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Went for a walk this morning. I was able to make a short video: Sorry for the music. Everything is hand-held. Shot it at various frame rates. Most everthing shot in GoPro Log 2 (the slow-mo shots are in Natural) and plopped into a timeline for cutting and added FilmConvert with the GoPro Mission 1 Pro and GoPro Log 2 profile. No grain was applied. Anyway, you'll get an idea of the colors, electronic stab, etc. I also wanted to say that I was able to update the ILS to the GoPro Labs firmware and use a QR code for putting a super-helpful histogram (better than the Lumix one on the GX800).

ALL ABOUT IT: https://www.eoshd.com/news/eoshd-backrom-hack-mario-64-on-the-canon-eos-r8/

@kye As promised, here’s the video I mentioned over in the Narrative Films Shot in Uncontrolled Cities thread. I put together what I call my Mission Kit for the ILS, consisting of the Brightin Star 10mm fisheye, 7Artisans 10mm, TTArtisan 17mm, and the 7Artisans 25mm, 35mm and 50mm. The idea was to keep everything small, lightweight and affordable while still getting a very good image. The video is just a collection of footage shot with the different lenses, with each lens identified on screen. It’s not technical at all and it’s very casual. I’m just showing what these little lenses can do with the ILS.

Hi, I'm the author of the "Sanity" patch for the GH2. I just uploaded the last version to my Google drive, if anybody is interested in using it. https://drive.google.com/drive/folders/157bZ_DRA0FzA-7QUWG3lXwQmfoTEtXQl?usp=sharing Here's a little background on why I developed it. When Vitaliy unlocked the GH2, there was a gold rush to create patches with very high bitrates. While the image quality looked great, those patches were terribly inefficient. I took it upon myself to create a patch that had the same top image quality, but at more "sane" bitrates. I can say with confidence that I succeeded, because I pixel peeped and compared the image frame by frame to the uncompressed output from the HDMI port. This way I had an absolute reference to shoot for. That was a long time ago, and I have long since sold my GH2. If anybody actually uses "Sanity", I would love to hear about it, just for old time sake!

Damn. After playing with the 7artisan 10mm, this camera looks so good. The electronic IBIS is working wonderfully and you don't hear any audio weirdness like with normal IBIS sometimes. The colors when you put the Log into FilmConvert are great IMO. About the 10mm, it's not perfect. For starters, there was quite a bit of play in the mount. I fixed it with a little electrical tape. However, it's super easy to focus and quite fun. The image seems quite sharp too.

I'm at a point where I ALMOST see no point in shooting log profiles. There are a few good ones, but most require more grading after a utility LUT is applied and/or creates scenarios where everybody's footage looks pretty much exactly the same. So if you're just slapping on a LUT and calling it a day, for 9 out of 10 shots, you could just use a standard rec709 picture profile and get similar results. With the advent of 10bit video, in recent years, most standard picture profiles look even better than they ever have with thicker color and near perfect skintones. Sure there are instances when you may need the extra stop or two of dynamic range a Log profile offers, or a specific LUT gets you a relatively quick look by shooting Log, but again... 9 out of 10 times, a slightly tweaked Rec709 picture profile will end up looking better and get you there so much easier without worrying about CSTs and color pipelines... especially since damn near ever Log profile is just trying to emulate Arri LogC which in turn was designed to emulate film. Speaking of, I have the Arri LogC3 software key on my GH6 and it's pretty good... better than vLog but it's still noisy as hell with ugly chroma noise in the midtones and shadows so I recently went back to CineLikeD and V and I am back to making a couple contrast and saturation adjustments and being happy with it. I'm sure there is a slight hit in DR, but nothing so drastic that I'm surprised or wish I shot in Log instead. So Log is cool, I'm glad it's available, but it's fairly unnecessary in most situations and can cause a bigger headache.

I also get where you are coming from and that is why I bake the LUT into my footage. I set up all my cameras with 3 basic profiles based on ISO and WB for outdoor, indoor and low-lowlight scenarios. I say LUT, but there are actually 2x LUTS stacked; the conversion LUT and then my own custom ‘Look LUT’ which can be dialled in anywhere between 10-100%. It gets the look I want SOOC and it’s as unique to me as these things can be, is easy in the workflow and allows me to concentrate more on the interesting side of editing a film rather than the boring to me, more logistical grading. Only really works if no one else has a say in the end result and I’m fortunate that I’m my work, the grade is 100% my call.

I posted some things in the older Sigma FP thread but I feel like these new FP hacks are picking up momentum and deserve their own separate space. In my opinion this project has big time EOS HD vibes and I’m getting old school Magic Lantern feelings all over again. : ) Like most of you, I’m disappointed by the new Sigma FP2 and have always held off on the original FP because it just never made sense for the price and all the fiddling needed to use it. But time and time again I’m impressed with content coming from this mighty little brick. The users that know how to tame the massive cDNG files and work with all the shortcomings are rewarded with some truly glorious images and I want in on that mojo. Lots of new hacks making open gate possible on the FP and giving some new recording options that cut down considerably on rolling shutter and data rates. https://www.elcacharrista.com/en/articles/hacking-the-sigma-fp-with-ai/ Many of the shortcomings are still there of course, (the lack of flippy screen etc…) but for a now, $800 camera I feel like it’s worth picking up just to play around with. I’m also really excited about the new Super 16 mode. Super 16 At the last minute we decided to add a Super 16 crop mode -something I had asked about in this post two years ago, which is genuinely useful if you own cine lenses in that format. Recording quality is excellent despite the small image circle compared to full frame. At 2096x1238, with no scaling whatsoever, it is already more than the 1080p the original Blackmagic Pocket Cinema Camera gave us. What are your thoughts on the new hacks and is anyone else thinking about getting an FP in 2026 now that gyrodata and open gate are crammed into this little guy?

The 4k 100fps is just crazy detailed and lots of latitude IMO (given it's an action cam). I've been experimenting by taking short bursts of 5s and finding just the right moment, focus, FOV. I wonder if others shoot like this. It works fairly well as a substitute for having to take actual photos. I know it's not a real photo camera, but it works great in a pinch and with some interesting features.

Apparently the Metabones SB accepts USB power in, it can be powered by the camera itself, and it can power a lens and has a wheel that can change the aperture of the lens.. and because it has power that means lens OIS will work too! @newfoundmass this isn't a MFT solution but it does allow some electronic lenses to be used - not sure if you have a metabones and other lenses lying around perhaps?

It’s a real fun camera to use. It actually brought my muscle memory back to the days of manual focusing. I remember when people used to talk condescendingly to people who relied on autofocus. Now it’s flipped. So funny. The negative comments I read about using this camera is mind boggling. If the camera isn’t for you, just go about your business. Why try to bash the person wanting to experience something different?

Very cool! I'm so glad you are keeping this thread alive. One of my first interchangeable lens cameras was the eos-m and I loved that camera. The last time I used it, almost 10 years ago, was when I tested Magic Lanter on it... I did test the raw but it was pretty abysmal back then... so I was more interested in the bitrate bump. Shortly afterwards, my camera path led me through BM and into my 5D iii, so the the eos-m just sat in the closet for years. A couple years ago I was thinking I'd take it out and mess with it again. Hadn't really thought about using it in years, so I grabbed it from the closet, charged one of my old batteries and pushed the on button... and nothing. I just figured it died... so back into the closet it went. I recently realized it may need a card with ML boot flag (or whatever it's called) on it. I ordered some new batteries and I'm going to figure out which cards are good for the new builds and cross my fingers. Anyway @QuickHitRecord thanks again for keeping this topic alive. No disrespect to the other forum members, but basic camera chat about new releases is fun and all, but the reason I started posting on EOS HD was because of posts like this.

I think only in the FB page. Here was the introductory post: I've tried it and it impressed me enough to use as the basis for my own build. This is moving fast though. Someone has already remixed the build I posted earlier today.

I've been troubleshooting this new EOS-M build with Claude, and I think it's finally stable enough to share here. So, what is it? The "FilmGate" Build for the Canon EOS-M is an experimental remix of Amit Kattal's incredible Slim GUI build, designed for people who want to shoot raw video with framing based on real motion picture film formats. FilmGate offers: • Six film presets: Academy 35mm, A35 Anamorphic, Super 16, 16mm, Super 8, and Regular 8, with crop options including 16:9, 1.85:1, and 2.35:1. • B&W Preview Option: Displays the liveview in black and white on the LCD and HDMI output (recorded footage remains in color). • 18fps: Available for S8 and 8mm presets • 1080i HDMI: The camera stays locked at 1080i output for easier monitoring. • Streamlined menus: Removes or hides several less commonly used options. CREDITS This build is based on the work of many Magic Lantern contributors, including (but not limited to) A1ex, Danne, Bilal, and Amit. None of this would have been possible without them. I am not a developer and this build contains a substantial amount of AI generated code. It is therefore not intended for inclusion in any of the main Magic Lantern builds, in accordance with the Magic Lantern LLM policy. IMPORTANT This experimental build is only for the Canon EOS M running firmware 2.0.2. It has not been thoroughly tested yet. Expect bugs and glitches. Try at your own risk! Latest: https://github.com/shaneintherain/Crop-mood-eosm-filmgate/releases/

Seriously, look at the ridiculousness of this. The JJC LCD hood fits perfectly on my S9. The LCD viewfinder is something I purchased with a used GH2 about 5 years ago. It fits perfectly on the ILS and doesn't really require anything else. That said, I find the LCD bright enough for daytime use. The viewfinder is really the only thing that would really help for focus. Yes. You can set it to one color or it dynamically decides a color (never seen that before). You'll need to have it on sensitive for it to mean much. I think there might be a steep learning curve if you're not used to manual focus though. I often prefer it. It slows me down and gives me something to do other than being intentional on framing.

After looking and foraging my various drawers in the house, I was able to find 3 Bell & Howell lenses from my grandfather: 0.7 inch, 1 inch, and 4 inch lenses. This was standard war-time military issue for war journalists. I also found 3 plastic Lomography lenses: I have ordered some inexpensive Chinese lenses too: 7Artisans 10mm f/3.5, TTartisan 17mmf/1.4, and TTartisan 25mm f2- a holy trinity for about 350 euros. From what I've heard, these lenses all suffer from poor corner performance; however, I'm throwing away 45% of that APS-C image anyway and only keeping the sharpest part. I figure those will be a perfect size too with the total kit under 1kg. I considered the Laowa cine lenses, but decided that they were simply too pricey for the concept of this kit. I'm bummed about not being able to use my AF M43 glass, but I love the limitations of straight up manual focus. I'll be shooting a lot with the 17mm this weekend.

I spent my recent vacation shooting the OG2K and S16 modes without an external drive and its amazing. This hack is a real game changer for a long time fp user like me. Gyrodata, lossless compression, 1 to 1 pixel readout at FHD and Open Gate. Really all I ever wished for... Finally I can run & gun all my manual lenses and don't have to rely on the stabilised 28-200. My fp was already up on ebay because i switched to the fp L but luckily nobody bought it. I was ready to switch to the fp L for the gorgeous photos and clean FHD but now the fp has the latter aswell plus that mind blowing Gyro magic. If someone enables Gyrodata on the fp L I might reconsider but for now I'm just happily running both (lowercase) fp's. No need to go all caps FP for quite some time.

I have FPsup running on my FP now and it was pretty painless. I hadn't upgraded the FW to 5.02 yet, so I had to do that first and then went to their GitHub and checked the features I wanted, and it compiled the code and I downloaded it. Unzipped the files, placed them onto the root of my SD card and popped it in... Sure enough it worked... my FP can now shoot OG2K, OG3K and S16. An initial test at home went smoothly. I was even able to get 30 seconds of OG3K recorded to the SD card for 30 seconds before I stopped it. It was a static shot, so I assume that helped. Gonna head out today and see what some movement will do on a busier shot. I'm really interested in the 3.5K in 2:1 but I assume I'll have to use an SSD for that. As far as the FP-L, I assume someone will work on it. The Dev isn't planning to do it, but he kinda pointed people in the right direction.

Some really interesting things going on in the electronic music world at the moment. A company called M-Vave released a product called the FM-1 which is a little £60 synth that ostensibly does FM synthesis like a baby Yamaha DX7 but adds other features and controls. Someone decided to see if they could use Claude or Codex to see if they could hack it and put their own firmware on it to change it into what they wanted it to do. And they were successful. So other people thought they’d do the same to turn it into what they wanted it to do. A lot of other people in fact. I lost count at fifty but there is more or less a new firmware from someone every day making the FM-1 into what they want it to be for their music making. And most of them are completely different from each other and take into account different genres of music making and more preferred workflows etc The FM-1 is now just a development platform of components and everyone uses the screen, keypad, switches and encoders completely differently. And how did M-Vave respond to this ? Throw their toys out of the pram and threaten to brick everyone’s device and issue legal threats ? Nope, they went “Fucking hell this is cool” and released the source code so everyone can actually build off it more effectively and make even more cool firmwares for different genres of music and unique workflows. This largesse is obviously underpinned by their understanding that this will sell WAY, WAY more FM-1s than if they went the other way. Previously, anyone who didn’t want the very specific type of synthesis and workflow the FM-1 offered would have gone “That’s cute and great value for money but it’s not something for me”. Now it’s appealing to EVERYONE because there are firmwares to suit everyone and if there isn’t then it’s within their grasp to roll their own. So not only buying it, they are buying them in multiples to have different firmwares on them. This has been going on for about six weeks and whilst it’s been interesting in and of itself it’s what it’s caused in the past week that is very eye opening. This is an Akai MPC one, a very sophisticated music production device that retails for about £700. Behringer have now announced this, the Kick Now, under normal circumstances this would raise a few moans but no surprise as Behringer have built their business on releasing products that are heavily “influenced” by other peoples. However, what is different here is that they’ve seen what’s happened with the FM-1 and the Kick is not only open source but is also only going to be $150 Even by their standards that price is wild. And they haven’t stopped there. On consecutive days they’ve released two other products (a drum machine and a sequencer) that are also open source and the same price point if not lower. Akai have come back with their own new product that will also be open source. The genie is out the bottle here and going forward these companies are now just effectively selling development platforms with minimal functional “examples of operation” firmware. And cutting out the cost to them and the end user of full blown software development. Want a feature ? Make it yourself from the building blocks we give you and leave us alone. From a manufacturer point of view, not having to deal with the demands of a certain section of whiney entitled arseholes who want everything bespoke to them even when it didn’t include it in the spec when they bought it would be reason enough to go this route 😂 Anyway, I’m wondering if a camera manufacturer might be brave enough to go down this route ? Cameras as development platforms would be pretty amazing wouldn’t it? Traditional guardians of the cripple hammers would be aghast but there’s nothing to stop an upstart manufacturer from doing it. Someone like Sigma or Sigma or even Sigma would be very appropriate. If they look at what’s happening with the nascent FP hacking and embrace it rather than ignoring it then things could get very interesting. I don’t even think it needs to be either or as they could do this in parallel. FP2 for £1800 or whatever it is and the FP2Dev for say £1400 would be an interesting proposition. They could hardware protect it to fully lock down the FP2. Well, for a while at least 😂

Key specs via PP: https://www.dpreview.com/reviews/sigma-fp2-everything-is-better-for-the-second-gen-modular-mirrorless-camera/ 24MP partially stacked CMOS sensor Up to 20fps stills Video up to 6K open gate, including ProRes RAW output to SSD Two USB-C sockets Full-sized HDMI port Tilt up/down 3.2″ 2.1M dot rear LCD Optional 5.76M dot electronic viewfinder Optional OM System/Panasonic compatible hotshoe 70GB internal memory Larger, 16Wh battery, giving 370 shots/charge rating 460g (16.2oz) including battery and card The Sigma fp2 will be available from November 11th at a price of $2199, body only, or $2749 with the new EVF-21 accessory or $2749 with the I-series 50mm F2 DG lens.

I'll surely love the camera if Sigma sends one my way to test ... and keep.

I’m curious about with it sharing the same sensor flavour if not THE same exact one as the a7cr what could potentially be coaxed out of it. Sigma have lost me a bit with the FP2 but I’ve always had a hankering for the FP-L as a mini Leica Q3 with it bonus video features over the FP in terms of PDAF and a small crop mode which @Andrew - EOSHDraves about for a very clean image. The used prices are now heading to £1000 so it wouldn’t take much to persuade me that that was the upgrade path for me * I’d get to keep my EVF as well. * Obviously as a crazed addict I’d keep the original too.

And then smash those like, subscribe and notification buttons.

You can always rely on Sigma to do baffling stuff with their cameras. It’s actually borderline kinky. Swapping the HDMI port to full size and thereby blocking the upgrade path for those of us with the existing EVF is another one by the way. The least said about including internal storage that isn’t fast enough for the higher data rates the better.

I've shot documentaries on the Ronin 4D for four and a half years now, from Senegal to Greenland. I still love it. Two things bugged me the whole time. The tripod. The 4D has no good bottom, and getting it on and off a tripod quickly and reliably never really worked for me. So I designed a base plate with a dovetail for the Manfrotto quick release system. It drops onto a normal tripod head and comes off again in seconds. The microphone. The obvious spot for a proper mic is above the motors. So I built a bracket that holds two Rode NT5s as a stereo pair. Full disclosure: these are my own parts and I'm going to sell them. The plate is still a prototype and only gets made if enough people pre-order. I made a video about both, with a long take from Senegal and a beer bottle test for the stereo pair: Curious how others here solved the tripod and the audio on theirs.

Absolutely brilliant.

The 1.55x has never looked this good on previous iPhone models. The adjustable aperture of the 18 Pro seems to make a huge difference in the overall detail and IQ. It also carries through on the video side and makes focusing much simpler. The 1.55x was always pretty dreamy wide open and is even moreso on the 18 Pro, since it has a faster lens. I have never tested it seriously on any of my other cameras, because it won’t cover full frame (whereas the 1.33x seems to if you find the right lens). But I suspect the 1.55x would actually work great on a M43 or APSC sensor. Here is another iPhone shot from this evening. There were a few raindrops on the lens, which created some interesting artifacts.

Some really beautiful tests with the new 3k open gate modes.

Here are a few shots with the Beastgrip 1.55x lens on the 18 Pro Max. These are both at F4. The adjustable aperture makes a night and day difference with the 1.55x especially for open gate stills/video.

I think it looks like a good deal to me. The articulated screen is a big plus over the original cameras. L-LOG too (interesting that they took Leica's rather than make their own Sigma LOG or use Panasonic's). ProRes RAW is to SSD. Internal 8bit Cinema DNG seems to have gone away. All cameras need an HDMI port - far better it be full sized than micro. Autofocus is a big improvement too, as is the open gate sensor, much less rolling shutter, higher resolution recording, bigger battery (the original used the same battery as the GH2!!) I'd rather have one of these over the Z6 III, it only lacks IBIS and internal raw. But as any GH2 owner will tell you... You don't really need either 🙂

Sigma FP ii... So far it's not even up on Sigmas website, so no idea about codecs, but it does look like it does a 10-bit LOG internally, so at least one of the "gaps" in the OG seems to have been addressed. It's probably not the camera for me, but definitely respect to Sigma for trying something with the FP and continuing support for the concept.

I'm not complaining mind you, just some observations. This is a sandisk extreme plus however its only 16 gb which probably gives something of its age away... I'll continue to use it in another camera and it does what i need it to do and i see no reason to throw it away until it breaks. I did get another recommended sandisk extreme v30 a2 256 gb from a retail shop and they sell gopros as well. I have one in each of the mission 1 and the ils camera now so no need to swap anymore. I have the smc 17mm attached to the ils at the moment via the metabones non speedbooster adapter. It has the usb port so the next thing on the agenda is to try a modern lens and see if the aperture controls works via the adapter. I have mostly vintage lenses, think Asahi, a couple of Canons same with the Nikons and Tokinas. I think i have two modern lenses that may work, however i need to perform a search...

So, I haven't had any issues with SanDisk Extreme V30 A2 cards. In fact, it's the one they recommend and sell with the ILS. I have noticed that I need to erase the card anytime I want to upgrade the Labs firmware with Mac OS, due to the DSstore hidden files.

Yeah we've taken a lot of time to create a film look that gave good color, but also just kind of works. When using footage in a doc from a lot of different cameras, archive stuff etc. a lot of film looks can break easily. We also wanted something that while invoking film, was also not too strong. Below are some side by sides, the images on the left are the look we developed, and the versions on the right are a standard CST:

I only use Log for situations which are relatively consistent throughout the whole shoot. It's not a good profile for run and gun filming. My commercial work I can keep pretty consistent so it can be shot in Log, my other work is weddings, I ideally need access to the full ISO range on a camera, I need to work indoors and outdoors, variable colour temperatures and lighting conditions. My wedding clients won't know or won't care if I shot Log or not. I use a tweaked Natural profile on my Lumix cameras, using 10-bit where possible which makes a huge difference in post if my WB is off. The files are still thick enough to push and pull. Yes I might only have 9 or 10 stops of DR to play with as opposed to around 12 if I shot in Log but at least it's much less stressful to work with on the day and easier to manage in post. I have a PowerGrade with my signature look ready to go in Davinci which I slap on and Adjustment layer then make minor final tweaks to clips where necessary.

@mercerits trendy to be a lemming 🙄. And that’s what a lot of personalities on YouTube are doing and once someone enters with non NPC thoughts and actions, you’re berated. That’s what stopped me from posting things on YouTube and social media in general, but I’m getting older and I have worthwhile years in the industry. I sure as heck can voice my thoughts and opinions and shouldn’t give a rats a$$ about what people say.

I don't know if it's overbearing as much as it's an exercise in futility for at least 60-70% of the shots. But my biggest issue is that the utility LUTs just make everybody's footage look the same. Now I don't necessarily mean anyone on this site, but if you go on YT and watch 90% of the reviewers, their footage all looks the same and a majority of those guys have their own businesses separate from their YT channel. So to eek out an extra stop or maybe two, depending on the shot, let's shoot Log, slap a LUT on there and call it a day... or do a CST... now it's like I shot with an Alexa... and call it a day. That just doesn't really interest me anymore. I'd rather have DR limitations I'm forced to work around and get more interesting images. Just a thought I've been wrestling with. It's not like I'll never shoot in Log, I'm just opening up other options and exploring different color profiles now there's 10bit video in almost any camera.

This is exactly why smartphones and smaller cameras like the GoPro Mission 1 Pro ILS are so appealing to me. You can move quickly, stay discreet, and still capture great images. I put together a great nimble kit for this project and I’m actually planning something similar with the ILS in NYC, grabbing shots in some premium locations to give the production a much bigger feel without a big crew or footprint. And I’m definitely grabbing some long and discreet shots.

Love your insights, you should post more :- )

A few more thoughts on the ILS... Here's a 4k shot of my balcony solar panels. I really thought I could make some moiré with this. Not the case, at least not in the 4:3 4k mode. Everything is hand-held with the E-stab on. For DR in GoPro Log2, it seems to be living up to their claims 14 stops. When it does clip, this is what it looks like: Personally, I can live with this. I have a FilmConvert Hazy plugin to smoothen out some of that harshness on the clouds: This was all done rather quickly and could have been better, I'm sure. Here, I cranked up the shadows just to see what it would look like. I might run it up against my S9 just because I'm curious.

I respect that choice. But I'm also not going to post every build that's offered. Maybe if I see another that catches my eye. Currently working on a new idea: FILM MODE gives you all of the film presets in some or all of 4:3, 16:9, 1.85:1, and 2.35:1, puts shutter angle on the shooting screen, and offers 23.98 and 25fps. VIDEO MODE gives you all of the standard broadcast and consumer sensor presets (2/3", 1/2", 1/2.3", 1/3", and 1/4") in 16:9 or 4:3 if possible. Choose between 23.98, 25, and 29.97fps. See shutter speed on the shooting screen, and ISO is replaced by Gain/dB. Suddenly, you can you can accurately frame for ten different lens standards, plus anamorphic. Show me another camera that can do that! This is such a cool little camera.

Great piece of tech, both ; ) Irresistible. Love the colours.

i think the meike 8mm was super nice but consider getting laowas 6mm or 7.5mm if you want such a wide fov. They’re just so much smaller and lighter

By the way, the GH2 was one of the last Panasonic cameras to have unencrypted firmware and then even when encrypted with an update, Vitaliy found a way to decrypt it and make the hack possible. I've been looking into a possible further hack for the GH2, with Claude on the job and making decent progress. LUT -> Custom Photo Style might be possible and a lot of other things!

It looks like our favourite GH2 hacker has shut up shop, personal-view.com is no longer active and the domain points elsewhere. I'll miss it

Y’all have to ask for a paycheck, ’cause I’ll end up buying this one, it’s almost impossible not to... :- )

Well, for rigging it, maybe. The camera is just so small and the mount isn't supposed to have more than a 250g lens on it. Those Meike lenses are 540g at a minimum. And just to clarify, I really don't see the ILS as a photo-first camera, unless you're taking 8k screen grabs. The interface sucks for the most part too with only 2 physical buttons and a tiny LCD (albeit decent). You don't even get a histogram out of the box- they need to fix that.

If this camera lacks a mechanical shutter, the Metabones BMPCC 0.64X speed booster is an obvious choice (as long as it doesn't hit the sensor filter). Also, the excellent Meike M4/3 cinema line that bottoms-out at 8mm is worth consideration. Meike has still versions of these lenses, but they seem to be the same price as the cinema versions. I only wish this camera had a way to sync strobes.

Very soft but cool none the less!

I was only able to muster a few shots today. I'm actually not sure what I'm more impressed with: colors and look with log and FilmConvert Nitrate + Hazy; or, my MacBook Air's (M5) ability to cut through the footage and watch in realtime. Initially, I wasn't that impressed with the Natural or Vivid profiles, but the Log looks great to me with FilmConvert. I need to try more. The ILS did very well with handheld shots at 17mm, given it's only electronic stab. I will have more lenses next week to try out. Unfortunately, I didn't have a ND of any type to test on this lens (who make a 40.5mm thread anyway? That's stupid). Anyway, next week, I'll have more stuff, including the media mod their new microphone kit. I know it sounds like I'm going all-in with GoPro, but I definitely think they're on to something. I'm quite impressed with the ecosystem too. No need to go through the anxiety in choosing between 5 different cameras either. You want wide- get the mission 1 pro or a Loawa lens.