Cinegain

True! I went with Roxsen for M39 to M42 at some point, wasn't too bad. Thanks for that. Yeah, I have nothing to compare to yet, but the R.J. Lens Turbo Nikon to M43 didn't leave me with much to complain and the integrated lens collar sorta say, is a very nice touch!. Did send me a FD to M43 as well, unfortunately it was pretty roughed up when it arrived, couldn't even look through the glass anymore with all the scratches of the elements that came loose. Was fun to see on the other hand how one of these things is build up... and he was pleasant to correspond with and resolve the issue by sending new optics to replace myself. Ah, that's a sweet idea too of course. Will have to research if there's a C/Y to Nikon as well... because I should have a Nikon mount Speedbooster XL in by mail tomorrow. Not really a fan of adapter on adapter situations, but if it means I can use 0.64x on the highest quality focal reducer I would then have... then that does make sense. Thanks for the input and getting me on the right tracks guys!

Pay peanuts, get 4 monkeys! A Tessar 45mm f/2.8 just came in here today. And I can't even adapt it yet. Any preferences for certain adapters, people? I was thinking K&F Concept (Kent & Faith) again, since I tried those last time and liked theirs, they do seem to produce it, but I just can't actually find someone selling 'em. Might be back to the Fotga ones. Then I will need a focal reducer... does anyone know of anyone that actually made a shootout of these things? I'd be eager to find out how focal reducers like the Lens Turbos from Zhongyi/ZY Optics & R.J., as well as the Kipon BAVEyes would hold up against the Metabones Speedbooster. Saw Kipon (in coorporation with IB/E Optics, Bavaria/Bayern, Germany <> Handevision) had a C/Y to M4/3 one. I guess I could try to get my hands on one from Taobao after the Spring Festival/Chinese New Year... -- Ah, found it: http://www.ebay.com/itm/C-Y-M4-3-Adapter-Ring-Contax-Yachica-Lens-to-Micro-4-3-Olympus-Panasonic-Camera-/201452830960

I would love if they made augemented reality out of it... like overlay a gas station explosion up ahead, a bunch of deers crossing or a ufo crash landing, scaring the shit out of the person driving behind...

Oh, I loved that slowmo used at times, especially on those horses in the beginning, the shot top down from the floor above was awesome. Indeed the coffee smoke, especially with it hitting the hat Samuel was wearing and then curved upwards around it. Great visuals all around. Acting and characters, dialog, story, putting the pieces together with the juggled timeline, loved the bit with the piano; I was impressed. There was much hype for both this and The Revenant lately. And apart from some gorgeous imagery and stunning sequences The Revenant really didn't do it for me. Maybe that kind of let me not to get my hopes up too high for the movie I was going to see next, making the impact much greater now. Nice!

I finally got to see it! Was surprised to find out they had the Roadshow Version 70mm Ultra Panavision playing here in town (Original Version too!)! I was in that theatre (Gartenbaukino, should anyone care to know, pretty oldschool nostalgic place itself) only once before to see Snowden's Citizen Four. Amazing experience, I absolutely loved the visual experience and the movie itself. Very Tarantino!

True that! They're like 'hey, thanks for getting the GH4! Yeah, we are the go-to guys for video! We did it first and the longest in the segment!'... 'what's that? You evolved a little and like to get more serious? Well, hey, we got you covered... pay for this V-LOG L update and add the BLEGH brick underneath, now it's just like a proper cinema camera!'... 'And the GH4 will be relevant for quite some time ( http://www.43rumors.com/ft3-new-larger-gh4-firmware-upgrade-on-the-horizon-gh5-ready-for-early-2017/ ), don't mind the competition out there, they're not us and you've bought some native lenses anyways and video on Olympus cameras is something to laugh about, so watchya goon' do anyways?!'... Me: ehh... I would want a serious update, have you seen the competition? Varicam means coughing up way too serious dosh as an upgrade from the GH4 and good alternatives would come from the likes of Sony and Blackmagic! Could even get myself a proper 2nd hand cinema camera! Ball's in your court, Panasonic! The DVX200 actually looks like a pretty sexy camera I'd like to pick up. But why they do not offer us something similar with interchangeable lens mount is beyond me!?

Why do you want to go to all this trouble with a Canon DSLR, when the most obvious thing to do here (to me) is getting yourself a BMPCC or BMMCC and adapt some C-mount or KIEV-16U lenses for example??

He didn't say it 'has', he said 'appears to have', meaning: he's uncertain. And things Ken Rockwell says have to be taken with a grain of salt to begin with.

Ah, I see! Sorry bout that. Long day. (And an inherent need to skip disclaimers) Does seem to make a huge difference on those blacks there, good find!

Dunno, is it me or does the skin look a little Barbie plastic like that? I guess you could make your own profile and make a LUT out of it?

Yes. But you were looking at it, because it was mentioned somewhere. But the AT-X PRO (II) f/2.6-2.8 got mentioned because, like you're showing it's the only lens licenced to use the Angenieux optical formula (which the video you posted proves exactly). That's why if you're looking for that Angenieux magic and it's too tricky to get the original one, you can find the Tokina version with the same optical mojo more easily and much cheaper! The standard f/2.8 version has nothing to do with the Angenieux f/2.6 version though... it's like gold bars and oranges, you're looking at something else now. So of course the orange will be cheaper as well. It's like looking at the Canon 50mm f/1.8 when someone told you about the Canon 50mm f/1.2.

The f/2.6-2.8 is a licensed design. It originates from the Angenieux 28-70mm f/2.6-2.8 which itself is out there as well, but in rare numbers and probably jacked up prices should you be able to spot one. If you care about the Tokina 28-70mm I think it's fair to say you only want to care about the AT-X PRO f/2.6-2.8. One's on eBay right now: http://www.ebay.de/itm/Tokina-AT-X-PRO-28-70mm-f2-6-2-8-Angenieux-Legendar-/151977467394 .

There was a pretty decent video on that a while back... However, we need to see stuff like that on like sub-10k cameras. Agreed on 'Super 35mm AF100 replacement'. That would've been a little nicer.

Yup. Seems like March it is! I will wait for final production unit reviews from e.g. The Camera Store TV before I go and get one (dat wordt duimen). Don't want to play guinea pig. And I'm in no rush either. Sure there's something to say for the 5DmkIII. Still nice for stills, and equipped with Magic Lantern up for a challenge! A whole other approach to shooting, but it can be worth it just for having the easy going Canon colors alone. It's been used as professional fullframe camera for the longest time now. Just that newer things came out, doesn't mean it isn't still a serious level camera. Be that as it may... it's 2016, about 4 years of technological advancements have taken place since the 5DmkIII came to be and mirrorless features and benefits can no longer be ignored. They can make your life and your work a whole lot more interesting over the next years. But we all have our own paths to follow, so anything goes, really.

Looks fine. There seems to be some added yellow and greens to flatten the image a bit and open it up a little, which kinda looks nice, kinda of like a filmic wash. But I don't know how that scene looked in real life and how the weather was that day... and then there's the matter of taste and intent... how you want it to look and what you are trying to convey. If it's part of a look for example, you could actually emphasize the coldness a bit more. With some quick adjustments that would be something like this with a bit more pinkish skin and bluer blues: To get to the topic title... haven't seen anyone mention 'em, but personally I have the Colordata Spyder5 Elite. Just because I got a good deal on it during one of these Amazon sales weeks. Not sure if it's a poor choice compared to others. My new MSI Prestige PE60 laptop comes with a pre-calibrated and accurate panel with 'True Color' profiles which isn't bad, although I haven't made the switch from my ASUS just yet, because I still need to organize migrating to the newer system, which is always a bit of a pain managing backups and wanting to start fresh setting everything up from scratch.

Just had to read back a tiny bit where he said:

That's the million dollar question of course. But think about it. You already have the GH4 and A7S with a great amount of adaptability and lenses. Canon would be an oddball in your collection. The GH4 does great 4K, the A7S is a lowlight stud. Briefly touching stills for a sec; if you're anything like me, the Micro Four Thirds system just doesn't really cut it, although Olympus does a decent job. The A7S kinda misses that resolution. Having said that, in terms of video the GH4 for the money obviously does great 4K in enough light, but excells especially when used with focal reducers and adapted glass (and external recording)... so that might hint you that APS-C and FF aesthetics are a bit more like it. Admittedly the Nikon D5300/D5500 does capture some nice things from that APS-C sensor... it's just not mirrorless, video-friendly and 4K... The A7S doesn't do internal 4K and the color on it is regarded to be a little iffy to work with at times. Here comes the A6300 with the new Sony sensor tech. I think it could actually be inspired by what Samsung was doing there... the chip and readout infrastructure seems greatly improved. One thing the new sensor has going for it is that every sensory cell actually takes in a bit more light now, that improves sensitivity and color accuracy. Going from aluminium to copper has upped the signal quality, so overall I'm expecting an up in quality including better noise control. You get a whole lot of features seen in the other line-ups, the RX10M2 and RX100M4 started that with internal XAVC S 4K and HFR, just for the A7RII and A7SII to hit it out of the park. Yeah, they didn't include in-body stabilization, but still... nicely done 4K and the S-Log 2 and 3 profiles! Gotta await reviews covering the final production version of it... but the A7RII APS-C/S35 crop mode is actually fairly impressive when it comes to lowlight/noise performance and rendering of details. If that translates to the A6300 as well that sounds like a winner. And remember, you can still get yourself a nice E-mount focal reducer and slap on some fullframe glass in order to get close to that FF-like magic. I'm curious to see whether this will have black sun spots and handles intense bright colors as poorly as previous Sony cameras. But just look at this: If they can get that from the A7RII in S35, one of the reasons it took them so long to bring out the A6000's successor at all might just be waiting for the tech and implementation to reach a high. It takes internal 4K from the GH4, mixes it with Samsung NX1/Nikon D5500 APS-C S35 feel, upping the quality by quite a bit, to have something nice 'n allround to shoot both stills and video with. A7-style shooting, but keeping out the fullframe tech (but the speedboosting option open!). Again. It's still waiting for the make it or break it reviews... but I already went and bought an E-mount conversion kit for the Veydras last year in the hopes of Sony doing something like this. Because I don't per se need fullframe. I don't care much for expensive bodies and most preferably like to keep lens size down, making thins a bit more manageable. APS-C seems to be my personal sweetspot, as I've grown to love the stills capability of the D5300 and the overall APS-C look and performance. Just misses the mirrorless features. Could the A6300 be the answer? I'd like to think so... especially when it's rumored Panasonic isn't going to do anything radical any day soon and Samsung has thrown in the towel... and Olympus and Fujifilm of course striving to be known for their stills capability which takes the spotlight, with video features suppressed in the shadow wastelands. Canon? Not if it's DSLR, not for me and the EOS-M doesn't cut it. Nikon? I'd like to see them do a crossover between a D5500/D750 and Samsung NX1, sure... but Canon & Nikon haven't been overly eager putting aside their traditional concept of what a camera should be like and exploring new grounds.

The A6300 though...

At some point along I wanted him to punch random pedestrians and steal a car. #GTAirl Neways! Awesome schtuff! The time vortex effect thingamajigs looked really cool.

But will he have any of those..? Find out after the break when we announce the results and the winner of the refrigerator!

Petzval lens? Looks a bit particular... little soap bubbly bokeh, nice 'n round. Could be vintage Russian or German too, but I know that at least you have the funky Petzval. :P Camera. Hum 1080p with fine grain, but I gotta suppose you added that, so that's not much to go on. Last grab has really bad blotchiness going on... green/purple spots. It's all very soft, but could be lens characteristics. You have the RED MX, but I'd hope it does a better job than this. The D750. Could be, but I would expect better quality too. Looks too smooth and shallow depth of field for the Digital Bolex. And I believe you just about sold everything else except for a Blackmagic? Those aren't the sharpest, but I would think the codec would've handled the last shot better. You do have the XC-10, but no. Me think no. So... I'm going with Petzval on the D750 and purposely shot out of focus and soft with faults added in post. In that last shot it does kinda have that weird color shift your D750 comparison against the G7 had.

Get a LX100. As a famous Dutch designer would say: 'It's the art of leaving away stuff'. It's a no excuse camera 'oh, I'm just going on a short stroll; no need to bring all that gear' -> oppertunity of a lifetime has to be taken with your smartphone! 'Not sure what lens to use... this one... or this one... argh, the choice!' -> one lens to rule them all! No choices, no hassle, no excuses! Sure. I get you want a little bit more freedom and flexibility too, because in the end the lack of choice can still be restricting and compromising quality and look. Well, what other lovely addition to a Panasonic camera than another one? The GH4? You'd probably get a 12-35mm f/2.8 OIS with that. Or scratch that and get either the E-M5II or E-M1. Get one as a kit with the excellent 12-40mm f/2.8 PRO. People have shot impressive stuff with those combos! The in-body stabilization! You can now adapt vintage primes (e.g. HELIOS 44-2 58mm f/2) or a SLR Magic Hyperprime CINE 25mm T0.95 for example and shoot stabilized footage! Olympus glass is of great quality. The 75mm f/1.8 is a real treat! Get yourself a Cullmann Magnesit Copter mini tripod and a RatRig V-slider Dual Mini. Don't even take much more and just focus on experiencing instead of carrying stuff around. Especially if it's web content, then you've got to deal with compression of your hosters anyways. And people will watch the footage on their smartphone or tablet. So here you are with the most sick quality setups in the end making hardly any difference and the average viewer who's not a pixel peeper seemingly only cares about the content! Damn you average viewer! When does good become good enough? ... just one way you could do things of course...

Yeah, I'm a little bummed they're so eager on having a relatively thin camera profile. I don't find the E-M1 or GH4 too big for example. Or the NX1 or A7-series for that matter. If you want to go compact, the thing that really matters is the lenses. I mean, you could pick up a Panasonic GM1 and then adapt the Sigma 18-35mm f/1.8, but if you want to shoot the Sigma, you might as well have gotten the G7, since a sizeable lens will dwarf any camera. I like Nikon's D5300. You'll often find yourself struggling a little with Panasonic MFT, it just doesn't have the same lowlight performance and organic rendering as APS-C, not to mention 24MP is awesome to have for shooting stills. It's just a shame the D5300 isn't mirrorless. But basically the A5100/A6000 kinda share that same sensor. But I think when they rolled out, they were aiming for the average consumer, not expecting people would want to shoot a little more serious video with... so I wasn't really interested that much. Now though, the A7S has proven people do care about video and there's quite a market there. Then they upped it in the video department with the cameras I keep on mentioning: RX10M2, RX100IV, A7RII, A7SII. 4K. HFR. S-Log. And now have transferred that kind of tech to APS-C mirrorless! So... although mostly a MFT shooter, I wouldn't mind a piece of that APS-C mirrorless pie. And chances are... if you're shooting video with the GH4/BMPCC/D5300, you already have Nikon mount lenses that can easily be adapted to E-mount. If you'd ask me to design the greatest camera to date with tech that's out now, it would probably have the Olympus E-M1 overall look and feel, with the grip, dual dials and everything; in-body stabilization too. Would probably have to be A7-series sized in order to fit all the things I want on it, haha. Then we can take something similar to the E-M5II vari-angle touchscreen and throw it on there. From the GH4 the WB/ISO/+/- buttons and battery life. Fujifilm XT-1 or Leica SL EVF. From Leica SL as well the OLED top LCD tech. Gotta have mic-in, headphone-out, fullsized HDMI port, dual memory slots. Sony's FS5 built-in electronic variable ND-solution and their E-mount. 20~24MP APS-C sensor. NX1's chip infrastructure for insane readouts and no overheating. Blackmagic internal ProRes/DNG RAW. Maybe a battery grip with some kind of mSata Speeddrive storage solution built-in when shooting 4.6K with it. You know, the good schtuff like that. (^^,)

If you're going to use it with the Samsung NX1, I don't think there's a more logical choice than using the native 16-50mm f/2-2.8 which is reported everywhere to be superb and will also be great for shooting stills with. No experience with Samsung myself, but I imagine the image being a little more vivid and modern compared to a bit more laid back and classy Nikon. Both will do, depends if you like the look of the Samsung, but you'd be the first I think not to, so... With a M43 Panasonic though, throw on a focal reducer and you have yourself a f/2 hollywood zoom lens with a nice range on it, natively a 12-35mm f/2.8 would get you close, but it has the modern Panasonic rendering. You can throw on a 12-40mm f/2.8 PRO by Olympus but still f/2.8 and you'd have to avoid handheld just as well as with an adapted Nikon. Going all Nikon, so 28-70mm f/2.8 D, 80-200m f/2.8 D, maybe some primes will get you consistency and great rendering and performance.

You want to get the f/2.8 D (as seen on). That is the Bourne one. When I was looking for mine they were around 650~700 EUR for a good one. You could get one in less nick, for example one with some cosmetic marks, scratches, little dust and broken autofocus and be able to shave of a couple of bucks of course... but one thing is for sure, even for 700 EUR it's an awesome deal! These are so good that they are a popular pick to be cinemodded (other popular ones: Tokina 11-16mm (which they have started to do themselves now) and Sigma 18-35mm for example)... e.g. G.L. Optics: http://www.glcinemod.com / http://www.cinemaglass.com , Cinematics: http://www.pchood.com/index.php?route=product/category&path=45 , Duclos: http://www.ducloslenses.com/collections/duclos-zooms .