TheRenaissanceMan

The GH3 has a 2.3 crop. Maybe you're thinking of the GX8, which is more severe.

Tupp...we get it, man. You're not interested in or impressed by Aputure's lights. Can you please stop hijacking the thread now?

You're not paying for the accessories. You're paying for the added monitoring features, like false color.

Re: LX100 color, my guess is the color/contrast differences stem from the Panasonic-Leica lens. If my 25mm 1.4 is any indication, their glass has a VERY distinctive color palette. It doesn't match any of my other lenses-- Panasonic, Olympus, SLR Magic--at ALL.

Definitely the nicest 8-bit 4K. They've always gotten motion cadence really, really right, and that MJPEG color feels so thick compared to other 8-bit cameras.

Gonna have to agree to disagree there, Eduardo. IMO, the GH4 in 10-bit V-LOG has insane mojo.

Why EF mount? Just get the Kinemount with an EF adapter. Then you have the option of a speed booster (KineEnhancer) or another mount down the line. If they can price a Terra 4K between $2000 and $2500 and get better U.S. distribution/support, I think they could dominate the low end market. It even provides a great upgrade path, since Kinefinity takes trade-ins and all the same accessories work on the 5K/6K.

Ah, maybe I misunderstood when I read "can be powered by V-mount or Sony batteries." Still, BP-U30s are pretty nice as an internal backup(like RED Volts)/low-budget solution.

I guess it really depends what your working style is, and what you're looking to get out of your second camera. There's a lot of great cameras that can fill the general role you're describing, so the more you can narrow down your wish list of features, the better.

I guess in terms of that "one special lens," three items in my collection spring to mind: SLR Magic 25mm -- normal perspective, huge aperture, usable wide open, amazing bokeh, perfect build/mechanics. My #1 workhorse. Canon FD 35mm f/2 (concave front element) -- versatile focal length on full frame/s35, with amazing 3D pop. Doesn't match my other FDs, but it's definitely got that special something. Just watch for flare--it can't stand up to stray light at ALL. Minolta MC 58mm f/1.4 -- despite being one of the cheapest lenses I own, it's one of my most prized. Amazing portrait/close-up lens, dreamy wide open, crisps up at 2.8, like two lenses in one. Smooth bokeh and amazing transition from in focus from out of focus. I can pop it on any time for a look that's pure cinema.

Sony's cameras have organic mojo? Since when? I've heard people talk about Panasonic's mojo since the DVX100, but never Sony's (unless you count the F35/F65).

I thought the back plate had the option of V-mount or Sony BP mount. Or did I screw that up?

Fair enough! Maybe I'll go all Patona when I upgrade my GH3.

I've had nothing but good experiences with DSTE. They tend to be low on the price scale and just as good as the OEM copies. No issues using them in my GH3, EOS-M, or BMPCC.

Also note, users have the option of either V-Lock batteries or Sony mount (BP-U30/BP-U60), which gives you a cheaper option if you're not invested in V-mount batteries already.

And natively it should have one more stop of DR than the 6K, so if it's better in RS and cheaper to boot, the 5K sounds like a slam dunk. All this info is in the Kinefinity announcement topic and their website.

12-bit linear RAW is exactly the problem. That's why Blackmagic encodes in 12-bit logarithmic RAW, which unpacks to 16-bit linear in Resolve.

If you're using it for video, I'd much rather pay $400-$450 for a used SLR Magic 25mm t/0.95. Mechanically, it's worlds better for any kind of serious work.

I think just giving an A7S III 10-bit HDMI out would be a big step.

The common wisdom is that LOG profiles are best for well-lit situations with lots of DR, and punchier picture profiles work better in low light where you have less room to push without boosting noise.

Well, here's what we can take as given (because it already exists on other Panny cams): DCI 4K 10-bit HDMI out 5-axis IBIS 1.5-2 stops improved low light performance V-Log L Retooled color science (released on the DVX200 in a recent firmware update) Anamorphic support Here's what we can reasonably expect, given the sensor size and competition: 120fps (or more) at 1080p Increased DR (at least 12 stops) Low RS (at least the current amount, but hopefully a bit less than the GH4--certainly less than the NX1/A6300/A7S) Tweaked processing for V-LOG L (to address the artefacts it caused in the GH4) Anamorphic de-squeeze in-camera Dual card slots Here's what I'm hoping for, considering Panasonic's track record of providing meaningful upgrades with each iteration of the GH series: The return of the multi-aspect ratio sensor, providing a "more competitive crop factor" (ugh) compared to the GH3 (1.32x with speed booster) Lower megapixels for improved low-light performance (if the forums are any indication, stills shooters can't be responsible for many GH4 sales) In-camera 10-bit (possibly in AVC-Ultra) 4:4:4 HDMI-out (RAW seems unlikely, but 12-bit out would really set it apart from the rest of the pack) An improved YAGH (battery-powered, XLRs, full-size HDMI out) The same/similar body to the GH3/GH4 (or at least have it take the same batteries) Dual-recording (4K masters and 1080p proxies)

Even just a stripped-down Terra-like body with the innards of the Kinemini 4K for $1500 would kill. Shit, I'd buy two.

I highly doubt the Terra 5K uses any variant of the 4.6K Ursa sensor. They've never sourced from Fairchild before, and despite similar specs, that extra .4k entails a completely different sensor architecture.

Lots of people are still loving and doing great work with the GH4, so I'm not sure what you're on about there.

Gf7 actually sounds like a good option. Cheap, light, great image quality, small file sizes and the all-important selfie screen.