TheRenaissanceMan

It's the 35-70, 24mm 2.8, and 500mm mirror lens that were licensed by Leica. The coatings do differ between the two, and some claim a build quality advantage for the Leicas. I can't speak to the veracity of that. I'd love to see a comparison between the best Leica and Minolta glass. My guess is that the Minoltas would hold up rather well, but lose out a bit in resolving power/microcontrast. They do match perfectly for color and contrast though, which matters more for video shooters.

I'm probably going to hold off buying a new camera until it's announced. I'm already invested in the system, so if it lives up to expectations, I'd rather just plug it into my existing workflow.

My thoughts exactly. The image feels dense, as opposed to the "thin" look to color Blackmagic has sometimes. That richness really gets you more invested in what you're seeing onscreen, even if it isn't technically as "good" on an image quality level. That shot in the thumbnail of the girl standing by the lily pond is an excellent sample of the DR, roll-off, tonality, and color rendering of this camera. The gentle highlight on the shoulder of her white shirt, the gentle slope into shadow in the distant foliage, the skin tones/hair/lily pad colors...it all feels really good. And I'm serious--you can grade this footage every which way and it holds up like a champ. Even my BMPCC doesn't have this kind of color integrity. Certainly not in ProRes. The Kinefinity seems much less "brittle" in this regard (judging purely by the Cineform files, as tthat's all I've been able to get my hands on).

He reposted it to correct a factual error from the original video. The out of camera Cineform files from Tone Mapping are available for download on the Kinefinity website. Just incredible to work with. I had a blast grading them every which way and seeing how well they held up.

Well, I could care less about the retail price. It's the used market I'm interested in.

Yeah...really gotta stick with elmarits for the wides and summicrons for 50/90 if you want to keep things economical. They're doable. But the faster, rarer glass will break the bank. My current plan is to forgo Leicas and pair my Zeiss set with fast Minolta MCs, which I can then convert to EF mount. It depends what camera I get next-- only the Leicas will work on Nikon, and I can avoid paying $150 per lens to convert the Minoltas if I stick with mirrorless mount cameras.

I'm really hoping to see a used 1DC drop to ~$3000 now that the 1DX II is out...wishful thinking, I know, but it could fill literally every one of my stills/video needs--doc, event, narrative, studio, portraits, candids, etc-- depending how I kit it out at any given time.

It's less about resolution than a slightly different rendering. MMs are a bit cleaner, crisper, more modern. They flare much less and lack the distinctive AE "ninja stars." If I want something smother and more vintage, I'll throw on Minoltas/Leica Rs. For a more modern look and something I can use for commercial work, I'll reach for the Zeiss set.

I kinda forgot about the Personal-View cameras...now I'm tempted to get an unlocked G7 from them.

I think the Personal-View links let you buy cameras that specifically have their record limits removed. The GX85 also lacks the 30-minute limit.

What about the GH3? It's pretty affordable, has unlimited record times, and records forever on one battery/64GB SD card.

So glad to see they're working for you! I always suspected they'd pair well with the NX1 sensor. I plan to build an MM set once I clear out some space in the gear closet.

My guess is identical IQ to the (excellent) G7, but with stabilization and no mic jack.

That's 3 categories, not 2. Great article! Nice to see you turning around on mu43 again. The lens options are indeed a big part of the system's magic. So many great options, even if you don't want to shell out for a Nocticron.

Yes, both lenses and gear for sale should be sub forums.

I use a GTX 970 for 2:1 RAW and get full time playback, so 3:1 shouldn't be a problem.

Damn, those are NICE. Very excited to see what Panny has in store for the GH5...

I recently upgraded my H4n to an H5 (same preamps as the H6). Excellent performer. Menus are perfectly intuitive to me, but maybe that's just my familiarity with the brand. Also just picked up a Senheiser MKE600. Very comparable sound to the NTG-3 imo, but a lot less expensive and with the option to run off battery power to a 3.5mm jack as well as P48 XLR.

I'd be totally happy with less megapixels if we get full-sensor 4K, better color integrity, and another half to full stop of DR. Everything else just comes down to cramming in all the features from their previous cameras and doing a hair of catch-up with their competitors on framerates and (to a lesser extent) color science.

Forgot about chroma noise. Another great reason to dial down sat a couple points. Seconded on not touching contrast. Maybe it worked on Canon cameras, but on a Panasonic/Sony especially, it just causes a bevy of problems with no real benefits.

Panasonic's argument against IBIS during video recording was that it compromised heat dissipation. Has anyone tested for overheating with the IBIS on?

I've experienced red channel clipping a lot in Canon footage for some reason. I guess their sensors just really love red.

I'm no expert, but I'll do my best. As I understand it, a luma (brightness) signal is an average/combination of the R, G, and B channels. While the overall brightness (luma) in one area of the frame may not be clipping on the histogram, one of the individual color channels may already have clipped, which causes lost information and strange color artifacts. If anyone who understands this better than me cares to chime in with clarifications, please do.

To keep color channels from clipping. You don't want to lower it all the way; 1 or 2 points will do.

I've actually been considering this exact set! What camera are you using them on? How do you like the set overall?