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No worries, I look forward to seeing your short as well, so it equally applies to you of course. Yes, the E-M5 Mark II has a microphone input and with the added grip, you get a headphone input as well. I actually briefly had the camera last month and really liked it, but I thought I wanted a 4K camera as a second cam, so I returned it. But after looking at my options and buying and trying another GX85, I decided I don't need 4K. As always though, once I start spending money, I begin to question if I should just spend more and get the better camera. Too many choices and none of them are perfect.

That's very cool. I hope you get to shoot that script. I mean you couldn't ask for a better location.

Metabones is kind of the gold standard but as a beginner the Lens Turbo is without question the way to go. They can be had for about $150 on eBay or BH Photo. I assume they're probably available through CVP as well, but I'm not a hundred percent sure about that. Also check out vintagelensesforvideo.com to see a comparison between the Metabones and Lens Turbo II. If you do get a Lens Turbo, make sure you get the second version.

Back button AF is a good way to use AF with native auto focus lenses on the GX80. And your Takumar is a nice lens for manual focus. If you want to add to it, you can grab the 35mm f/3.5, if you're on a budget, or the f/2 if you have a little more to spend. Takumar lenses are beautiful for video work and help to soften the inherent digital look to consumer video cameras. A simple focus lever will help to pull focus if you want to try rack focus shots. If you enjoy your Takumar lenses, you may want to consider getting a focal reducer to give your manual lenses a wider view and faster aperture, the Lens Turbo II is a great, inexpensive focal reducer.

I used a monopod and/or tripod for years, so it isn't life or death, but for a casual video camera, for run and gun shooting, I wanted one of two things... either DPAF or IBIS. As of now, I've decided IBIS is more important. Also, as of now, I think the e-m5 Mark ii will be my choice going forward... But... From a financial standpoint, the Olympus after I add a lens or two, and the grip, will cost well over a thousand dollars. At that point, I wonder if it just makes more sense to save some extra money, over the next couple of months, and shell out the extra $5-700 for the GH5? Idk, a question for the ages I guess... if you're a camera nerd like me. Has anyone seen any videos with the GH5 and SLR Magic 17mm or Olympus 17mm? I guess if I go the e-m5 Mark ii route, I may as well get lenses I can use if I decide to upgrade in 6 months to a year.

Cool video. You are a natural talent with a great eye. Man, I wish you would make a feature narrative. That cool house of yours would be an awesome location for a dark, Swedish thriller. Yeah, I pretty much talked myself out of the A7ii earlier today... of course I may have talked myself into waiting a couple months and buying a GH5... Ugh... Haha, I'll probably just use only my 5D3... but I do want a camera with IBIS. But like I said to Jase, once I start investing over a thousand into the e-m5mk2, I may as well throw in the extra for the extra features of the GH5. It never ends. Have you ever used the SLR Magic 17mm? As of now it seems like I can't go wrong with either the Olly or the SLR Magic.

Yup, this is the problem with a lot of these cams. Once you get to a certain price point, you may as well spend a little more, or even double to get the better model. With my rationale, if I spend even a dollar over a thousand, I may as well spend $750 more to get the GH5. As a narrative filmmaker, the GH5 really is a no brainer with its 10bit. With that being said, I really like the organic look of the e-m1mk2 better. Here's a video I saw from the Olly that I think looks great...

I doubt it's for legal reasons as they could easily add to their fine print that some of the 4K content may be be upscaled to 4K from a lower resolution. I assume it has to do with future proofing to 4K broadcast standards. With the assimilation of Netflix as a channel with Comcast, I assume Netflix has plans that exceeds their current subscription service. Even though this list isn't new, the public release of specific cameras that meet their standards is probably a way for them to encourage indie filmmakers to produce content on those specific cameras. Although we know they won't refuse to include films like Tangerine or other indie films shot on lesser resolutions or specs, if they can encourage filmmakers to shoot on a Varicam, a Red, or others, it is only a benefit for Netflix's marketing and delivery strategy. It will be interesting to see if the GH5 gets added to the list because it does meet all of the qualifications mentioned... I believe? And if it does get added, going forward, there really is no reason not to shoot a no or micro budget narrative or documentary on a GH5.

Thanks for the reply. I have really liked what I have seen from the A7ii, even though I may be the only one that thinks this is a video underdog. I guess compared to the fantastic a7s, it seems a silly choice, but I already own the 5D3 and started investing in Canon glass, so the point of the second camera is to get a pick up and go camera... so IBIS is vital. The Olympus definitely wins on that front with the superior IBIS, but I am fond of the floaty variant on the A7ii as well. And I must say that after shooting full frame for the first time, I finally get the appeal of it. The big problem with the A7ii is that I can get an a6500 for the same price and have 4K and better IBIS. If I could get one for a6300 money, it would be a no brainer and I'd go the a6500 route. Since IBIS is at the top of my feature list, I only have 5 options... • GX85 • E-M5 Mark II • G85 • a6500 • A7ii Honestly, even with the 4K, I just don't want another Panasonic right now. Every other camera I bought over the past two years was a Panasonic and I eventually either sold it or returned it. So that leaves me with either the E-M5ii, the a6500 or the A7ii. Since this is supposed to be a casual camera, I don't see the point in spending close to $1500 for one of the Sony's and to be honest, I don't want to get something that is too good either. I am actually a big fan of the a6500 4K... it blows my mind how sharp it is, but the Raw on the 5D3 blows my mind how cinematic it is, but knowing me, I would start reaching for the simpler, 4K camera more than I will the 5D3, and I think that will hurt my work in the long run. If only I had all the money and time in the world, I'd own a 5D3, an e-m1mk2, a GH5, an a7s, an X-T1, a C100, a C200 and an Alexa Mini... I bet the Alexa Mini would take great cat videos and rack focus shots of dead leaves... Cool shot, you pulled some nice detail out of that considering the high contrast scenario. Do you have any videos taken with the 17mm? Thanks Marty, I saw that video but he doesn't have any samples with the 16mm, so I was unsure if there is coverage. I letterbox everything anyway, so even some dark corners will usually work for my tastes. The Fujinon 12.5mm f/1.4 does indeed fully cover the 4K frame with the G7, GX85, so I assume it works with the GH4 and G85 as well, but I doubt it will with the GH5. With the GX85, due to the IBIS, you can see some sensor blackout, on the sides of the frame, if you pan too fast. Here's a link to the one I have... https://www.etsy.com/listing/510474480/fujinon-f-14-125mm-tv-lens-i-c-mount-i?&utm_source=google&utm_medium=cpc&utm_campaign=shopping_us_a-craft_supplies_and_tools-imaging_and_lighting-cameras_and_imaging-camera_lenses&utm_custom1=29a8702b-e63f-43dc-aa44-47a9f3db3b71&gclid=CjwKCAjw2NvLBRAjEiwAF98GMXVjH3DHuQwEYTIjDo7cgupybk7Kr4OowTVP_ZL5wlXs2wkBwNY7oxoC3ugQAvD_BwE

I just spent the morning looking at some videos from the Olly 17mm and the SLR Magic 17mm. At first glance, the SLR Magic seems more cinematic, but that obviously could be due to the skill of the filmmaker. Does the Olly 17mm have the clutch design manual focus? And other than the hard stops, how does the focus ring feel in manual mode? I am pretty certain that the E-M5ii will be my casual camera and I pretty much want a simple, street shooter set up. I may eventually get a Lens Turbo for some of my vintage glass, but for the most part, I don't want to fuss with adapters.

I'd love the Voigt 17.5mm, but a little too pricy for a casual camera lens.

Haha yeah, now I think it's nothing, considering I get about 12 minutes on a 64GB card in ML Raw. Herein lies the problem I am having. I absolutely love my 5D3 and will be keeping it for the plethora of short films I have planned for the next year, but for the times I want to grab and go and quickly edit, with less storage needed, I want a second camera, but everyone I have tested doesn't live up to 5D3 Raw, except for a BM camera, but they come with their own annoying drawbacks I don't feel like dealing with for a casual camera, so my choices have become extremely limited, and in some ways non existent. How does the IBIS fare with the added weight of the screen? Also have you ever used the Olympus 17mm 1.8 and/or the SLR Magic 17mm? If so, how do they compare?

Interesting. Do you know if the camera downscaled it like the GH4 does, or does the BM downscale it... not that it matters, just curious. Love that thick ProRes image. I've been thinking about getting my 2nd E-M5 Mark ii and in the future pairing it with a Ninja Star for ProRes. Or maybe even my 3rd FZ2500 with a Ninja Star. LOL. I test and return too many cameras... ugh.

Looks nice, great color. Did you shoot it in 1080p?

Yes, I think the 25mm will. The 16mm may as well, but I can't say for certain. I know 1" c-mount will have more wide angle coverage. I was getting full coverage with a 12.5mm Fujinon on the G7 and GX85.

Damn, I only watched these on my phone, but they look damn good. I think I am definitely leaning towards the Olympus.

This looks great... what lens did you use?

The 25mm Zeiss Tevidon should but you'll probably need to purchase a new mounting plate so the lens will fit in a c-mount adapter. They're readily available on eBay.

Well the lens isn't nearly as well regarded as the 18-35mm but I borrowed a friend's and used it with my D5500 last year and I was pleasantly surprised by it. I thought it was pretty sharp, has a little character and the OIS worked surprisingly well. I've seen a few handheld videos on Vimeo paired with the Pocket. It seemed to fair pretty well to me. Here's a video I found on YouTube and the guy used the combo with a simple Benro Monopod...

I'm narrowing down my choices for a 2nd camera. Right now, it's between two cameras... e-m5 Mark ii or the A7ii. I have decided I definitely want some form of IBIS and I have really enjoyed the humble images coming from both of these cameras. The second cam will be used for casual, family videos and the occasional micro short film and these two cameras seem like capable underdogs and that intrigues me a lot. So, although I already have too many lenses, I am thinking of different lens alternatives I've never considered. I've never owned an SLR Magic lens but I've seen some great stuff shot with them. 17mm on Micro 4/3 is a nice street shooter focal length, but BH has it listed for BMPCC and states it may not work with other Micro 4/3 cameras. Last year I had the 25mm Voigtlander and it was one of the nicest lenses I've ever used, so I'd love to get the 17.5mm Voigtlander but I really cannot justify the $800 price tag. Of course I tend to watch a lot of videos and muse over different cameras on Sunday afternoons, so my choices may change completely in a few days or weeks... or even a few hours. Lol.

Does anyone know how much the SLR Magic 17mm lens for the BMPCC will vignette on regular 2X crop M4/3 cameras? If not much, will a 2:35 letterbox cover the vignette?

Looks good... that guy really likes his sweaters.

I assume you're inquiring for a Pocket cam? If so, and you're using the BMPCC Metabones speedbooster, have you considered the Sigma 17-50mm f2.8? In EF mount, with the speedbooster, you'll have a nice range that's smaller, lighter with OIS. And I guess it would be a... 1.6?

Yes, I understand this one wasn't written for my productions, but it is a very interesting read nonetheless and I appreciate you taking the time for a couple tips... I learned a ton just from your reply. Thanks!!! To add, I have been using the Rode Micro on camera for ambient sound and as a scratch track and using the Olympus LS7 field recorders for a pocket lav recording but I am thinking about selling them and going with the Tascam 10L for the safety track. But I also noticed that Tascam sells a small XLR recorder that attaches to the back of a microphone... the DR-10X. Would something like that, or another brand, be useful to attach to an NTG to keep the setup as compact and cord free as possible, or is the quality just too low?

Yeah I think that is rolling shutter but I think it looks exaggerated due to the speed ramp?