Cinegain

If I were Nikon, I'd make something like the versatile E-mount and forget about ever having heard of the term 'NX'. The thing interesting about Samsung is their hardware and processing structure capturing stuff from the sensor, not the mount I'd say.

Why not? It has a declutch for fully manual operation (like the PRO series). Probably won't have much throw and you might need to make a 3D printed ring to grab onto with the follow focus, but I can't see why it wouldn't work.

Maybe they should add Nespresso functionality too, lol. Those are quite the wishes on a somewhat tight-ish budget. If it's just for monitoring, I'm gonna throw a suggestion for the Lilliput 663/O/P2 in there. Might be worth for you checking out?

I generally appreciate you, your humor (sometimes) and your videos are great fun as well, but out of the blue you post some video without any context or apparent relation to anything. What is someone supposed to do with that? Same in the other thread with squig. You just barge in and say something to us appearing to be something quite random, again without any provided context or anything. Maybe you expect everyone to be in on your train of thought, but we aren't. I guess we just don't get you sometimes... and have you ever considered that might actually be something going wrong on your end instead of ours? I'm pretty sure nobody here has it out for you, but your mind seems all over the place and it seems like you could work on your communication skills to give us a glimp into your realm. Anyways. This is getting too far off topic for this topic. Do I have something lens related I want to share... hum... Nah, not really. But maybe someone knows something more about that fullframe covering SLR Magic Cine 50mm f/1.1 that will be going for $349? - Well whaddayaknow. There's a fresh article on it right here: https://***URL not allowed***/time-stood-still-an-extreme-low-light-video-sony-a7sii-slr-magic-50mm-f1-1/

lol, I was wondering the same thing. Where the hell did that came from, there's no context or anything. Just one big 'WHUT?!1!'. </> @discussion about different choice of lenses... what do they say again? Beauty is in the eye of the beholder, right? Whether you go for vintage stuff, maybe dating back to the USSR times, prefer Zeiss optics, Canon FD, Nikon Ai-s or modern Sigma ART glass, it all depends on what you like and what look your shoot would really benefit from. There's not one true go-to set of lenses that does it all. Just ones that are generic enough to cover most situations; but they still can't go where some others can. Depends on you which corners you're willing/you can to cover. I've actually got 'em all quite down, but the abundance of choice itself can provide quite the challenge as well.

I thought about the VA and matching it up a BMMCC, but the lack of monitoring functionality had me worried. On the other hand there's the GH4 and V-LOG L is an interesting tool, but it appeared to really benefit from external recording. With Blackmagic addressing the issues people had with the VA, by releasing firmware, actually before it's readily availlable everywhere, they may have made it quite interesting again. Especially if they'd iron out even more of the wrinkles with newer updates. Would love to see more of it too.

Yup. I guess ART must stand for Amazingly Respectable Treasures or something. Because they really are a work of art. Now, I only have the renowned 18-35mm f/1.8 myself, which basically is multiple primes into a zoom lens. But the same I've seen from the primes in their line-up, I believe there's only one that's a little behind the others. Even their M43 DN ones are actually tremendous value and deliver great optical performance. I'd say the ARTs are up from the Samyang/Rokinon/Walimex line-up and start out pretty much razor sharp from the get-go. Great rendering. You'll have a hard time faulting these lenses. Stuff like this would cost a fortune would it have been branded Canon L, Zeiss or Nikon ED. Would be nice if they'd bring out a VDSLR series.

I know Tony & Chelsea like it, not because it's perfect, but because the light gathering comes in handy and it's just loads of fun... maybe a decent watch for you:

Amen! In black & white footage there should be black & white! I'd probably shoot in color, for a bit more post-processing flexibility converting to black & white. The E-M1 actually has a nifty feature where you can actually dial in how the black & white should react to the colors which is quite interesting.

Nice! I saw the next samples on http://www.rugift.com/helios-40-2-85mm-f15-lens-nikon-new-design.htm . Looks pretty epic. But it's quite a specialty lens which you can't just go and use on everything and it's not exactly priced like some of the other vintage roughly similar character ones that perhaps are in the sub-100 bucks range. So I haven't pulled the trigger yet myself. You can also try to find an Orestor f/2.8 100 or 135mm.

You know... 'due to a move' is probably as in 'oeeh, that's a bold move'... I bet it's more of a mindset shift than actually moving location. lol, a little quick on calling that, might've debunked myself there... 'I will clean out my studio and move'.

You can get the 50mm Domiplan. Or for interesting enough bokeh go for a Russian Zenit lens, there's the renewed 40-2 you might be interested in.

Yeah, I was hoping for the E-M5II to be more like Panasonic when it comes to video, unfortunately this was not the case. The other way around I was hoping the GX8 to finally offer sensor stabilization during video recording and have a flippy tilty screenie like the E-M5II... but nope (on that first one)... doesn't give you the best of everything either. Maybe they'll spice things up with the GH5... but that will be atleast half a year away I'd say. In meanwhile you might want to question Sony's rapid firing of new products, but they continue with in-body stabilization ánd 4K, high frame rates, proper LOG footage, stellar lowlight performance, and so on, where the others don't offer much of anything. Like Andrew said though, the E-M5II body in itself is something I could really see myself with. It's nice 'n compact, great screen, dials and buttons are nice and so on. I mean, I don't neccessarily need the fullframe sensor (that would bloat things up a bit), but I would like some improved lowlight performance and trickled down features from the likes of the A7RII, A7SII, RX10M2 and RX100IV. For me APS-C would be totally fine. As much as they're pushing fullframe, APS-C mirrorless is so attractive, that they must be afraid it will cripple fullframe sales, where the money is at. I guess the only one really stirring things up in that area would be the NX1. It's not perfect, but it's close to what I'd like to see a camera be about. Surely Sony could do something like it. Or Nikon, if they decided to enter the mirrorless market with a bigger sensor than the 1-series.

Yeah. I'm so glad you did such an honest review back then... ended up cancelling my pre-order. Still have the E-M1 though, which I've been using lots for stills, just not so much video. Maybe I'll kick its use for that up a notch now. I kinda want to go on with something APS-C sized from here though... and as I don't like the handling of the D5300 that much, it's going to have to be somethng mirrorless. Seriously thinking about the NX1 now. I would probably rather get the next Axxx by Sony, but I think they're going to downplay mirrorless APS-C cameras, especially on video level and make you purchase something fullframe to get the nifty schtuff, so although it seems like 'abandon ship!' for the NX1, with prices dropping, it might actually be the option that makes most sense. Doesn't hurt that you rate the stabilization of the NX1 w/ 16-50mm f/2-2.8 up there with the E-Ms, which is a key selling point for the Olympus system that separates it from Panasonic, even though sticking at 1080p.

It probably can. Just... they needed to separate it somehow from the cinema-quality movies pro-level serious movies machine that is the E-M5II. But since it's thanksgiving and all, I'll just be thankful already for the 24/25p. Hallelujah!

It was brought out to inhibit people from applying the 'V-Log exploit' on new firmware mostly. It also fixed the issue where the histogram and zebras weren't quite adjusted for the V-Log profile. The footage with 2.4 over 2.3 didn't get any better or anything.

Don't know. I like the 100-300mm (with custom r-roesch.de lens collar) for that, atleast that one is affordable with fairly decent performance (check out the GH4 Lumix special with Bence Máté, it trully shines there). I follow Jamie MacDonald, of course he said it was amazing (video below) and I bet it is... But just like the 150mm f/2.8 with teleconverter... you really need to ask yourself if it's worth getting. And the crop factor helps to zoom, but I'm still not convinced of the M43 format being the best choice for more serious photography. I'd be thinking something like the 7DmkII would still be a bit nicer for those kind of things. And if you're spending money, you can get enough other awesome bits of gear.

Have you seen this though? http://www.eoshd.com/comments/topic/18647-panasonic-g7-and-14-42-lens-£339-after-cashback-buy-£53900/

I still have my Flip MinoHD 3rd Gen, bro.

Yeah. Doesn't look like they've got it down with that. And I don't know what kind of marketing it is that you'll depend on customers to blindly buy something and demo it for you??!!1! You are the one with the product, then you are the one who should compile some demo footage! Atleast they listened I guess...

Where else are you going to get a 4K interchangeable lens camera (even with a little kitlens) for that cheap!? Great deal! And eligable for EU residents as well, as long as it's bought at an official UK retailer in on the promotion.

Yeah, but Zach, '2220 Euro'... you do realize the topic has 'on restricted budget' in the title and is specified to be 800 EUR, right? And even then... a new Nikon D750 is about 1700 pops right here, looks great and is pretty much a champ in lowlight. For that kind of money just forget about tuning (pumping money into) an outdated body that has already been succeeded in the market segment. I like the mentality: 'only advance when you've reached the max of your current camera, but still leaves you wishing for more'. But you take it to the extreme by using an almost ancient camera and giving it hip replacements and a pacemaker. Cosmetic surgery to get those wrinkles under control. But eventually it's going to end up on life support. Maybe time to let go and move on; could be time to stop trying to patch it up one more time. Time is ticking and every day new technology advancements come into this world. They're not here to make your life a hassle, they're here to improve it, open up new creative possibilities. The A7S-series has pushed the lowlight bounderies. It gives filmmakers a new scale of options to explore. Time to embrace stuff like that. I feel like because the T2i is all you really know by some hardcore experience, you've come to love it and accept its image quality. I think you have realistic expectations of the T2i, but that's kinda of a weakness as the bar has been raised so much higher by now and your expectations might not quite be in line with that of people nowadays. Still think other cameras are a way better deal and atleast easier to get some decent results with! And with less time wasted on pushing a camera beyond its limits, you have more time left to figure out other things... we always agree that 'content is king', but doesn't the king belong in a palace rather than some abandoned cabin in the woods. What if Kendy Ty had used a D750 instead of the T2i. Would those videos have been off better or worse? Kinda with araucaria on this one.

I've too many of 'em, it's hard to pick. Sometimes I think I should just ditch 'em all and continue with the LX100 alone. That would make things a whole lot simpler. I think I go through phases liking certain lenses more than the others. I had one phase where my go-to set was the RJ Lens Turbo with Nikon mounted Tokina 11-16mm f/2.8 II, Nikkor ED 28-70mm f/2.8D and 80-200mm f/2.8D. Then there's all the crazy Russians. But now I'm quite a bit into the sub f/2.8 cine-style primes. But in the end it's like picking a favorite child. You can't really call it. They all hold their own. Guess it depends on the mood/look I'm after, really.

Don't know about the Pany. Don't really know anyone with one, nor have I seen raving reviews. I guess if you need the range and the price fits... Just, it's an older lens, I got to bet it quite similar to the 14-140mm and while that lens is nice 'n flexible it renders rather modern. Contrasty, poppy colors, very sharp. Sounds great, but that tends to look very Panasonic videoy. Perhaps the go-to zooms on the wide end are the Tokina 11-16mm f/2.8 with Nikon > M43 focal reducer or the Olympus 7-14mm f/2.8 PRO albeit coming in at quite the hefty price. Olympus 8-19mm would be a wildcard here. If you have a Metabones Canon EF(-S) > M43 you might even want to go for the Canon 10-18mm.