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  1. Yes, I think it becomes a ~55mm F1.2 lens - and thus a 110mm equivalent to full frame. But now I'm starting to get confused as well when it comes to equivalent depth of field. I usually don't think about it because I don't personally care what the DOF is equivalent to full frame. I think it has depth of field like F2.4 on full frame with the Speed Booster and F4.0 without the Speed Booster. But I'm really not sure anymore and I'm no expert. o.o" Ah, yes, the physical shutter must be the reason why it doesn't work on regular MFT cameras. I totally forgot about that. I really can't blame Metabones or Blackmagic, apparently there is no way to get something smaller than 0.71x for regular MFT.
  2. In theory, the 0.64 and 0.58 factors also work for full-frame lenses on regular MFT sensors if I'm not mistaken. So it's a little disappointing that these Speed Boosters only work with the Blackmagics. But this is the case because the focal-reducing lens comes so very close to the sensor, right? Would have been cool to get nearly the full image circle of full frame lenses on a MFT camera. The Speed Booster doesn't really change the look of the lens. It shrinks the image circle, which mainly affects light gathering (density?) (and, of course, format coverage). The size of the bokeh relative to the image circle size doesn't change and the same should go for depth of field. Your 85mm F2.0 becomes a 60mm F1.4 with a 0.71 Speed Booster. It doesn't become a 85mm F1.4, which would be a difference in bokeh and DOF. Since the focal length and the aperture change by the same ratio, there is no change in DOF. At least that's how I understand it.
  3.   Must be software stabilization in post. Edit: Continued watching and ewww and more effects nonsense. Don't know how this helps to assess the GX7's video quality.
  4. The first video shot with the GX7: https://www.youtube.com/watch?v=dE55G_YLXZk Though YouTube isn't very useful for examining quality, right?
  5.     Yep, it's been stated a couple times on 43rumors: http://www.43rumors.com/ft4-small-rumor-the-name-is-gx7/ http://www.43rumors.com/gx7-image-and-specs-roundup-do-you-like-the-design/       Hmm that would be really cool, but so far the suggestion for people with Olympus bodies mounting Panasonic lenses was to turn off either the the lens stabilization or the in-body stabilization because both would work against each other, apparently 'not being aware' of each other. I don't have an Olympus body, but at one point was curious what would happen if the Olympus IBIS was combined with the Panasonic lens O.I.S. and learned that they can't operate together.   If Panasonic could 'sync' the two stabilizers, this would presumably require firmware updates for all the O.I.S. lenses? Since it seems that the lens stabilization would just operate on its own even when mounted on Olympus bodies. At least that's my guess, that the lens and the body don't communicate regarding the lens stabilizer beyond switching it on or off and choosing different operation modes.
  6. Am I getting something wrong, or does the video quality also depend on the downsizing algorithms (pixel binning methods) of the sensor image to HD resolution? Aside from the encoding, couldn't this be another reason for loss of detail in the case that G6 video quality does turn out to be behind of what the GH2 offers?
  7.   That sounds weird. If the sensor's "character" (is that what you mean by "special magic"?) is so desirable to warrant it being used again, then why is its multi-aspect-ratio potential – being a characteristic of this sensor that is appreciated by many just like its readout speed and low-light performance – left unused at the same time? I understand that you are probably only referring to the look the sensor produces and not to what format or image circle it covers. But both are features belonging to the same component and if one is dropped (or, better to say, disabled), that is sort of disappointing and lowers the appeal of the remaining features.   It seems as if they want to keep this feature out of the mid-range and entry-level cameras so vehemently that even G cameras of a later generation than the GH camera originally using it aren't allowed to have this feature. What a tease – and a good reason to not praise the use of the GH2 sensor.   I have no problem with new camera models using a slightly dated, but proven to be good sensor. I like the G6 overall and might end up buying it to step up from my GF2 and get a little more serious about video (unless there is a GX2 announcement coming in the meantime that is more convincing). But locking out one of the sensor's nice features in the firmware leaves a bad taste.   The only good thing I can see is that it could be a hint for a future GH model having a (working) multi-aspect ratio feature again, hence why they continue to keep this feature out of the GF, GX and G lines.
  8. It seems the multi-aspect sensor feature is still not in use in the G6 if you look at the pixel sizes of the stills: GH2: http://panasonic.net/avc/lumix/systemcamera/gms/gh2/specifications.html "[3:2] 4,752 x 3,168, [16:9] 4,976 x 2,800"   GH3: http://panasonic.net/avc/lumix/systemcamera/gms/gh3/specifications.html "[3:2] 4,608 x 3,072, [16:9] 4,608 x 2,592"   G5: http://panasonic.net/avc/lumix/systemcamera/gms/g5/specifications.html "[3:2] 4,608 x 3,072, [16:9] 4,608 x 2,592"   G6: http://panasonic.net/avc/lumix/systemcamera/gms/g6/specifications.html "[3:2] 4,608 x 3,072, [16:9] 4,608 x 2,592"   Even though the G5 and G6 appear to use the same sensor as the GH2, neither of them records 16:9 and 3:2 stills with a larger crop according to the official specifications.   So where does this often-quoted crop of 1.86× actually come into use other than when the GH2 shoots 16:9 stills/video and 3:2 stills? Is there any proof that the G5 and G6 use this larger crop in video mode even though we know they're not using it in stills mode? Because otherwise it seems like the larger sensor of the G5 and G6 is no real advantage over the GH3.   Or could a firmware hack bring the full sensor area back into use?
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