mercer

? I wonder if that would work ? Seriously cool little cam though. When the FZ5000 comes out with 5-axis and the GH5's 10bit, I will definitely buy one for $1200 and if that doesn't happen I'll pick up the 2500 for $600 brand new. Another great aspect to the FZ2500 is the implementation of shutter angle. A lot of times I just shot Shutter Priority at 180 Shutter, used the NDs to trick the aperture wide open if I wanted it wide open then with the Q menu, I could easily switch between 24p or 60p 200mbps all-i. I think I did one test in 4K and felt the gain in resolution was minimal. I always went handheld with a strap. The OIS isn't perfect but it sure as hell isnt bad. If I wasn't so lazy, the OIS and my Sirui monopod would have worked great together. I was going to bring out my slider to see just how "cinematic" I could get her to look, but... yeah... laziness.

It's truly a fun camera. It just isn't worth the price tag to me. If this camera was a grand new and 6-8 hundred on the used market, I'd buy a third one and keep it.

Well the C200 is 12bit Raw at 24fps and the dynamic range is at 15 stops.

Man, Panasonic has some crappy ass manuals. MOV is the format used in fz2500 for 200mbps all-i.

No problem, I had the BMMCC and I tried a few c mounts with it. My favorites were the Bell + Howell Angenieux lenses. I have the 10mm and 15mm. And I have a really cool Czech lens called a Meopta. They made a 12, 20, 40 and 80mm. I have the 20mm and it is a sweet little lens... especially since I won it for 5 bucks on eBay. I also used some Cosmicar c-mounts which were made by Pentax. The f/1.9 versions fit c-mount adapters without modification. And finally I used Fujinon C-mounts and they were probably the most similar to modern day optics. They have a cool mixture of vintage and modern look to them. Some people have compared them to Zeiss lenses. However most of them need some sort of modification to fit in the c-mount adapters. Some of them can be modified simply enough, some need to have metal shaved away to fit. The 12.5mm fits specifically into a Fotasy brand c-mount to m4/3 adapter. The other issues to be aware of is that most vintage c-mounts use uncommon filter diameters, so if you are using a specific diameter for IR Cut and ND, be prepared to buy some step up rings. Oh yeah, also check out Kerns, they are lovely with the Micro cam. And to see some video examples with vintage S16mm lenses on the Pocket cam go over to vintage lenses for video .com . The Krasnogorsks seem to work beautifully with it. And there are a lot of old Arri mount S16 lenses that look like a lot of fun. Sorry for the rambling but I spent a lot of time researching this last year and not many people to discuss it with. I'm no expert, but if you have any questions feel free to PM me or reply here. Good luck. Oh yeah and full disclosure... I am selling my two Angenieux lenses on eBay... not because I don't like them but I don't have a camera to use them with and probably won't for a while.

Yeah the GX85 is good for steady locked down shots, if you don't mind the floaty look. And you can do some slight pans and tilts. I am looking for something better than what I did in this GX85 video... but if I have to, I can definitely be happy with this. With the e-m5mk2, my results were better than this...

I've been really impressed with your results, but I think you have a steadier hand than I have. I actually don't mind the "floaty" look... actually I quite like it, but with the Olympus, you can walk with it... it's pretty insane. Have you tested the G85's IBIS with and without the grip and if so, did you notice any difference?

Hey Andrew, I had the chance to use the e-m5 Mark ii this week and I was blown away by the IBIS. IMO, compared to the GX85, it was Night and Day. Also I really enjoyed the organic color and feel to the Olympus footage but it did lack the resolution I am looking for in a second camera. I already have 1080p Raw with my 5D3, so I see no reason to have 1080p as the only option in a 2nd camera. I know you've been using the e-m1mkii lately and seem pretty fond of it. Does your opinion still hold true between the em1mk2 and the G85? I agree with your recent ponderings between the GH5 and em1mk2... at least from the footage I have seen. Also, I think the e-m1mk2's Raw burst feature could be beneficial with the 5D3 for short B-Unit close ups. With similar lenses and a little practice, I'm fairly sure I can get the two to match. Now since the body only G85 has been discontinued, there is a slightly smaller price gap between the two, so I'm curious what your feelings are today after using both cameras for the past few months.

So, as I've stated a few times already, this find is awesome and makes me wish I didn't sell the GX85. I miss me some 5-axis. So much so, I've been looking to put together a simple one lens set up, really just for family stuff and for taking the camera into the city and other places I don't really want or need to bring my 5D3. I am really impressed by the organic look and rock steady IBIS from Olympus. If you haven't used one, there is a Night and Day difference between their incarnation and Panasonic's but for a whole lot cheaper, I can't complain about Panasonic's variant. So this leads me to ask... is the 5-axis better with the heavier body of the G85? I remember they had some issues with IBIS in the beginning but I believe it's been resolved and I believe it was lens specific. Since I would only use it with a manual lens, I doubt it's relevant. Also does anyone use the G85 with the battery grip and does that help settle the floaty Panasonic IBIS? With this "hack" the GX85 is the cheaper price, but the G85 offers a bit more for not much more so it's probably worth it to me if the IBIS is more solid on the G85. Also has anyone tested the hack with GX850? That camera doesn't have the IBIS, but it would be a great tripod cam for a two camera shoot with either the GX85 or G85 going handheld.

It's my understanding that this is really the apex find with this workaround... which in and of itself is really spectacular and BTM should be commended for figuring this out. If there is anything more to be had, now that's just gravy. I believe he has offered the materials for others to test certain things but doesn't believe the higher bitrates, V Log, etc... is possible.

Just bought this lens a couple months ago. I ended up with a not as described version... it had fungus, so I sent it back to Japan, but it seemed really nice. I threw it on the GX85 and it had a nice low contrast when wide open, but still sharp, and it stopped down nicely adding just the right amount of contrast and sharpness to soften that 4K image. The build quality is exceptional. For $200 or less, I'd say it's a good lens if you're into vintage c-mounts.

Exactly, Panasonic missed the mark completely IMO. If they use the same Super 35mm Varicam sensor as planned, with a Micro 4/3 mount... or very least a swappable mount, with 5-axis, include an EVF, with 4K up to 72fps and some form of internal/external Raw... it DOESN'T NEED to be a yet to be developed 5.7K Raw (although that is pretty damn cool) and price it between $6000 and $7000, they would have nailed this for the market (I assume) they're going for. Who knows, maybe they have plans for an AF200 that will fit in between the GH5 and the EVA, or maybe this was supposed to be the AF200 but they feared they'd lose some GH5 sales or vice versa. But, as is, it is an an exciting camera. The dual ISO sounds sweet. And it should be a great codec with beautiful colors. We'll know more when some footage gets released. The problem with early announcements like this is it gives Canon and Sony plenty of time to adjust accordingly. Now if Canon could pull the stick out of their greedy asses and stop worrying about cannibalizing one of their 2-3 year old cameras, they could easily make their XF-AVC FW update at 10bit instead of 8. Hell, they could also throw in a high bitrate, all-i mov if they want to give their customers more options. Shamefully, they probably won't do any of that. For me they don't need to, I am only interested in the internal Raw with MP4 proxies. The question will become, over the next 6 months, is how interested I am to buy one or just rent one. Now if they put out a 5D version of this camera, without the FW update, for $4000 to $5000 (won't happen) I will be buying one. But honestly, the two cameras are so different that any comparison is kind of completely unnecessary. The only real comparison to be made is that both cameras seem to be designed for low end cinema (narratives, commercials, docs, music videos) and neither seem designed for the high end event videographer... which I would think is the bread and butter of that market segment. Both are weird cameras.

Yup, my criteria is based on a different paradigm. But... 12bit internal Raw and DPAF... for $5999... that's gotta put a little rise in your Levi's. Questioning the pricing of a camera is hardly denigrating it. Otherwise, good points. The LT would need plenty of accessories as well. My statement was really about the price being off for the market they're trying to get a slice from. If both of your competitors have built in EVFs, then it may be a good idea to include one, especially if you're priced higher than them.

Not to mention all those vintage Minolta lenses. I hear the beer can is excellent and dirt cheap.

Right, I live so much in my own bubble that I already forgot you said you deliver the ooc footage to the production company. Brain fart moment... sorry. How do the production companies rate GH5 footage? Is that an acceptable 10bit until the EVA gets released? Sorry for all the questions but I am really interested in how that side of the business works. I only work with narrative shorts, that I finance, so my knowledge of this level of professional work is ignorant to say the least.

Yeah the crop is dumb and I suppose for interiors you would need that wide end. But it is a really nice 4K image. And the 1080p is gorgeous as well. The Tokina 11-16mm would cure that or for low light their 14-20mm f2 could work. Here's a 4K video shot with the D500 which has identical video as the D7500. This looks like it was shot in the Flat Profile and it doesn't look like he did any, or much adjustments in post, but it still looks great. Of course, this type of video doesn't really help you make a decision for what you need in a real estate video camera. But it's still a nice video... In all honesty, if you need 4K for your work, you may be better off with an RX10ii or an XC10. The FZ2500 does really nice video as well. The high bitrate, all-i 1080p in CineLikeD is really good and at no time did I feel like I should have shot in 4K.

@ade towell how much footage do you compile on a mid tier level shoot? Because with the Canon's dual recording for proxies, you can have 12bits with 15 stops of DR with an easily editable solution. Not trying to sway your opinion, just curious if it would be an option? With the iPhone/iPad remote Touch AF, the B model could get you in the door a little cheaper and will be available next month. Again, I don't really care what you choose, just sharing thoughts. Both are great cameras. I love the Varicam image. I love the Canon image.

Hey, I can only base my opinion of a camera on my needs... desires really since I'm not in the market for either of them. I understand different people have different needs. On paper, for my desires, the C200B is the best buy. I don't mean to offend other people's choices or needs... I just thought we were having a discussion here with a little back and forth. But honestly, I don't really know why mid tier production houses really need 10bit? Obviously, I understand the benefit of it... but what clients specifically ask for it? Is it the editing houses that are asking for it to be delivered in 10bit? Or the ad agencies? I mean the 4:22 avc codec that Canon is releasing next year is a broadcast quality codec, so who asks for the 10bit container? Sorry, I do not do any type of work like that, so I am interested how that works.

Yeah, I need to sign off. So far this week I want a C200B and an E-M1 Mark ii. The silly part of it all is that I am finally content with the camera I have... but it doesn't have rock solid 5-axis IBIS. lol. Just kidding, I would never sell my 5D3 for the E-M1mk2. But can I afford both? Seriously though. I HOPE to have the short completed by August.

I am a big fan of your posts, I've learned a lot reading them over the years, but did you see this video from the C200? I'm sorry but there is no GH5 video on the entire internet that looks more cinematic than this. With or without anamorphic. Obviously this is all subjective and I have seen some great GH5 work. And I'm sure the EVA will create great images as well. I think there's room for both cameras... especially since they're not really battling for the same market or price bracket. At the end of the day, it's a great time for indie filmmakers. Hell, these cameras may force Arri to release that Digital S16mm they were talking about a few years ago.

The problem with the EVA is its price. They basically announced a concept camera that will be a +$10,000 camera once it's fully kitted out with an evf, media, paid external raw upgrade and external recorder. It will probably be closer to $12,000. Who would pay for that when you can buy a base Varicam LT for only a few thousand more?

Yeah, that is cool as shit. Hopefully it works as well as advertised. Idk, I think if I were in the market for a cine cam, the B model is the way to go, for me. I also think it would be smart of Canon to drop the price of the B model to $5499, then that way they could offer different FW paths depending upon which model you buy... With the full kit model, they could offer a 10bit update in the future but since the B model is priced significantly cheaper, then the FW path would be significantly smaller. This way people who buy the kit are getting more bang for their buck, yet people like me can be happy with 10/12bit Raw with dual proxy recording. I would never use the top handle anyway and I could use my iPad mini when on set or my iPhone when on location. The only accessory I would possibly buy later is the grip and even that isn't a necessity since I would usually have it on sticks. Or even better... announce and release a 5DRaw for $4999!!! Canon take my money. My kids aren't that smart anyway, so they don't really NEED that college fund. Lol. Man... I wish I had kids so I could borrow from their college fund... goddamn you safe sex!!!

@Kisaha US prices are $5999 for the C200B and $7500 for the full kit... so I guess 5300 and 6600 euro respectively... give or take. I would love a C200b. A small 4K monitor and my Nikkor lenses... yeah I could dig that. I may rent one next summer... I'm sure they will be reserved until then. I guess I'll just deal with ML Raw until then.

Yeah that's gorgeous. The shots of the barren wasteland remind me of an old af100 video of the salton sea. You can really see the lineage. But why do Panasonic colors always make pencils look orange? @Kisaha I think two good cameras were introduced this week and both at fair prices. Sure I would have loved to have seen both come in about $2000 cheaper, but that would be unrealistic for what we're getting here. I really can't wait to own one in 5 or 6 years... ??

I liked it... it had a real indie vibe with the flat color palette. Reminded me of It Follows. That's funny, I didn't notice the nuclear greens... I'll have to go back and look. But then again, I struggle with Canon color... so I'm probably not the best judge. Maybe two months straight is too long to leave in one pair of contacts... ?