TheRenaissanceMan

Too true! IBIS is not for running around and down stairs with unless you want horrifying warping effects. However, it's also nice for slow, simple handheld movements. I believe @fuzzynormal uses his Olympus this way with solid results.

That's a solid set! If you don't need the extra two stops, definitely consider the 85mm f/2.8 sonnar. The AE flares quite a bit, but the way it renders is spectacularly 3D. Or if you don't mind a slightly longer FL, the 100mm f/2 is a famously beautiful lens, in part because it's one of the designs that never made it to the ZE/ZF line-up. I guess I'm just biased, because I never really gelled with the 85 1.4. Not terribly sharp until stopped down, and the bokeh draws a lot of attention to itself. Ymmv. Let your own eyes be the judge.

So glad they're working out! AE 28 f/2 and 50 f/1.4, right? Are they resolving well on the NX1 sensor? Any more samples to share?

It's the processing that improved from the GH4, not the sensor. I think with the GX80 out and a GH5 announcement imminent, this is a little premature.

The Ursa Mini 4K absolutely ships with a global sensor.

I used that recently on a RED Dragon shoot! Gorgeous lens. It was our go to for dolly, establishing, and handheld shots.

I would encourage the beginner with less to spend on a body to go with the excellent Panasonic G7 ($400 used) and spend the savings on better glass, lights, a nice tripod, etc. To me, A6300 is typical Sony: great DR, noise, and resolution, but not much else.

Fun story: one time, a friend of mine was taking a walk and came across a shoot for a Progressive commercial. They ushered him through so they could get back to work, but he managed to catch a glimpse of the DP's name from the slate. It was Emmanuel Lubezki. This was well after Children of Men and Tree of Life, too. While I agree with your main point-- that feature films have to find unique aesthetic characteristics to distinguish them from lower-end productions-- I cannot abide the implication that accepting commercial work precludes someone from being a true artist. In my eyes, any true artist would do whatever work they had to if it meant taking another step toward realizing their next project.

Since we're on the topic, I'll bite: what are people's negative experiences with Adorama?

Well, but that's with a freaking fan on the body.

I personally find Sigmas a little flat and sterile for narrative, but it has nothing to do with the number of elements, and they're still excellent lenses.

Oh wow! I totally missed that. Got a link to any samples?

Has anyone tried using the BMPCC SB on the DB16? I'd be afraid the optics might hit the sensor glass.

And I love what I've seen out if it. But it's s16, not s35...

Interesting. Most of the Kine owners I've spoken to are pretty happy with the support. Can you expand a little on your experience with them?

I'm excited for the C100 III because it'll drive down the used price of C100 IIs.

Wait...so they're all focus by wire?

And you're saying this based on...?

Same here in Wisconsin...every day is a dice roll.

Well, it's about a 1.7x crop, which is closer to flat 35 than s35. Plus it's not a CCD, which is half the equation. I think CCD + S35 + RAW is what we're after.

I think a s35 version of the d16 sensor in a higher end body would be pretty desirable to narrative/studio/hobbyist shooters.

It's good, not exceptional. The Dual Pixel AF is pretty nice, although you're hamstrung by the lack of touchscreen AF. Solid 1080p, but no 4K.

Great shots! The image with that 200mbps hack is lookin' goooooooood. I've still got an SMC Takumar 50/1.4 kicking around somewhere. Very sharp lens, but it's quite yellow and doesn't match anything else in my collection.

This must really be a taste thing, because I've seen lots of comments both ways on various forums saying the Kinefinity or the BM had better color. It's not a very definitive comparison; we don't know enough about the settings and conditions to draw any hard and fast conclusions. Also, keep in mind that the 6K sensor only captures the full 16 stops of DR when downsampled. The full 6K has slightly less at 14 stops. Personally, I think the Kine color looks a bit richer while the BM is more neutral. Kine has nicer motion, BM has cleaner shadows. Kine has higher resolution, BM has less rolling shutter. There's some amazing footage out there from the Kinemax, whereas the 4.6K...it looks good, but has yet to really wow me from an aesthetic standpoint. I'm excited to see what we get from the 5K, as that seems to be the more comparable sensor to the Ursa Mini.

True...I had to return my first 25mm due to pretty bad decentering. It seems they've gotten better since then, but I'm guessing Cosina's QC is more consistent. Then again, the SLR Magic is about half the price.