/1.7 and then supposedly has some Leica mojo. Olympus makes great lenses too, though. Just about everything in the M.Zuiko line-up is very nice. When I started out on with the GH2, one of the first native lenses to get was the Olympus 45mm f/1.8. Brilliant little lens. The most recent addition is the 75mm f/1.8 which I finally found at a justifiable price and is superb. But they've got a couple of nice others. 12mm and 17mm, but as well a 25mm for example. Just, I don't know, they aren't really begging me to buy them (others are really like 'hey buddy, hey you! Look at me! Man, dude, we should team up! I can be your wingman! Man, I'm so chill to hang out with! I'll show you a good time! Show some faith in me, man! You won't regret it'; don't worry, I'm in GAS therapy, my therapist says it's a good thing I'm not in denial ).

Haha, maybe it's time to get the SLR Magic then and be all over that. I love the 25mm T0.95 I have, but I haven't had the pleasure of fiddling around with the others. @Fredrik Lyhne, sorry, no experience with the 7-14mm Panasonic. But when I researched the possibilities it didn't really stand out. It has that modern Panasonic rendering that I don't like and indeed that f/4. Maybe they can do a newer version. Their new Lumix 30mm f/2.8 OIS Macro and 42.5mm f/1.7 OIS aren't even too bad looking. I guess they're trending more towards a Olympus/Leica reproduction. No complaints here about that. Especially now Olympus themselves have said they will focus on the E-M-line and PRO lenses more. Too bad everything below 12mm is a little rarer. First to drop beneath that was the Tokina 11-16mm f/2.8 I'd gotten, but I take it you want to fly it on the Pilotfly H2, and that might make things a little too front heavy. Then I have the Walimex Pro 8mm fish-eye (which I actually went and got for the D5300), which itself would be a little extreme. The 7-14mm f/2.8 PRO by Olympus is a real beast though, but that's also reflected in size and weight... and that lacking filterthread. Yeah, a prime lens would probably be best. Then your native options are quite limited. Voigtländer and SLR Magic indeed. But there's also Rokinon/Samyang/Walimex with a 10mm f/2.8/T3.1 and Kowa with a 8.5mm f/2.8. Although all of these aren't exactly pancake lenses either, you know.

Makes perfect sense. For the things you value most in a camera, the A7S seems to tick a lot of your boxes. To me fullframe means fullframe covering lenses (who uses a fullframe camera exclusively in crop mode to match crop lenses, right?) and I like small native lenses as an option. Also, if something's decent up to say ISO1600 I'm good. Of course, it would've been better if it could go all the way up to ISO6400 or ISO12800 without cracking, they'll get there in due time. Until then, if you have planable shoots like shorts and music videos... don't see why you can't light your scene, something you'd want to do anyways! It will look better than waving a lowlight camera around without any lights set up (don't mistake the A7S for allowing you to be lazy). I don't need to shoot at ISO102400 or anything, personally, not to say it isn't a fun gimmick. If a 1000 bucks is your budget, the A7S will eat a whole chunk leaving you with nothing much left. And no internal 4K and recorders aren't exactly cheap (yet). BMPCC is a really cool choice, it has the footage going for it. On all other bits, it doesn't really excell. It's the crop, fixed ISO you'd want to be at, battery life, poor screen, poor audio, dials/buttons situation. There's work arounds for everything, but that makes it a little cumbersome and expensive. A camera like the Panasonic G7 (which Andy Lee is shooting a feature on, he has 4 because he likes 'em so much and it's able to surpass the GH4 in some ways) almost has it all. It is a little plasticky, your card slot is co-located at the battery compartment, missing some of the GH4 features, but has a lot going for it at quite an affordable level (leaving room for lenses, stabilizer, etc). And it does internal 4K. Sure light sensitivity of M43 might not be your thing (but shouldn't be a problem unless you're don't light and want A7S nightvision; besides there's affordable focal reducers (Lens Turbo's) and excellent Metabones options). The crop. Personally, I don't mind the S16, MFT or S35 look. FF is bokehlicious, sure; but it's also tricky, because you'd just blur out everything in the back, maybe not even get a person completely in focus and the viewer might lose overview of the surroundings, because they don't get to see any context the person's in. If you pick a nice location or build a set, show it off. Colors. To be honest, there's some good Sony shot stuff out there, but there's also a lot of pretty bad ones. You really got to know your color correction and grading and spend some time on it in post. And there's the color channel clipping with the Sony cams, so if you shoot a bit of a performance with catchy lights to put in a music video, chances are you need to be really careful. That said, that's just how I would approach it. Of course, everybody has other needs and wishes. I always say 'a certain camera wouldn't exist, if they didn't think they'd have someone to buy it'. And there's different people, so there's different cameras. I'm sure the A7S would treat you well. Anno 2016 any camera does a great job (you've been shooting the old sensor tech 700D ML up to now yourself and was fine with it). It's just a matter of nittpicking which one is the better suited for your needs.

Zactly. A6300 is unreliable. A7S only if you need the lowlight performance. Might want to get an external recorder. Actually wouldn't bother with Sony, unless you can cough up the dosh for the A7RII or A7SII. Canon. Same, wouldn't bother unless you can cough up the money for a 1D C or 1D X mkII. Their 1080p cameras aren't really exciting. Maybe the 5DmkIII with ML RAW, but storage 'n workflow. Nikon. They have the D5500 and D7200 which are actually decent options... if you care for solid 1080p without all the bells and whistles. If you really want features, you got to go mirrorless. As we've already crossed Sony offa the list, there's Samsung with the NX1. Body only within budget, maybe you can score a cheap prime to have something native electronic, else it will be all full manual and there aren't any smart (electronic) adapters (for Canon glass) or focal reducers. Olympus. Sure... if you want mediocre at best 1080p... atleast you'd have sick in-body stabilization. Panasonic. I think this is your best bet actually. Especially if you'd be looking forward to use 4K. The G7 (or G70 depending on your location) is a great deal. Most Panasonic cameras are. Let's throw the BMPCC and BMMCC in the mix for good measurement. But you got to rig it up quite well and sort out some issues to make it work for you (battery life/monitoring). Of course, this is just my personal opinion. Nikon, Panasonic or Blackmagic. Of course, if you were perfectly happy with the 700D ML... it's not like they're expensive and if that worked and would still work for you, you can put some of the money you saved into other things that would up the production value.

I'm Dutch. If it's free I'll take it.

What's that? Are you mooning us?

Sure. Although still, the list doesn't reflect the status of the newly announced cameras and (albeit delayed) firmware upgrade. So, when it will do ProRes (which I don't see why not), I don't believe it will be something shady and unlicenced in there (Chinese infringement practices). I don't see why their claims of giving the user legit ProRes recording shouldn't be true (that it didn't come out in a timely matter that's something different, again kind of Blackmagic practices with the delay... yet you won't question their new cameras recording ProRes right?). Anyways. There's not really much more to say about that.

Yeah, I'd rather get three G7 bodies for that! Or just one and a couple of lenses, maybe a speedbooster. Some audio gear and accessories. Good ND filter, etc. The only thing Canon can please me with is the fact that the 80D has the proper audio interface, color and dual pixel AF. But that isn't much good if the footage isn't up to standard.

Not the article date, but the roll-out of implementation as per the article (which I now have checked, for which I appologize not having done before)... 'This will tentatively scheduled for Q4 2015 – but like all development announcements this may slip'.

Eh, kinda missed that bit where it's about 2015 (Q4). But I guess because they couldn't reach that goal (hey, sounds kinda like BMD practices), atleast they'll now give the FW Update for free for those who were anxiously waiting for it.

That's because 'Last Modified: Mar 4, 2016'... Wouldn't want to jump to any hasty conclusions. Unless Apple actively denies their claims in an official statement, no reason to be distrusting.

They should just take the GH4 (ergonomics, crop) and add some of that black magic (pulling sensor data, color, noisegrain, ProRes/DNG RAW). That would work for me.

Actually, this looks quite nice... ~ http://www.rollei.com/products/tripods/video-tripods-video-accessories/rolleiflex-4k-s-cage,p252124

Try? Yep, but I hooked it up to the 42.5mm f/1.7 OIS only so far. Didn't quite find the time for something elaborate or meaningful yet though, no cats or dogs around as subjects either ; next few days I might try it with one of Andy's favourite set-ups, SB XL and Bourne lenses or those Contax Zeiss primes I really got to explore more now anyways. But initial impression: nice! Indeed so clean in the darkest parts, it's pretty damn impressive. I'm sorta used to Panasonics being pretty clean in the really dark areas and showing quite a bit of noise in the (lower) mids, this is kinda like that, but just better from the bottom up. Claims that it can trump the GH4 in image quality seem to be true. Otherwise, it handles and navigates much like the GH4 of course, just quite a bit lighter and plasticky (which has its advantages). Seems a steel for those 3990 SEK (~ 490 USD/435 EUR). The GH4 is still king for ergonomics, features and specs... but image quality wise and value has got to go to the G7 now. If you're still shootin a T2i these days or are just starting out... c'mon! Get with it! <br> But to get back to it... the 1D X MkII seems cool though. Especially if you just need it done well and fast. You can talk about how much Sony gear you could get for that price, but the thing I like most is to be out and shoot stuff. Sitting in an edit bay, editing getting frustrated at grading the footage, fixing, masking, sipping away at another Monster is not really my idea of having a good time. Besides, all that time = money anyways. I think it makes for a more interesting choice than the Nikon D5 or even the 1D C perhaps. 5DmkIII ML RAW certainly (dat workflow tho). Of course... everyone's now holding their breath for the 5DmkIV. Will it have 4K? Probably... the real question is... what's it like? What might they have done to protect the cinema line? But hey, I can't deny these are exciting times, even for Canon. Because they will have to make the switch at some point anyways. Can't believe they didn't jump on consumer-oriented 4K already. Yeah, not sure what Canon's thinking. It's like they're saying 'you want mirrorless features? Well, buy a bloody mirrorless camera already, k, bye'. And I can only be like... 'eh... ok. That I will do'. I don't know, it feels like they pretend that's beneath them? That's so amature? Cute, get something else already, you're not ready to play with the big boys, you still need trainingwheels. But I guess they're missing the point.

Good schtuff. Just... most looked like it could've been really well shot/extracted Canon 1080p. Or maybe that's because I've gotten used to hyperreal detail in cameras such as the GH4/NX1 by now.

Heard about Panasonic coming out with a new wide angle, unfortunately it seems it will be 12mm. Too bad wider is a little exotic. I do like the Olympus 7-14mm f/2.8 PRO, but it comes at a price and it doesn't have a filterthread so you'd have to find a third party solution. The SLR Magic 10mm sounds good though!

Thanks for that! I was in the area on a business occassion. Wasn't able to make a lot of time for pleasure, so to say, that's why it got a little tight with closing time too. Already back home. But I'm sure I'll be there somewhere in the next few months or so again, so I'll keep that in mind. Again: thanks!