TheRenaissanceMan

Maybe empirically, but it's nothing you'd notice in actual shooting. Both brands focus very fast.

100% agreed. I'm a bigger fan of SLR Magic's 25mm and 10mm than Voigtlander's. Has anyone ever tried mixing both on a shoot? I haven't used the Voigts enough to know if they match or not.

I'm more excited for the Nikon DL cameras to finally drop. 4K pocket cameras with Nikon's excellent codec, flat profile, ergonomics, and battery life= my ideal travel camera.

BMCC? You can pop the BMPCC speed booster on it for a 1.38x crop and an effective native ISO of 3200, which should be enough for most low-light situations; you'll get 2.5k, which will give you some of the wiggle room you're used to with the 4.6K; and the menus, color science, lens mount, and workflow will be identical between it and your UM46. Otherwise, maybe a used F3. Nice low light performance, S35, internal NDs, 10-bit 444 output, decent color, beautiful highlight roll-off, great DR, and iirc it even takes the same batteries as your FS5. The biggest downside is that it's "only" 1080p, but other than that? Not much downside.

Seriously...there are already a full set of 2.8 zooms from each manufacturer. These basically act as a constant f/4 zoom on set, with the option to open up a bit on the wide end in a pinch. Also, one of the benefits of m4/3 in terms of lens design is that they require a lot less stopping down to reach peak performance than comparable full frame glass.

I would wait and see what initial reviews say about rolling shutter, battery life, and overheating. All are big issues on the current Sony cams, and it remains to be seen if they've been improved at all in this model.

Worth a shot!

Fuji X-T2 with speed booster.

If you've got the money, a Zeiss Loxia set is ideal for video shooting. Beautiful focus action, clickless aperture rings, and an elegant, transparent rendering ideal for both clean client work or more creative grading. If you want to get something more affordable or more broadly compatible, I'd recommend buying vintage and fitting the set with gears from followfocusgears.com and uniform 80mm front rings from Duclos. I'm building a Leica R set that way right now, as I believe they're the best of the best vintage stills glass for cinema. Other great choices: Contax Zeiss, Minolta MD, Olympus OM, Nikon F, and Canon FD (in that order). A lot of low-level industry people are buying Rokinons these days, but they're relatively sterile, mediocre performers that don't match terribly well and suffer from quite a bit of sample variation. They're also-- let's be real here-- big pieces of plastic, and I'm not optimistic about their longevity compared to all-metal vintage glass. Besides, building a unique set could give you an edge over your competition, both in prestige and the looks you're able to achieve. Edit: If you're looking for something more run and gun, I highly recommend the CY Zeiss 28-85mm and 80-200mm. AF on the A7SII isn't something I'd use in a fast-paced doc situation, and both those zooms combined will cost you less than a third the price of a new G-Master.

I'd say stick with Blackmagic. Many Hollywood DPs swear by it as a B-camera for the Alexa/Amira, as the DR and color space is extremely similar. Stick a BMPCC speed booster on a Pocket and you've got a 1.67x crop factor, which isn't that bad compared to S35. But if you want, that speed booster also works on the 2.5K BMCC, and reduces your crop factor to 1.39. That, the extra resolution, and an effective ISO sensitivity of 2500 (800+1 2/3 stops) should be enough to crush most shooting situations without issue.

Borrowing a friend's! Haven't done a ton with it yet, just testing for an upcoming narrative. Loving what I'm seeing so far! Mostly using Natural, as that's what worked best on my GH3, but I may give Standard a whirl. I'm finding I can pull a lot back from the highlights and shadows in Resolve; holds up like a champ in the grade. Highlights roll off nicely, and dropping the mids a bit gives you a beautiful tone curve with very little effort. However, even at ISO 1600, there's a fair bit of fine grain (not ugly, but present), and any details below 30 IRE or so get fairly muddy. Definitely more of a S16 look. I dig it, but not an aesthetic that works for everything. I'd peg DR in good light at around 11 stops, but I'd need to test in more controlled circumstances to say for sure. Using the right glass matters a lot. My Lumix glass feels VERY sterile and the colors aren't to my liking, but my SLR Magics, Leica Rs, and Minoltas bring out the best in that sensor. Haven't tried my Canon FDs yet; might throw them on there with the Speed Booster tomorrow. Ditto my Olympuses, though they render too clinically on Panasonic bodies in my experience. (Yes, I have waaaaaaay too much glass.) Usability is great. The screen is sharp, battery life impressive, menus intuitive, grip comfortable, and overall just a pleasure to handle. I only wish the card slot were on the side, but something has to give at this price point. Hoping to get out and shoot more tomorrow afternoon!

On the G7, I use -2 contrast, -2 sat, -5 NR, and -5 sharpening.

I watched it on my 120hz monitor, but I'll have to throw it up on my DLP projector and see what's really going on.

Motion is indeed weird. Looks like either struggling OIS or too high a shutter speed. It MUST be a settings thing, because I've never seen 24p at 1/50 look that noticeably bad.

If it required redesigning the lenses, the GH5 must have a larger capture area for anamorphic. Full sensor area maybe? That'd be damn impressive.

They could just shoot in 1080p.

10mm or 12mm SLR Magic. Fast and sharp with character and a great sense of depth. I'd give the 10 a definite edge over the 12, but both produce excellent images.

If that is the case, I may mess myself a little. But wouldn't downsampled DCI 4K require even more horizontal pixels?

Or 4K, or an internal broadcast codec.

Preview footage looks interesting. A little over-sharpened, maybe. The colors are interesting. They remind me of the NX1, in that they're simultaneously somewhat muted and a a tad too much. That US price is just silly, though. This thing ticks a lot of the right boxes, but only at the initial launch price; cost being equal, I'd rather have a G7 or GX85 any day of the week.

Sadly, I agree. I like what I've seen of the 4K though.

There's also been some talk of A6300 overheating varying by sample, so there's no need to slam Max for being honest about his experience.

It's useful for hobbyists who want to shoot handheld with no additional rigging. I've used it once or twice for doc work and a couple specialty shots on narratives where we couldn't use sticks or a rig. It lets you be lazy and still get good results, so of course we're all dying for it.

I don't think anyone's gotten the GX85 to overheat in 4K yet. In that big GH5 body? I think it'll be fine. But if all it takes to prevent overheating is not using IBIS for a while, that's a compromise I'm more than happy with.

How do you figure? The 4.6K has a native ISO of 800, and enough DR to push that 2+ stops. True, but remember that codec also ties in to low light performance. A thicker 10-bit codec will mean smoother, less compressed shadows, which means better-looking night scenes.