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Hey Lens Geeks, I went onto Mr. Gale's website and saw that his DSO Trump lenses have been removed and replaced with these really cool looking APOGEE lenses. They come as set and cost a significant amount of cash. I congratulate Rich on making these lenses so awesome and sought after, but I don't have the funds for that set, even though they look perfectly featured. I'm looking for any other type of well constructed, modified vintage type lenses that portray unique flare, artefact and bokeh in the images. I understand there's loads of olds stuff on eBay, but I'm really looking at something more polished and solid to work with. Maybe also some people who change the bokeh look in Helios lenses (but not shit). Also, I'm wondering if anybody knows of any accessories that also add an effect, such as any lens filters. This is what I know of so far: Lomography - they have some cool looking lens sets, like he Petzval, and have a Kickstarter on this portable Neptune set. MotionSix - they have tinted and anamorphic flare filament lenses on offer. I've used a 29mm from them with a fixed 3.5 oval aperture. Flares are very nice, but lens was difficult to focus and extremely soft. LensBaby - never used their products, so can't vouch on the quality and features. VidAtlantic - they do lens filters and anamorphic oval mods. Don't know what they're like. MeyerOptikGorlitz - they are making modern versions of their legendary soap bubble bokeh lenses, like the Trioplan. Anything to share / know of / blah blah / etc etc ??

My video of Patagonia with the GH5

I can weigh in on this. About 18 months ago I was frustrated because I'd get a lot of very flattering positive comments and reviews about my work, but not really seeing the benefit of this financially. Unfortunately these days, if you're able to give yourself a great social media presence but you're work is mediocre (as compared to a poor social media presence with incredible work) - it's more likely the former will be more successful. I've been studying the "business" and "social media" side of things on a course, and although it would take me far too long to say everything here, the overall conclusion is that marketing does come before your art. Social media is the No.1 distribution platform, so if you're not bothering with it, it could be very difficult to get anywhere. I've only just now, this week, picked up my social media strategy. I'm not being false, I'm not doing monetised reviews or any of that crap, I'll just be documenting what I do in bite sizes, and what value I'm able to deliver and help out (in a very non-salesy, authentic, organic, real way). I'm just going to be myself. I'll show what I'm doing as it is. I'm also camera shy. So there's that too. The difficulty I've had is my creative side feeling starved. The benefit is, I'm hungry to create and the artistic side is about to receive a mighty, mighty push. I advise anybody to use social media to show your work and value. But be real and authentic, or the audience will see the "fakeness" a mile off.

I have a friend that used to never want to have anything to do with social media. Then again, he also paid for everything cash, because who knows who's keeping track of the digital traces you leave behind. Now that he has started his own business, he's all about social media and without embracing it he probably would never have seen the growth he has now. Unfortunately you're better of being an attention whore than keeping faith you will catch your break eventually. Your content might be king, but if it doesn't reach the eyeballs of someone recognizing your talent because you're hoping they will bump into it magically, opposed to actively promoting your material... then maybe there's something to it after all. Of course, being true to yourself is a noble thing... so if you can manage to get by without selling your soul then by all means stay sane! In the end of it, it's all a matter of perspective... there's 2 things in particular you mention... 'popularity is the only thing that matters' & 'making films I'm proud of'. Which is the more important one? Of course you can do something in between... like just showing some natural excitement for what you're doing by sharing little bits and pieces, keeping people in the loop... rather than just having to come across forced and spammy.

Just MFT makes it so easy to adapt from anywhere. Say... what makes you go with Panasonic or Olympus when you can have a set of these puppies for example? (You'd throw 'em on a ZY Optics/Zhong Yi/Mitakon Lens Turbo II EF - M4/3 (or Metabones of course, but again: value!) with a C/Y - EOS adapter) Or instead of going for a 1299 42.5mm f/1.2, get one of these for like a third of the price and throw it on your speedboosters (again, L/R - EOS -> boosted EF - M4/3) : Even the Veydras have been way less than 1000 a pop (12 & 85mm came out later): Love primes as well. Primes, boosters, IBIS. The holy combo. To me/us atleast... maybe we are a select few that delve in a little deeper than going to our electronics store and letting the sales guy advise us on what to get... but to me, there are so much alternatives to pick from that in my eye are so much more bang for the buck... you'd have a hard time selling me that 1299 lens. But they're sticking to it, in fact, it seems the focus is shifting towards the high-end (which kinda makes sense, because smartphones are getting better and better and it's harder to sell people cheap cameras that can't really set themselves apart from smartphones in terms of looks and quality, it's starting to take more to make a difference, so we are seeing more expensive options and even more entry level, still high-end, medium format gets offered now for people to set themselves apart even more) so it must be working.

The only work I've gotten via social media is making DCPs for indie filmmakers. But that doesn't exactly pay the bills. That's more for what my dad used to call "walkin' around money." My bread and butter is cutting featurettes and other marketing content for the major studios. And those jobs come from real life relationships. That being said, I've somehow put together 15,000+ film-industry related followers across FB, twitter and IG. Not a ton, but it has raised my profile enough that when I bring a film to a distributor, they already know who I am. And I think that helps curtail any lowball offers or shady practices, i assume because they know I have an audience -- not that I would wield my social media presence as a weapon, but you know. To me, this question boils down to "do you want a fighting chance to have people to see your work?" and I do. An active social media presence is not the only a powerful component to achieve that.

This is all true and there's an organic way to grow your following so you end up with a truer bunch of people, or you can play the numbers game. Anybody can pay to bump up their numbers on social media, I don't believe these accounts showing 150k followers and 200 likes per post genuinely engage 150,000 people otherwise they would have more than 200 likes and comments. The content should speak to an audience, preferably a niche one at first. Presentation is important online by the way... and Liam you could start with putting some effort into your profile picture

As far as the Meyer Optik lenses go - I've seen the new ones & they really come at a price! All their old lenses had that Soap Bubble Bokeh effect, it's just the Trioplan got all the attention. The good news is that they are cheap & really good lenses - made in the same place that made Zeiss lenses. My personal favourites & the pick of the bunch are: Lydith 30mm f3.5 - has a preset (fluid stepless) aperture ring at the front & loads of blades. Orestor 100mm f2.8 - aperture ring at front (not stepless) & loads of blades (there are 2 versions, so get the one as described - the other has aperture ring at back). Orestor 135mm f2.5 - nicknamed the Bokeh Monster, enough said! You can pick up a Lydith for £30, but the Orestor is harder to find. Also, the original Trioplan is coming down in price now, due to these new versions. Make sure they are M42 mount & not Exakta

It's very important now unfortunately. Don't expect to get picked up or noticed by someone simply browsing vimeo or spreading your work. Starting a youtube page myself this week on top of my instagram just to get more attention drawn to myself.

It is better to get your stuff in front of ten right people that in front of 10.000 lurkers on Instagram. No one gives a damn what you publish on Vimeo, etc... unless you can make it seen. For this you need some kind of credible release plattform (film festival, fashion show, exhibition, features etc.... Collaborations with other circles work for us pretty well to get new people recognise what we are doing....

You guys have obviously never used Autodesk Maya :P

Honestly, some things are just mind boggling though. Why not allow the shutter half press to perform the function of the clicking AF button? Why not allow Continuous AF ON / OFF to be assignable to a Fn key? Yet I can assign a million other silly things I'll never use... Why no ISO on the jog dial? It would be truly useful there. There is the possibility to assign a Fn key with the ability to switch the shutter and aperture dials to ISO and WB. But if you press the same key again - you can't switch them back! It's fucking madness, I tell you. Madness.

For the small time filmmakers, sometimes I feel like popularity is the only thing that matters. literally posting a lot about filming, and becoming a personality, is said by many to be very important, even just for submitting to a festival.. like it's not just about the quality of your film. I feel really weird about advertising myself, especially to friends and family, and pretending I'm interesting I'd rather slowly build up a following on vimeo by making films I'm proud of maybe.. which is obviously possible, but yeah.. do any of you do this? Thoughts?

That's excellent. In all honesty, I don't actually like social media. While it's very useful for positive outcomes, it's absolutely battered with non-stop bollocks which makes it very difficult to see the hidden gems of content. The video industry is changing massively, and this is because of smartphones and social media. (I'm sure you all know about the square format!) Brands aren't spending as much on video (or are just plain alienated by it), and industries such as music give you laughable budgets - even big labels with big artists. So businesses are opting for regular video content but at a short form level, instead of spending a million billion $€£ on one 'hero' video. We're now seeing a massive amount of Uber style video providers - where you basically press a few buttons and you get a video for fuck all money. (YouTube Director, Animoto, Ripl etc). Many companies and agencies are setting up video in-house, and makingbit themselves. So there's quite an emphasis on videographers / filmmakers now being a consultant, as well as a creator. If you're just starting out or growing, you have to go all guns blazing to be seen. Also it helps if you have something unique to offer. Social media is growing so we have to take advantage of the right platforms for our audience. YouTube is a great platform however it's massively competitive. There's so many uploads it's difficult to get your stuff viewed when searched organically. Facebook is growing immensely with video, and is a serious consideration. Main thing is, keep creating awesome stuff and be happy with what you're doing.

@Kisaha Full ACK! Though, when talking Canon vs Sony, please consider the service factor...Canon is known for a (mostly) perfect service - Sony is far away from this. And a reliable service is crucial for pros...It will be very hard for any camera manufacturer to reach the service quality (repair, etc.) and area coverage of Canon... And from consumer POV, Canon is PHOTOGRAPHY & IMAGING. Their brand is very, very strong. It will be very hard for Sony to get their brand associated with photography and general imaging in buyers mind (film)...Never underestimate the power of an established and powerful brand like Canon, even if ultraconservative and hostile to innovation in their product releases. Technology and innovation are only 2 aspects of the story...We should always also consider built quality, ergonomics, usabilty, etc. And from this point of view, Sony should learn very fast for getting a serious competitior for Canon products. On the other side, Sony is from technology point of view a fantastic catalyst for the digital imaging market, so Canon should feel forced to more and faster innovation within their product lines...I hope, great times for digital imaging enthusiasts....

Because you also want a full frame camera for stills and 1080p? MJPEG has better motion imo. You could say the same things about lots of cameras... Why buy a GH4 that crops for 4K??? Why buy a GH5 when it's footage wasn't fully supported in NLE's??? BLA BLA BLA... etc.

@Andrew Reid From where the industry is (and where it goes), Canon has nothing to do with entry-entry-entry level devices such camera phones. It's ok to have a couple of dead cheap compacts, just in case, but in a couple of years that won't even make 0,000001% (add zeros accordingly!) of Canon's net profit. Canon has to move into mobile phone's territory, look at Leica and others, it is an industry they will never compete, it's better to get something -imagine a mobile phone "powered by Canon"- that will appeal to a lot of Canon lovers (and they are a bunch), than nothing to do at all, in the biggest retail industry in the whole world. Also I doubt that alone, Canon can compete with the 90% (or something) of a Sony dominant market. Remember 2014's NX1 sensor? and CPU? and fast memory read out? I doubt that Canon has reached this level now, even 3 years later. The Sony sensors are MANUFACTURED by Sony image sensoring division, are not designed by them, and why not utilize one of the few things Canon has a clear advantage against Sony? Canon without Dual Pixel would be nothing in 2017. Anyway, we will see, we don't really know for sure any of these!!

Frankly at this point anything you read from the motivation guru industry on social marketing isn't worth much at all. Books on how to become "known" and the like. The authors know damn well that the way things worked for them won't work for you (technically they will, but nowhere near as well) which is why they're willing to tell you all they know for a $9.99 ebook. Also the internet is the great haven for survivorship bias as for every Andrew Kramer making huge money with the internet and social media there are tens of thousands doing the same things and seeing zip So basically, if everyone else is instagramming their way to great gigs, then don't expect anywhere near their success starting from scratch. Learn to manipulate Google and Youtube because I'd bet 99 out of 100 filmmakers don't know jack shit about search engine optimization and you can sweep up a nice audience there (and then make real money selling "seo for filmmakers" books and seminars five years later) Personally, you won't find me on any social media, because I don't have time to do it halfway, and unless you're willing to go all out (and become the aforementioned D list celeb instead of a filmmaker) your time is better off face to face networking and building referrals from that. I've built a creative career with zero percent social media presence, 20% web presence, and 80% face to face presence

Twitter is only good for arguments. A total piece of crap. Instagram is nice... but until now the one I used least. It has a lifestyle / showing off culture that I don't go for. But I'm going to start posting more on it. It's useful when linked to Facebook so you can post a photo on both with just one app. You can link it to Twitter too so you never need to go on Twitter! Even better! Snapchat has a younger audience. It may not be the right target for filmmakers. It's a more personal friend-to-friend thing. Linkedin - it took me 5 years to get them to stop sending me spam and the email notifications recently started up again out of nowhere - I wish they'd BURN! GOOGLE AND YOUTUBE - now this is where the real action is at. This is how people will notice your content. But only if it's relevant.

Here are a few iscorama pre-36 shots thrown together for those interested - I took my camera and Rama to a local car meetup with this thread in mind. My injured back prevented me getting the low angle dynamic shots and closeups I wanted, but you get the idea. A sunny day with lots of chrome is always a good test to see if a lens has any CA or highlight/contrast edge bloom issues. There is some fine alias/ line buzzing artefacts due to warp stabiliser being used on almost all shots (no tripod and was high on painkillers). I'm sure the Bolex can match the iscorama (perhaps beat it) on sharpness, but as I've always noticed with the Rama - it tends to simply be as sharp/clean as the taking lens that you use with it. My other kowa lenses with Core DNA attached could have achieved similar results, but not at such wide aperture on 58mm on FF - and definitely not in such a compact and light form factor as the Iscorama.

I always found it fascinating how the foreground can stay in focus, yet if you watch, you can see some pulsing in the background. You'd think that would have some impact on the foreground too. I'm actually also amazed at how many people seem to focus more on the background than the subject. I did an early test of the GH5 AF in a shopping mall, and it stayed in focus on the subject, but the background did, on occasion, show that pulsing. I got a comments from a few posters that seemed to only see the pulsing and never the fact that the subject remained in focus. I can understand that a pulsing background can be distracting, but still... Oh well. Of course using AF lock, where possible, totally alleviates that issue.

Concerning that... here's a silly test set-up with a perfectly fine Angenieux: Here is one with a fungus (or something) infested Tokina: It even has bokeh with a texture to it:

Yeah, that's another thing. 'Regular' storage or batteries even. Concerning storage and GH5 capability: So here as well I felt like only paying for something I think was worth it and ended up with SanDisk (R280/W250), the brand I've been putting my trust in since the hacked GH2 and BMPCC days, we'll have to see if the math/interpolation and logic pans used here pans out... but savings then are around 30%. I see ADATA has joined the party as well: http://kz.adata.com/en/specification/449# . Kind of interesting. They have these series of cards labelled V90, now the 64 and 128GB get around that R280/W250 mark with an even better R290/W260 rating... however the 256GB version drops down to R275/W155 and still gets the V90-label (I guesstimated max. rated to continuous supported would be around factor 3 and V60 being around 180. Though for 400MBit/s - 50MB/s, W155/3 ~> 52MB/s should still suffice). Maybe there's no real indicators after all... or people will indeed start running into issues with that one. Same for Delkin & Integral V60 that seem to have popped up... around the 280MB/s mark readspeed and W100. Dunno. But the R95/W90 by SanDisk that we all know and love has been given V30 with later versions... I imagine they might do the same to the R280 & R300 ones as well (but V90). Concerning batteries. Official Panasonic DMW-BLF19E around 69 bucks. Patona Premium battery replacement: 16,90. There's a lot of saving potential everywhere and all the little bits add up considerably... and indeed, there's so much you could do with that, like getting a serious serious lens such as the Voigtländer 17.5mm f/0.95. Really got to check that one out btw. New they're close to that 1000 bucks, locally even as much as 1299. Locally as well I've seen one on the 2nd hand market that's around 650... but it has a bit of wear and tear... should be cosmetically only, mechanically and optically it's claimed to be in fine condition and working order. Still though, I kinda never go and get lenses that are availlable new and modern 2nd hand and even vintage ones I usually get as NOS (new old stock) or mint condition (exceptions are made for super vintage exeptional lenses, like that one Jupiter-11 red 'P' and 'cm' markings that has a few external cuts 'n bruises). Kinda get what you love about the Fuji lenses. Just... for me... the adaptability is indeed limited... and most of those come without built-in stabilization and Fuji refuses to implement sensor stabilization... so natively... not that eager to switch either (amongst some other things, like not having a touchscreen, or a frontfacing one for that matter... or support for smart adapters). Agreed about reviews these days. Also whoever shoots promotional stuff for the company themselves. Like Olympus just launched a new camera, right... hypes all the features ( http://www.getolympus.com/us/en/tg-5.html ) 'spectacular Ultra HD 4K video', 'jaw-dropping 4K', 'Get creative with TG-5’s Full HD 120 fps High Speed Video for slow motion' and 'Sensor Shift Image Stabilization', then has this to show for: I mean... a reviewer not doing your camera justice is one thing... but how am I supposed to get sold on that coming from the company itself?

Should have bought one of these too - still kicking myself! If flares are your thing, then look for vintage lenses with a golden coating. Also, check out http://forum.mflenses.com/ The only place to get great ideas for vintage lenses! Heres a Bokeh thread (some truely amazing stuff in it): http://forum.mflenses.com/bokeh-only-t69142.html

Yeah, if I see another 'any filmmakers want to support eachother?' or 'hey, I saw you're into filmmaking, check out my channel, I've got lots of cool stuff going on there!' copy & paste forced desperation comment on YouTube, Imma smack a bitch! But there's few filmmakers that can generate genuine excitement by just sparking your curiosity... of course crowdfunding has taken things to new levels, more than ever you're able to involve people and creating excitement and recognition for your work. Then there's Facebook. Like, the amount of housewives and Starbucks hipsters etc that will share your project pages... it's insane how many people you can reach. Just... get and keep them interested and hungry for more, that's the real trick of course. Like Oliver's saying, social media really has become part of business and it's an industry on it's own with its own professions, so of course it's easier said than done.

I feel the high-end is definitely overpriced by give and take 300 bucks easily, just because they're aiming it at people with fuller wallets and know they'll sell less quantity and therefor need a bigger markup to get to the same profit margins as the budget lenses that they sell a ton of. Now, I'm not saying higher quality lenses do not justify the higher price, but there must be people like me that will wait a year or longer for those prices to drop those 300 bucks and get to the price that actually better represents its value. The price of freshly launched lenses is at its peak at launch, but personally I hardly ever buy anything at MSRP (manufacturer suggested retail price), pre-order discounts, freebies, discounts in general, combine & save, grey market... usually waiting for that kinda thing. I'm a sucker for a good deal. Thing is... if we can have lenses like the Panasonic/Leica 15mm f/1.7, Olympus 75mm f/1.8 or Sigma 30mm f/1.4 at (partially way) less than €749,-... for me there then is just about no way I'm going to pay upwards of a 1000 bucks for the Panasonic/Leica 12mm f/1.4, 42.5mm f/1.2 or Olympus 25mm f/1.2 PRO. Like, I'm willing to spend up to 999 for something like that, but a buck more and they better have something else up their sleeve. The only exception to the 1000-rule here has been the 7-14mm f/2.8 PRO so far, which I got right at its release. Just the rectilinear design, having the zoom flexibility with the f/2.8 throughout and a manual focus de-clutch... it's something else! Of course it isn't perfect, it's huge and heavy and there's no filter thread, but I think that's one of the very few occassions the value is there. Think the 12-100mm f/4 PRO is another one to set itself apart, just I'm a f/2.8 or brighter kinda guy. Don't know, but Olympus is killing it on the PRO zooms. I was hoping for the 40-150mm f/2.8 PRO to come down in price a little bit more significantly (kit with teleconverter; would compliment the 7-14 & 12-40mm f/2.8 PRO superbly), but it isn't really budging. What I really like about the Olympus lenses is the look, feel and manual focus de-clutch. I love all metal, all manual lenses like ones by Voigtländer, SLR Magic, Veydra, Kowa and even ZY Optics/Zhong Yi/Mitakon, but of course there's a place and time for electronic/automatic aperture control and autofocus as well and the way Olympus tries to kinda respect both approaches and cater for most people is admirable. I also think the new Leica zooms are too expensive, especially being f/2.8-4. I don't really see that much added benefit to the Leica 12-60mm compared to the Lumix 12-60mm; I'd basically end up using 'em in the same situations, meaning treating them as non-sensitive lenses for daylight purposes. The Lumix 12-60mm costs close to nothing in a kit, even has weathersealing and built-in stabilization and optically holds up better than its price would suggest. Like... I basically got it for free because I imported my camera from the UK and the kit was the same price as body only here (plus: the shop threw in a Panasonic 64GB card and Panasonic themselves a free battery grip)... the Leica 12-60mm they're asking 999 for! From what I've seen from this lens... it's not actually worth it and I also kind of don't see the Leica mojo back in it. Now, we in the EU are lucky with kits... so the kit with the Leica costs 600 bucks more than the body only. That's saving you a whopping 399! Although even then I wonder if the value is there. I also think the new 12-35mm and 35-100mm f/2.8 II lenses are overpriced. They basically admitted that you'd go for the new one for 'freeze proofing, color design, little better iris control for video (smooth not steps)'. Initially the older ones were scheduled for Dual I.S. 2.0 compatibility with firmware upgrade, but the folks at marketing probably scratched their heads saying 'uhhh... no we're not, it's amazing that this is technically feasible, but we've got lenses to sell!', though you still get Dual I.S., just not with the tiny little extra bit of stabilization 2.0 offers... to me though... is the 12-35mm II worth 999 bucks? A couple of hundred more than the older one? A whole lot more even if you'd consider the 2nd hand market? Don't think so. If here as well you could save like 199~399 bucks by getting the kit... that's probably a move I'd make... but at 999, no way. Still waiting for the GH5 to possibly appear in that kit variant around here for that reason. Also, I think the summer upgrades are sorta worth waiting for, I think the camera has a lot of unreached potential. So yeah. That's my whole take on it. Of course if you have the money: Gillette, the best a man can get! Just out of principle I don't want to spend more than I think something's worth.

Theres plenty of DP's who have gotten work through vimeo and instagram. Just listen to the wandering DP podcast where some of the newer players talk about hoe theyve established themselves. But its important to have good work to show before going wild with social media.

Thanks, @Fifty. 2 LED's. One camera left, up top with Blue Filter. Second, camera right (on ground) with Tungsten filter.

Just a quick question here. How the hell do you get manual AND autofocus to work simultaneously. What I'm looking for is the experience of shooting DSLR stills where you can either turn the focus ring manually OR you can half press the shutter button (AF stops when it achieves focus, but if you move the camera it focuses again). I want to do this on my GH5. Closest I've got so far is using an exotic combination of menu selections: AFS in menu, AF+MF in menu = on, Continuous AF = on, AF/AE lock button = AF lock in menu, body switched to AFS. Under these conditions, when you press AF/AE lock you can focus manually. When you press it again, the camera returns to continuous AF. The problems are: 1. The AF/AE lock button makes a stupid click as do all of the buttons on the body except for the shutter half press. 2. Audio meters disappear 3. Peaking doesn't work when AE lock is on... just wonderful. Does anybody know how to get this shit going? It feels like the menu and AF systems were designed by a bunch of people who never spoke to each other, and never picked up the camera. All I want to do is manual focus 90% of the time with peaking, and have the option to quickly and silently engage autofocus without going into menus, making a clicking noise, or touching the screen (I like to shoot through the EVF).

I have been asking this question for many years with my GH2, GH3 and GH4. To enable continuous AF I must browse menus using about 10 button presses at worst. I also wonder why it is impossible to use separate AF-lock and AE-lock. And why single autofocus AFS is disabled with 6k photo? Why AF+MF works only with half shutter ruining the effect?

It's hard to beat the Crane and the a6500 for a relatively affordable and compact stabilized autofocus high-detail rig. (Which has never overheated for me with the high-temp setting on - I just ignore the warning icon.) And yes, your setup will work. My similarly hefty and jerry-rigged Zhiyun Crane V1 setup actually balances and articulates quite well, even with a Breakthrough X4 ND 6-stop ND filter and the lens hood on that hefty 18-35/1.8 lens and with my Church Audio Ugly 2 Preamp and CA-14 Cardioid Mics mounted on top of my a6500 with 3M Extreme Mounting Tape. With the Arca Swiss plate under my a6500 it's easy to switch between my RRS QR tripod mount QR and the gimbal's SunwayFoto DDC-60LR QR Clamp, and I like keeping a Cullmann 50081 Magnesit Copter Multi-Tripod at the base for setting the gimbal down or using it as a little boom. I just hooked my recently obtained USB cable up too, and it's nice to have smooth Clear Image Zoom and Record controls handy. I too have thought of attaching a SmallHD Focus (and my LED light panel) to the handle. Thanks for the idea for that clamp arm.

Why wouldn't you just mount the monitor on the handles and use a thin hdmi cable... also the mic...

Sure Ken. Meant focus hunting there. The camera doesn't guess by herself. So, as Brownstone also concurs the rule we've been addressed on these boards and even Yuryev and the Luminary Linaschke (PhotoJoseph) have ignored, tap-to-focus is your closer friend to follow.

Yeah, same thing here. I bought this unit for my GH4 and it fits perfectly. Very tight. No need for expensive speedbooster with an all manual FD lens.

I subscribe to the theory that if you do good work, you get noticed. Now, you can work it the other way, and many do, but how genuine and authentic is the result? You have to decide. (Of course, not many people know who I am, and might never know) Now... that's for self promotion. As for FILM promotion, social media is a good tool. Targeting info to like minded people that are inclined to enjoy and buy your creative efforts is a lot smarter than advertising to random folks who wouldn't care.

A little strip of gaff tape on the adapter...

If you don't need the speedbooster style optics I bought one of these years ago and the machining is in a whole other league...all his adapters are first class manufacturing. http://www.ebay.com/itm/Canon-FD-FL-lens-mount-to-micro-4-3-MFT-GH4-Blackmagic-ciecio7-adapter-/251021722531?hash=item3a720f83a3:m:msoDJIVcy6LCbjL_OsnADaA

I'm not asking for camera controls that satisfy everyone. Merely controls that make more sense to more people. This is like an ON / OFF switch that only turns things ON, but not OFF. Does that sound like a clever idea to you? I'm not looking for platitudes, I'm looking for solutions. Mercer's solution is not ideal - there's an annoying touch AF box that pops up in the bottom right of the LCD. And the joystick now controls the magnification area rather than the AF point.

I've done that as per my first post. It's not quite what I'm after though. Under these circumstances I need to half press the shutter button to enable MF, but when you half press the shutter button it will perform AF before you can do AF. I'd like to be MFing, and occasionally half press shutter to AF, like when shooting photos on a DSLR. Maybe it's just not possible. But it seems odd to me. I think the menus are different on gh5. Options for AF/AE Lock are AE Lock - AF Lock - AF/AE Lock - AF ON. There's also an option for AF/AE Lock Hold.. ON or OFF.

Hey @mercer id like to apologize mate you right thats why they introduced vanila &chocolate lol Have you tried GH5 yet? if you dint do it rent one make sure you try IBIS with dual is Lenses ,u gona be blown away its almost like gimbal feel Clog its not 100% free anyhow its only rumors you have to wait and see if their really love their followers lol "“There is no mention whether or not this will be a service you will have to pay for or not, or if future EOS 5D Mark IV cameras will ship with the feature,” Canon Rumors writes. “While we cannot confirm this information at present" V-log shoots 8bit and 10bit (yes we do have to pay ,atlest Panna giving people to chance save some money if they dont want extra feature ) And as for savings cost comon man OP have to get fullframe lenses External monitor(waveforms peaking 3dluts etc) as their is no articulating screen on 5d

No it did not. Still waiting.

And I too find the AF quite acceptable as I've demonstrated with some of my videos, such as the one below. With that said, firmware improvements are always welcome.

^ And likewise, in other ways, you could contend that 4K, IBIS, internal 10 bit etc. makes the GH5 the better choice. Oh, and the GH5 is no slouch shooting stills, but of course we're talking video here.

Good question. I guess it is only a matter of choice, that is, the need of human intervention vs artificial intelligence too. If you notice on the tree example, the machine/algorithm has no clue which subject to focus. Antos explains it pretty straightforward here at this point: Hence the good chances a real improvement may hopefully be implemented by firmware update, now practically announced and @ brand top-level BTW. Meaningful IMHO. Without mention the touchscreen focus workaround.

Bozzie very nice. Can you explain your lighting? Was it just 2 (blue filter left and tungsten right) or was there a 3rd overhead as fill?

I had forgotten about that mod, and I used to own a nex5n... It actually looks a lot like the kinefinity terra (wonder why i liked it so much).

Regardless of your lighting, other factors will affect skintones. You can have an LED with 100 CRI but if the person is sitting at a large orangey wood table, the light is going to be bouncing off that and giving a slight orangey cast to the face. Same with red carpets, snotty green sofas, big blue walls, etc. Sometimes you will have to tweak in post. I'm no expert but I always key the skintones in resolve, tweak hue vs hue and desaturate a bit, always helps.

Iscorama Pre-36 with Helios 44 @ f2.8 (oval aperture) on Canon 5D3 To get that sharp on my (sharpness tweaked) Kowa Inflight or Kowa B&H with Core DNA attached I'd need to stop down to at least f5.6. Sharpness is indeed often overrated, but it's sure nice to have and can always be softened in Resolve very nicely. Iscorama still has perfect balance of sharpness but with organic feel due to vintage coating. More modern cinelux type lenses are as sharp, yet look very clinical (to my eyes at least).

http://www.ebay.com/itm/Kowa-2X-Anamorphic-for-Bell-Howell-/222495383711?hash=item33cdc2209f:g:q7kAAOSw-3FZB3lF&autorefresh=true Winning bid: US $1,225.00 [ 22 bids ] Wow! That's expen$ive!

I really enjoyed the 18-105 for the money and the size. The stabilizer is great too, impressive at times even with the a6300. There must be some sample variation going on, as I have used 2, and one was clearly better than the other (maybe some case of moved elements inside?). No much experience with Sony cameras, but it seems like a good small combo for the a6xxx cameras. If you have the money, and the space in your bag, and the willingness to change lenses on a shoot, 2 better lenses are always much more preferable than one worst! I have seen the 16-70 once, I just hold it, felt plasticky (even thought there was metal all around), but I heard only good things about its image quality, and I always go for 16mm in APS-C, and it is not that more expensive either. f stop, build quality, no dust proof - spill proof, would be my only worries, but these apply to both of them. Certainly 2 of the most interesting Sony lenses of their kind.