Cinegain

Don't do it!

Just a little something like this for example: http://www.ebay.com/itm/FOTGA-C-Mount-Lens-to-M4-3-Adapter-for-E-P1-DF1-G1-G10-GH3-GH2-GH1-GF6-/181626377484 . Some lenses to try can be had on eBay as well, e.g. http://www.ebay.com.au/sch/m.html?_armrs=1&_from=R40&_sacat=0&_nkw=cctv+lens&_ssn=roxsen&LH_PrefLoc=2&_sop=15 . Actually the first time I see those with 'APS-C' tag and reworked lenses. Bit more expensive as well. Sounds interesting.

That would be the 3rd topic on the same thing...

Look at this one though: http://www.msi.com/product/nb/PE60-2QE.html . Pretty sexy package/value I'd say

I love the fact that you would use a mental connection. I totally agree, I love that idea, I'm just not sure the tech is there to support it yet.

The V709 LUT kinda comes on strong with its red bias. The others kinda have some kind of shift towards yellow/orange/green by the looks of it, which seems much less favorable to me. Although I kinda like the exaggerated reds in the nightstand scene, a bit toning down couldn't hurt. I do like Zak's custom grades. Although they kinda lack some 'pop' (I know, I hate when people use that vague description too, lol). Think @bunk did a pretty solid job there getting a nice balance. Nice.

I love the LX100, it's a little gem, but I wouldn't really dare show up with it to a paid gig. They'd probably get the idea that instead of hiring you, they should've bought the camera you're shooting with and do it themselves. Or you really gotta know how to sell and present yourself on a shoot. I agree, they should get you for your vision, creativity, knowledge and skills, but those values might not matter if you show up with a premium compact... guess it's along the lines of stripping down in front of a woman and then telling her 'erm, you know it's not about size, but what you do with it, right?'.

C-mount just takes a small and cheap adapter. There's nothing to it really. Works with any M43 camera, just a little better with the BMPCC, because it has a larger crop factor: it crops in more on the image circle, making it less sensitive to the outer edge vignetting. Then again, you can cut 1080p out of a 4K image that the GH4 shoots and cut around the vignetting as well. They might give some fun effects and character, but overall, I haven't been in love with my cheapo copies (I have a 25mm f/1.4, 35mm f/1.7 and 50mm f/1.4). Wouldn't base a purchase on it unless you'd have some vintage C-mounts lying around or something. If you're thinking about cheap vintage glass, rather look at some M42's, Pentax, Minolta's and FD's for example. Work great with the M43 sensor, have great character, usually built like a tank and optics are solid. Check out the sticky lens thread. About the 12-35mm f/2.8, it's a lot of people's go-to lens. Since M43 is a 2x crop sensor and shooting 4K gives a 2.3x crop compared to the 35mm reference, the 12-35mm gives a practical range for normal shooting scenarios. The lens has a f/2.8 sensitivity throughout which is pretty great. You could consider a Sigma ART series 18-35mm f/1.8 lens and use an adapter with optics inside to compensate for the crop a little and win a bit of light in the process, which is a great combination, with great optical performance and character, but the Sigma faces the same problem as a Olympus 12-40mm f/2.8 PRO lens would have on a Panasonic body... these lenses have no image stabilization built-in an Panasonic cameras don't do video sensor stabilization (as Olympus cameras do, see fuzzy's point). As the Panasonic 12-35mm has built-in optical image stabilization, it will do a decent job of filtering out some of the shakiness. Also, a third party lens with simple adapter (not electronic, with or without optics) does not allow for in-camera settings to take effect. You'll be left with full manual operation. The native mount 12-35mm doesn't have this issue (should it be one to you;personally I don't mind fully manual operation). I figure lots of people just have one, because it's just so darn convenient. The Nebula 4000 I would forget... Some topics around here (like: http://www.eoshd.com/comments/topic/3293-3-axis-camera-stabilizing-systems-–-overview/?do=findComment&comment=99388 ) that kinda go into that... the recent developments seem to kinda make a bit more sense already, but personally don't think it's there/mature enough yet still. Anyways, I'd say: worry about that kinda of stuff later. Yeah, I'm thinking the GH4 with the V-LOG option would be a good match for your needs. The BMPCC is pretty great if you need to just about torture your footage in grading, but the GH4 is more flexible and friendlier to work with. If only for ergonomics, vari-angle touchscreen and great battery life.

Depends. The boosted adapter uses optics that concentrate the image circle and project it onto a smaller surface. This will allow more of the image circle to be seen by the sensor, in turn creating a wider field of view (as well as creating a bit shallower depth of field because of it). Since the light is concentrated it's brighter as well, allowing for a slightly lower ISO to be used for example. So, if you find it hard to get wide shots and have trouble dealing with lowlight, because of the sensor's crop, then the boosted adapter might be your thing. If you, however, are perfectly fine with the focal range as it is and don't need to go wider or have a need for gathering a bit more light, you should be fine enough with a cheaper adapter without glass. And neither of these have to be from Metabones. There are some focal reducers/lens turbos (with optics) by the likes of Zhongyi and R.J. for example. If you're looking for simpler adapters without optics, you might want to check out Commlite, Novoflex , Kipon, Fotodiox, Fotasy and Fotga to name a few. They won't break the bank either. There's something to be said for Nikon adapters with Nikon mount lenses. Since the aperture is controlled mechanically, it allows for very basic adapters with a mechanical interlink to the lens in order to open or close the aperture. The thing with some Canon mount lenses is that there are a lot out there that only have electronic control (no aperture ring, no mechanical link)... and there's not really a simple and cheap solution for that, except perhaps for keeping a Canon body around that you have to use for switching lenses only to allow to change the aperture on the lens for use with a third party camera like a Panasonic or Sony through an adapter. There's electronic adapters surely, but they'll cost you. Benefit though is, that with electronic control you might now take advantage of the autofocus and lens stabilization features. So that choice depends on your needs too.

There are regular adapters without the glass to boost the image circle.

I had hidden it in my earlier comment. I guess a little too well.

I'm quite digging the Varicam LUT though.

Hum. That looks quite mushy (and grainy, but a nice grain). Then again, it is a Canon after all.

Yup. Pretty much that list. Though tons of people must've started their way into DSLR video with the T2i/550D and then took full benefit from the Magic Lantern support. It belongs up there just as much as the 5DmkII that really started it all and the 7D. Way back when I was looking into a system, I opted for the hacked GH2 though. It had the nicer quality and I liked the compact approach with the cute but mean lenses. The BMPCC was something nobody really dared dreaming of, it made shooting gradeable cinematic images accessible to everybody, especially with the incredible summer price cut that started rumors of a successor being on the horizon (wasn't the case; a sick deal is all that was). I feel like the GH3 was just a placeholder before the GH4 really blew things up! With the GH4 the new legendary camera was born, only to really be rivaled by the 5DmkIII with ML RAW and the incredible A7S that picked up where the lowlight performance GH4 let down. Sure there's the GM1, GM5, GX7, GX8, G6, G7, but they are never going to achieve such legendary status. The D5200, D5300, D5500, A5100 and A6000 gave us pretty sweet 1080p, but never really excelled at something, never really getting that legendary status either. Good effort from Nikon on the D750, but not quite. The 5DmkIII was a fun refresh and ML RAW is pretty cool, but it's just a slight evolution, nothing revolutionary, not a legend. The 1DC came out strong, but was the price justified? It outclasses quite a bit of cameras, but the price was keeping it from being the people's camera. Olympus having the great 5-axis IBIS, but failing to give a useful video mode to the E-M1 shooters, then not deilvering on the promise of cinematic quality movies machine that goes by the name E-M5II. Going smaller, 1" sensor cameras stirred things up, but non of which in my eyes really owned it. The LX100 just about the only fixed zoomlens compact with large sensor I'd consider a hybrid legend perhaps. But just barely. When you're talking about legends it's a camera that really sets a news standard somehow, it has to have the certain x factor and popularity. Can't just slap the label 'legend' on every camera that's kinda pretty cool. Although it's not just about quality and epic features, it has to have character, has to invoke somekind of mentality change, the start of a path into something substantially new and being a legend, it really has to be idolized by a significant following. So, for me I would consider the 5DmkII - 7D & T2i/550D - GH2 - BMPCC - GH4 and A7S as such. I have a feeling the next ones could be the A6100/A7000 and GH5. It would be interesting to see if Samsung could find a way to give a NX2 some more traction and appeal.

It would be this right here: https://play.google.com/store/apps/details?id=com.frozenvolcano.android.cinema4k . Maybe use a VPN, or even something like https://www.proxfree.com / https://www.hidemyass.com/proxy ?

Yeah, not too shabby, I like it. The only thing that kinda bugs me is the MF. It's pretty good within like a meter or 2 or so. But going a bit further away and between infinity and like 5 meters is like half a millimeter, so it's hard to nail. I need to explore it a little more.

I'd say the Panasonic is the way to go for OIS. If you don't mind the lack thereof on the Olympus, I'd go with the Oly all the way. The PRO zooms are something else. Really nice built and quality to 'em and even gives you 5mm flexibility in zoomrange. I don't think anyone regret getting either though. They're fine lenses and the price kinda reflects that. In an ideal world we'd have a Panasonic body with 5-axis in-body stabilization with solid video (even if just 1080 or 1440p) where we could throw our Olympus lenses on. Getting the PRO zoom series, 7-14, 12-40 and 40-150mm f/2.8 (although quite the investment) would be a very solid foundation to build from.

Almost! I wanted something for 4K that was a little bit more like the 5" Ninja Blade. But then again... there's the PIX-E5(H) which right now might just be the capturing monitor of the hour. Would've been nice to see these other companies (Atomos, Convergent Design and Blackmagic) following up on their lead though.

Dropped like almost 200 EUR in a years time: http://geizhals.eu/?phist=1128189 . That's almost 25% off from the initial price. The FZ200's history looks interesting: http://geizhals.eu/?phist=810704 . Same kinda thing, dropped about 200 EUR in a year, then had a steady but slow drop (with some spikes). But three years later its still a bit more than half the original price. These a pretty solid cameras that speak to a large audience.

How exactly would that be ironic? The crop cuts from two sides at once, not just one. To consider both axis, use pythagoras to get the diagonal pixelcount. Which is roughly 4631 for C4K and 2203 in FHD. This results in a factor difference of 2.1x, actually. Or maybe I'm missing another step in my calculation? 'Illuminati confirmed', as the interw3bz would say.

Pretty sure that's the case. In meanwhile the German press release mentions the release for November 2015 and 99 EUR (the Dutch one doesn't share these details)... although that mention is for the body only GH4R, but I imagine it's for rolling out the firmware itself along side it as well?

Bunch of topics on the forum handling the subject already that have some interesting information, thoughts and opinions. Delve into some history (like this very recent topic: http://www.eoshd.com/comments/topic/8981-nd-filter-buying-advice/ , a bit of an older one: http://www.eoshd.com/comments/topic/7522-all-i-want-for-christmas-is-you-heliopan/ , or:) Heard good things about the Genus though. I started out with a Fotga Variable ND (as seen on http://cheesycam.com/fotga-slim-variable-nd-fader-filter/ & http://cheesycam.com/fotga-variable-nd-fader-filter-sample/ ). Then I bought some quality fixed NDs (as seen on https://www.kickstarter.com/projects/breakthrough/x-series-traction-filters/description X3 uses Schott glass).

Ah, ok, I was kinda lost on that too, 'rangefinder' sounded pretty generic... but once you add 'The SLR Magic' to it, I instantly get it.

I did, actually. It's definitly a great addition for the times you want to go with that low contrast look. The Tokina RMCs do a pretty sweet job of that too (have the 28-85mm f/4 myself).

Well, it means that full frame itself comes in at a crop of 1.25x. Crop factor 1x would be the same size as full frame. GH4 in 4K would be 2.3x crop. But anything below 1x crop, so 0.8x, would be bigger, even though it's a bit odd to still call it a 'crop'. 24mm FF lens on a M43 4K would be 55mm (x2.3). On MF 19mm (x0.8).