TheRenaissanceMan

My absolute favorites are Leica R primes, but I'm also a huge fan of Contax Zeiss and Minolta Rokkor (though sadly, Rokkors won't fit on the XL). Canon FDs are great as well if you're on a budget, especially the f/2.8 versions. I'm not as big on Nikkors, Olympus OM, modern Canons, or Sigma Art. Nikkors have a nice look and they're very affordable, but they zoom and focus the opposite way of every other lens. It drives me bananas and costs me shots. Olympus OMs are compact, adaptable to EF, and have great color rendering, but their designs were made with film in mind and don't play well with digital. Most of them don't perform well until f/4-5.6, and even then the wide angles suffer from iffy edges and corners with lots of smearing/CA. Modern Canon stuff has a crispy, syrupy look I just hate, and most of them don't handle very well for video. Plus, they require powered adapters to change aperture on non-Canon bodies. The Sigma art series is amazing for stills, but they're too clinical and hard-sharp for video IMO. They also have a TON of contrast, which can cost you a lot of DR. Last but not least, you either need to buy them in Canon mount (the powered adapter problem again) or Nikon mount (reversed focus direction). Check out the Contax Zeiss and Minolta Rokkor Survival Guides for more info on those. Sadly, there isn't as convenient a resource for Leica Rs-- you'll just have to search around-- but I know a fair number of EOSHD members have used Canon FDs and would happily answer any questions in the lenses topic.

Going to guess G7. It's got that Panasonic yellow-brown thing going on.

A little diffusion might help as well. The Tiffen Warm Black Pro Mist does amazing things to Sony footage.

I'd check out more footage from the Digital Bolex. Like the BMPC, a lot of people wrote it off when they heard it wasn't good in low light, but that thing has some of the most gorgeous colors I've ever seen from a digital camera. Just beautiful. Global shutter (CCD) and great audio, too.

In video, yes. The LX100 also had this improved processing, which is why many confused reviewers were reporting better noise performance in 4K. I haven't had hands on with the GX8 yet, but it has the same per-pixel noise as the G7 in RAW and the improved processing, so it would stand to reason that it too is improved over the GH4. The few samples I've managed to find online seem to bear that out.

Time will tell. I'm sure it'll at least have the improved noise processing of the G7/GX8, which have a ~1.5 stop improvement over the GH4. Besides that, I think the codec will make or break this camera. Higher bitrates, internal 10-bit AVC-Ultra, internal downsampling, etc. From what I've seen out of the GX8, that 20MP sensor actually had a really beautiful look for video. Low noise, lovely native tonal response, natural colors, and an excellent highlight rolloff. All the hubbub over the 4K crop factor is completely silly (Oh no, a 1.15x crop of my sensor! HOW CAN I BE CINEMATIC NOW???), but I have a feeling it'll decide a lot of sales. The first bite of the apple is with the eyes, and the first bite of the camera is with the spec sheet. If they downscale the full 16:9 readout or actually give us 5K video, I'm sure many users would be tempted to upgrade. And if things don't work out with Panasonic, it's a very easy transition to Blackmagic.

G Masters are also a tough sell for Sony crop body users, who have been left out in the cold lens-wise.

I've heard of good results with several different settings: - Natural with minimal tinkering. -2 contrast at most. This is what I use with my GH3 and on GH4 shoots. - CinelikeV with contrast dialed down and shadows +3/idynamic low. This provides a look that's mostly finished in-camera. Haven't messed much with this yet. -CinelikeD dialed down, with a LUT applied to bring the footage to a neutral starting point. Check out the DVX User thread on the Leeming LUT for more information. I'm looking more into this right now, as I'm contemplating an upgrade to the G7.

I need to see more image samples out of this camera; I'm still not convinced the skin tones, motion, and overall "look" are to my liking, despite its impressive spec sheet. If it is, I'll buy one. My work gives me a 40% rebate on one Sony a year, so trust me, I'm rooting for them.

Can you elaborate more on the Olympus OM lenses you used, your experience with them, and their history in VistaVision? There's so little publicly available information about these lenses, and what's there isn't very helpful. Thanks in advance, and great job on the short. Watch out for flying metal!

A unique, shallow lens mount would be awesome, but I doubt it considering they already slapped Canon mounts on their high end cameras. It's a modular system. The central hardware has great longevity, the rest is upgradable, and (unlike RED) none of it's proprietary. I'd love to see more first party accessories from BM! They have a nice little array of cameras that cover a range of needs and price points. They should focus on delivering and supporting those. In the meantime, bring out some tools to keep people in the ecosystem. A few ideas: -a small, cheap Ninja Star-style recorder that uses SD cards. Maybe give it dual SD slots for simultaneous ProRes HQ and Proxy recording. -an audio preamp/recorder with XLR, phantom power, dedicated volume knobs, and dual headphone jacks -a battery solution that works like a base plate or battery grip. Include a few different plates for different types of batteries-- LP-E6, Sony BP-U60, Panasonic GH4 batteries, etc. Bonus points if it could plug into the camera and provide dedicated buttons for ISO, WB, REC stop/start, etc. -combine the last two ideas--make it like a YAGH box for people who work in real production environments, except with battery plates on one side as well as DC power -a higher end ~19" production monitor -4K Video Assist with a 7" screen Pipe dreams mostly, but wouldn't it be nice?

Plus you'd be forced to pay for those components, even if you don't need them. With BM, you can shoot as stripped down or as rigged up as you want.

F/stop is a ratio between focal length and pupil size. It has nothing to do with image circle size.

I shoot into light all the time with my Roxsen speed booster and have never seen a blue dot. I hear it's a non-issue with the RJ as well.

Yikes...what a train wreck. Back to the subject at hand, what makes this lens more exciting than a speed boosted 70-200 is that it basically comes "pre-boosted," so it can be boosted again for m4/3 and BM cameras. 75-150 f/1 on the speed booster XL, and even faster on the BMPCC booster (too lazy to do that math right now). Of course, the practicality of using a lens this huge, expensive, and heavy on a GH4 or BMPCC leaves something to be desired...

Light gathering, not bokeh.

RX10? Built in everything, headphone and mic jacks, nice 1080p, 24-200mm equiv f/2.8 constant lens, image stabilization, about $500 used.

Man, this would make a great kit with the 18-35. Big, though. Big and heavy and 82mm filter thread.

The NX1 can also do 4K/30p. Hard to imagine the A6300 could do 4K/60p in a larger body when it can't top 25p in the current one without a significant sensor crop. I'd be more than okay with a beefier body from Sony a la GH4/NX1. Better heat dissipation, better processing, better battery life (if they stopped using the pathetically weak fw50 in everything).

I could get this thing rigged for $500 or less. Besides, most of that is unnecessary if your cameras spends most of its time on sticks, sliders, and shoulder rigs (which mine does).

Autumn Leaves solves that problem by emphasizing more of the warm tones in the image. Don't know if it's available on the FS5, though.

On paper, it's everything we want. Mu43 mount, s35 sensor, LOG, 10-bit 4:2:2, 4K. Good at ISO 3200, usable in a pinch at 6400. There's noise, but it's monochromatic and grain-like. Colors are a little broadcast-y for my taste, but it's a good look with nice skin tones. Attractively priced, too, with all the features to make video shooting easy. With the newest price drops and firmware updates, there's little reason NOT to consider it. We just need someone like Mattias to get his hands on one and start the club, like that guy on DVX User did for the F35.

I feel like a C100 with Canon skin tones, Dual Pixel AF, and small file sizes would be a far more ideal wedding camera.

As interesting as everyone's half-baked lens rhetoric is, can we get back on topic?

No clips with the pocket yet, but I'll let you know when I have something to share. I just got the 45mm f/2 last week. Small, light. Razor sharp at 2.8. F/2 is good, but has a bit of that vintage low-con glow going on. I like it. Plan to pick up another for matching close ups on 2-camera shoots.