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@PannySVHS I share that with you. I love great videos and films shot with older, cameras. Here’s a link that will lead to his trailer... It’s amazing what is available to us now. It’s amazing what was available to us 5 years ago. I’d love to see Sage work his magic with some older 8bit cameras.

Basically, if the flange distance from the lens mount to the sensor is shorter than the mount you are adapting to you cannot get focus, so adapter companies made lens adapters that have corrective glass to make up for the distance... it’s kind of a telephoto lens inside the adapter. Often these lenses inside the adapter are of poor quality. If you look at this list, basically any lens mount under your camera mount can be adapted to your camera... https://en.m.wikipedia.org/wiki/Flange_focal_distance

Minolta lenses also need a corrective glass adapter to work with the EF mount. Do you already own a lot of Minolta glass?

Mr. Jones, the work you did with the 7D was simply astonishing, I am still trying to remember to watch the film but the trailer alone is amazing. So, in my opinion, you don’t need the P4K, you already have what you need. Hell, you could get by with a lot less. Yes, somewhere upthread, Sage has a link to the CineLikeD version. I assume it’s still active.

And everybody acts like Canon isn’t progressing their AF? Just because Sony and whoever is getting better, well so are Canon. When they introduce QPAF, they’ll be 2-3 generations ahead of the competition. Also 5 years ago, Canon was the only manufacturer that had a 4K camera. It was 3 years ago that Sony had FF 4K and they had overheating issues. Even today Fuji crops their S35 cameras and have time limits. Canon doesn’t have time limits, their cameras don’t overheat. They’d rather have a crop than a 10 minute time limit. They’d rather have a crop than have an overheating warning pop up. Canon cameras work and that’s why they are workhorses.

Yup, there’s a few shots with the girl in the blue raincoat and the blue in the coat is simply beautiful. The GH5, even in 1080p, with Sage’s color, really turns that camera into something else. It has such a modern, digital cinema look to it that I have grown to appreciate. Add the IBIS and voila, you have a handheld cinema camera that the straight out of box color didn’t previously have. I’m still happy with the camera I have but as prices drop on the GH5, I’m definitely keeping the option open.

Yeah I get that, everybody has different needs and wants but separation isn’t impossible with 1” sensors, it just requires a different strategy. Now I understand you shoot a lot of travel and family videos so you don’t always have the luxury to go run back and frame your shots accordingly, so in your instance, a bridge camera may not work for you. For others, it definitely can.

Yup, I love DSLRs so I don’t need mirrorless, and I don’t mind the crop, especially at that price point. Look at the M50, a lot of people moan about the crop, but the way I look at it is this... with the M50 I am getting 2 cameras for the price of one. In 1080p, I get all of the automatic goodies in S35 with DPAF and native lenses and then with 4K I’m getting a really nice S16 camera with a bunch of old c-mount options and all for 600 bucks with the kit lens. If Nikon could do something similar with the D5700, yeah... take my money. I loved my D5500.

Yes, but you aren’t going to find the convenience that a 1” sensor compact or bridge camera offers. If an equivalent lens from the RX10ii was available in FF, it would be a $2000-$3000 lens and the size of an artillery canon. In my opinion Sony peaked with the RX10 line with the Mark II. After that model they dumped the built in NDs and the constant aperture for the sake of reach. In my opinion there is a gap in the market now. The XC10, RX10ii, FZ2500 are point and shoot cinema cameras and the 1” sensors only help with that convenience. This is one of the reasons I’m thinking about getting a camcorder. If you look at the features and quality from the Z90 or DVX200 or XF405, they rival what you would get with a cinema camera that’s twice the price. At $3-4 thousand dollars for a new FF camera, I’d rather spend the extra money for a cinema camera for the extra features. But for the money, bridge cameras and camcorders are giving you those features and adding a small form factor and convenience. Full Frame is awesome, I love shooting full frame, but everything is bigger and heavier. Focus is more difficult, IBIS doesn’t work as well, lenses are bigger and heavier and more expensive (for the most part) But from a business stance, FF is great, the manufacturers aren’t spending that much more in R&D and production but they can charge nearly twice as much. If you can make a good film with a FF, there’s no reason why you can’t make a good film with a 1” sensor camera. You just have to think differently. Hell, The Walking Dead is shot on S16 and I never once thought while I watched that show that I wished there was just more shallow depth of field.

I thought Canon has stated that it is not the same sensor that’s in the 5D4 and is a new sensor?

I like it. Good job! Actually, with your fondness for the forgotten cameras of yesterday, I think you may really like the E-M5 Mark II. It has the best IBIS I’ve ever used and a nice organic look and color. How did you like the files? If I remember correctly, this footage was recorded externally to a BMVA, so the ProRes files may be a little juicier than the in camera All-I files.

That Ireland video is gorgeous. I prefer a little blue in my greens... I think that has a more Alexa look (of course I’m basing that from graded Alexa material) but whatever, that’s an easy fix with Hue/Saturation curves and the Ireland video still looks great!!! Damn, every time I’ve convinced myself against the GH5, as a second camera, another GHa video gets posted and mucks up my plans.

Don’t you just have to unscrew the back guard/fin and remove it?

Well, I only briefly owned the 17-55mm a few years ago so I don’t remember to be honest. The 35mm f/2 has them but I would call them soft stops. Basically, you can feel a stop on either end but the rubber grip continues to spin so it also can feel like there isn’t a stop if you’re not paying attention. But with a lot of follow focus’, you can set hard stops. With my current setup, I’m not using a follow focus so I don’t have a lot of information about which products have that feature. And I actually like a short focus throw. I focus by hand and like the tactile feel. With a long focus throw, it makes for some sloppy rack focuses.

I’d agree that the Sigma 17-50m is a decent choice for the P4K. With a speedbooster, you have a general purpose lens that mimicks a 24-70mm but with an f/2. Add the original 30mm 1.4 and you have a good two lens set up. A better option may be the Canon 17-55mm f/2.8 and the 35mm f/2. Both have really good IS and with the speedbooster, you’ll have an f/2 and f/1.4 respectively.

Think of it like a lever. With a follow focus, you will gain rotation on the follow focus wheel, so it will be a little easier to get critical focus. I actually think the Sigma 17-50mm lens is underrated. The OIS isn’t horrible, definitely helpful. It’s a fairly sharp lens and it has hard stops, so it’s definitely a good contender for a follow focus.

Also, I’m sure many of us would like to know when Nikon is updating the D5600? I’d also like to know if they have any plans for an F Mount mirrorless. The D5600 is already so small, I think a consumer tiered D5700 as a mirrorless with an F Mount could be a really smart move for Nikon. If they focus on the video features, with that extra room in the flange distance of an F Mount, they could implement built in ND filters.

Please ask Panny if/when they will update the FZ2000/2500. The FZ1000 was realeased in ‘14, the FZ2000/2500 was released in ‘16, should we expect an FZ3000/3500 this year?

I think you’re confusing people for artistic types. Artistic types use the camera they have and make it work. Btw, I am neither. ?

No problem, I don’t mind off topic discussions. The information that can be gathered from impromptu questions are often invaluable. Thanks for this! That app looks great. You are probably the most helpful member on this site!!!

I wonder if the DVX will get an update at NAB. It’s been a few years since Panasonic has updates any of their camcorder line, so there could be some great updates coming soon. I’m half tempted to pick up another FZ2500 soon and wait to see what happens at NAB. With JVC recently licensing ProRes for an upcoming camera, it’s quite possible the LS300 could get another FW update with ProRes, or a Mark II model...

Oh yeah. That’s what I meant, I just worded it weirdly. That’s not too big, I guess. Thanks.

Thanks, that was helpful. If I do go this route, I am leaning toward the Sony, out of those two, due to the 10bit 1080p. How is the 10bit? @BTM_Pix thanks a lot for that test!!! I’m pleased to see that not much is lost on the wide end... even though anything over 20mm (FF FOV equivalent) is the widest I’d ever use anyway. I must admit that the LS300 is growing on me. I’ve pretty much narrowed my 1” camcorder options down to a few. Now I need to check out the LS300 more thoroughly. I checked the specs a while ago and if I remember correctly it was on the bigger side? I believe it’s about 13-14” long? It isn’t a dealbreaker but the more compact the better.

Do you shoot narratives with that combo? I am the one weirdo not worried about the FF Panasonic and hoping they announce an FZ5000 or FZ5. It’s been 2 years since the FZ2500 was announced and 2 years before that the FZ1000 came out. As the FZ2500 gave us a lot of the video functions from the GH4, I’m hoping an update will give us those GH5 features. I’ll happily stop looking and buy that camera at release. BTW, last year I was messing around with an RX10ii. I wanted to try using sLog2 but due to banding, it was frowned upon, so I gave monochrome color a go and the banding disappeared... it may work for vLog in the DVX as well if you like B&W.

Yeah as @Yurolov said, with the optional XLR inputs, the XC15 is definitely an option but for only $500 more, I think I’d rather have the DPAF, 4K 60p, form factor/top handle of the XF400. Like all cameras, none of the camcorders are perfect either. The Sony Z90 has some impressive specs and is very compact with 10bit 1080p internal with all of the Cine profiles and PDAF. The Panasonic UX-90 has a nice thick image with CineLikeD and I am fairly familiar with the FZ2500, so I know what to expect from the camera. I’m still a month or two away from a purchase, so I am going to hit the keyboard and see what type of scripts I can write that would benefit from a camcorder as I continue to research them. I may even rent the Z90 and the XF400 to see if I like them.