TheRenaissanceMan

You guys saying the GH4 can't stand up to a 10-bit 4:2:2 camera realize the GH4 outputs 10-bit 4:2:2, right?

$2500 last I checked. $3500 with all features unlocked.

Kinemini 4K? Rock solid camera, great image quality, 2K Cineform, competent hfr, the ability to add a speed booster, and decent low light performance.

DR is almost identical between the two: around 11-12 stops.

Or EF-M mount. You can get a c- mount adapter on that. Only 17mm flange distance iirc.

Okay, but also that guy should not be allowed near an Alexa.

Looks great! What lens?

You know, I've only used it indoors thus far. Let me get back to you on that.

It is 400. There's an awesome thread over at BMCuser about how the 4K sensor is one of the best kept secrets in filmmaking. Amazing imagery if you don't need low light. http://bmcuser.com/showthread.php?17318-No-more-love-for-the-4K

The Contax is an incredible piece of glass. The CY Survival Guide thread on REDUser has nothing but praise for it too, even in high end productions. If you can cope with the huge filters, don't think twice.

Mine as well. From what I've seen, 1DC 60p basically looks like 5D3 "1080p." With full frame and relatively shallow DoF, it's usable, but definitely not the camera's strong point.

Why not both? GH5 as A-cam, GX85 as B-cam. More than likely that'll be my next kit.

And? The Alexa sensor is even older and still rules the industry.

The only other monitor I've used and can compare it to is the RED 5" monitor, which it beats soundly for both resolution and features. Trying to pull focus on that thing was a nightmare.

I second using f/8 and a small sensor. But to answer your question, I recently bought an Aputure FineHD VS-2, and it is EXCELLENT for pulling focus. Nice and sharp, big enough to see, very effective peaking. If your rig can handle it, I think you'll enjoy the addition.

Compacts like that tend to have a lot of compromises that get in the way of effective shooting--no headphone/mic jacks, no nd, no filter threads, lousy battery life, limited zoom, flimsy build, no hotshoe, etc. The absolute fastest run and gun camera I've worked with is the RX10 (II). Fast aperture, comprehensive zoom range, 3 stop internal nd, filter threads, mic and headphone jacks, excellent stabilization, decent preamps, very sharp 1080p, solid hfr, not bad in low light, weather sealed, evf, articulating screen, and okay battery life. It just gets out of the way and gives you the shot. The original RX10 can be had basically new for ~$450. If you're okay with the bridge camera form factor instead of a compact, I think you'll be pleasantly surprised.

Food for thought. http://www.dvinfo.net/article/pre_production/buyers_guides/owning-vs-renting-why-i-never-bought-a-camera.html

I suppose the main advantage is for corporate/commercial work, as a lot of clients specifically request ProRes deliverables. But having played with Kinefinity Cineform files, I'd stick with that unless absolutely necessary.

Depending what kind of work you do, I'm not sure that's an upgrade. Cineform has better compatibility (I'm a Windows user) and is more robust then 422HQ.

If you're getting up to the C100 II price point, it's worth taking a look at the Kinemini 4K or a Terra. Lots of competition at that price point.

I relate, because I used to use a crappy TFT monitor with no HDMI and recently picked up a 1440p BenQ. It's like night and day. Grading is so much easier and more fun now that I can see what I'm doing.

If you enjoy color grading, get a better monitor. Preferably something with DisplayPort.

Iirc, the Contax Zeiss 28mm lenses and the 28-85 f/3.4-4 all have really nice big focus throws. I would guess the Leica R 28mm elmarit is similarly good, but I haven't used it and don't have a good enough connection here at work to Google it.

Honestly...DPAF is nice, for sure, but you guys act like MF is some supremely impossible herculean task restricted to the largest crews with the biggest budgets. Get real.

1DC/1DX II?