zaz

Wow that is some really great footage!  Must have been quite a trip!
 
I guess the question is how much post-processing work you can handle.  At the standard 0,0,0,0 settings, you will get moire and aliasing.  You also get banding in the skies.  However, if you have Adobe Premiere CS5.5 or CS6 you can do some simple corrections.  The most common is Fast Color Corrector and Sharpen. 
 
Fast Color Corrector can add contrast, saturation, and you can set levels.  The best thing is it can playback in realtime.  When you lower the contrast and saturation in camera, you get a "flat" desaturated image that you can work with in post.  But I suggest not lowering it too much otherwise there might not be enough information to bring back in post.  I've seen people go from -2 to -4.  I've been using -5 contrast and -3 saturation, and then I can play with gamma +.3 to +.5, and saturation 130% to 150%.  I suggest you test it out and see how much you can work with. 
 
Moire and aliasing are based on the in-camera sharpening.  I have dialed sharpening to -5 and it helps a lot.  In fact I rarely if ever see anymore moire or aliasing.  You can add sharpening in post with the Sharpen filter.  I suggest adding anywhere from 10-30.  But again, when you add sharpening even in post you risk adding aliasing, especially to sharp edges like lamp posts, roof lines, power lines, etc.  But at least in post you can render it and see how much you want to add.  If you do it in-camera, it's burned in and can't be removed.  Again depends on how much you want to do in post, but at least you get the flexibility to decide what you like.
 
Banding is unavoidable with an 8bit codec.  One thing you can do is to use the 1080P60P (or 50P in PAL) 50mbit codec.  This codec is better in a lot of ways than the 72mbit All-I codec.  1) digital noise characteristics is better 2) you can still do work in post 3) more recording time 4) great for slow-motion.  The only thing you can't do with the 50mbit codec is use EX Tele mode, that only works with 72mbit.  But for everything else the 50mbit codec is best (even in 30P or 24P).
 
As far as Noise Reduction goes, by dialing it down you get more noise in the image, but you also get more detail.  This also helps reduce banding.  I use Neat Video to reduce noise (very reasonable price at around $100).   It does a really good job of reducing noise and bringing in detail.  The penalty is that it requires HUGE processing time.  An hour of footage is easily 40 hours of rendering time (at least for my Mac Tower).  This is a significant consideration.  However it also enables you to shoot ISO 1600-5000, which can help in very low light interiors or night shots.
 
Another way to reduce banding is to use some kind of Film Grain plug-in.  I'm just starting to use this for sky or sunset shots.  You can look at my tests here:  https://vimeo.com/57102903
 
I think your footage is great, and I really like the results from your 12-35mm lens!  The OIS is awesome!  I know you have some jitters and movement, again this can be removed in post but at some cost (processor and $$).  Most common is Adobe After Effects and using the Warp Stabilizer.  But I have another suggestion.  I use a Joby Gorillapod.  This can be used as a mini-tripod as well as for stability.  And since you cycle and need things small and lightweight, I think it's perfect for you.  You can clamp it on your bike, chairs, poles, and you can also form it around your arm for stability.
 
http://www.bhphotovideo.com/c/product/680973-REG/Joby_GP8_BHEN_Gorillapod_Focus_Ballhead_X_Bundle.html
 
Sorry this is a lot to cover, I hope it helps!

Just curious about people's views on this.
What will the trends be?
 
Do you think sneaky people will now go around cherry picking fast second hand lenses on eBay to resell for lots more money when using a Speed Booster becomes a norm?
 
Or will there not be much affect just cheaper old lenses like  f2 and f2.8 becoming more popular?
Maybe selling for a little bit more.
 
Will new Canon lenses start selling very well to the MFT market and we all get on like happy bunnies?!
Will people say  "I love my GH3 with my Canon glass they were made for each other!!!"
"My Canon glass is so much better than when it was on my Canon!"
 
And what will the affect be on the beloved Voigtlander 25mm and the 17.5mm? Will they get the cold shoulder?
Will the prices tumble.
 
Will SLRMagic be checking out all the books on advanced optics from the local library. Only kidding ;)
 
Predictions please.

This changes everything. People will be shooting awesome films, getting into Sundance, and getting 3 picture deals left and right.

Ben - There was a lot of talk about this lens creating moire.
However when Andrew tried it at a Panasonic shoot, he said it was very minor and nothing to worry about. BUT, he also added that because the gh3 sensor captures with such high detail, softer lenses like the voigtlanders and slr magics tend to produce a much more desirable image.

Personally, I'm very into the idea of having a totally sealed run and gun kit that requires no rain jacket and has image stabilization... But I'm still waiting for my camera ATM.

Another strike against this lens is that if you plan to eventually move up to the bmcc, it be basically useless.

dude, this looks really fucking good.

did you grade this with resolve? really excellent color. i cannot believe it was shot on a 5d. if i wasn't already sold on anamorphic, shit, i am now.

my main critical note was that the dof seemed a bit too shallow for a western feel, but then i read that you were planning to shoot this on the bmcc. second to that, i would say that movement wise, the camera felt a bit too embodied. what i mean is, most shots were pov. when i think of westerns i think of little movement other than tilts, pans, the occasional dolly/crane, handheld action sequences if stuff gets really crazy, and of course, the ever cheesy snap zoom. (i hate those). obvi that is a purely stylistic decision, "sci-fi western" need not apply to camera movement, and this is only test footage but, it's something i've been a pretty turned off by when watching other modern westerns, and thought it was worth mentioning.

im not a western buff, or even a film buff, but i've always appreciated the links between spaghetti westerns, samurai movies, and yasujiro ozu's work. Damn, there's some extreme humanity that can happen in that spectrum.

anyways, great stuff, i enjoyed it. hope you get your bmcc soon.

One River Media recently released a pretty good comparison video re 12 vs 8 bit color for grading with the bmcc.
http://vimeo.con/52269416

[color=#282828][size=4]
Shot out in the Hoh Rainforest. Heavily used the Kenko .3 105mm diopter. Edited in Adobe Premiere.

[url="https://vimeo.com/52401060"]https://vimeo.com/52401060[/url][/size][/color]
[color=#282828][size=4]
Posted in the anamorphic forum and then realized it should have gone here (sorry!)[/size][/color][list]
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I'm pleased with what this camera provide in photography. There's one thing I missing from NEX is peaking focus, everything else work fine, and very good, better than X100 and new mirrorless from canon (m or something, I dont bother to check, it not AF right even under full sunlight lit scene).

The 12-35 (24-70) is too sharp, I repeat: too sharp for video for my liking. I either dial down the contrast in picture style or do it in post.
I will do a moire test for you guys tomorrow (got quite bad headache today due to go outside under hard heat from the sun with GH3 yesterday), what kind of moire test is most practical and provide useful information?

relevant:
12-35 2.8 on a gh2.

it's on youtube so @0:50 just might be a compression thing, but take a loot. all the usual suspects are present in a godamn high degree.

http://www.youtube.com/watch?v=3u4m7u0oqig