Flynn

You're not wrong about Oly.  And I shoot Fuji as well, so all these things are part of the mixed bag.  The thing is, when we're talking price, when we're looking at cameras within similar classes, the difference is typically a few hundred bucks.
At a certain point, determining my camera purchase can turn into a  "penny wise and pound foolish," decision.  A few hundred, or even a grand, is a small price to pay to own and use a camera that I'm comfortable with and does the things I need it to do.
You know how it is.  You balance liabilities of the gear with the needs of your work and one's own biases.
For instance, I just did 6 30-min documentaries in 6 months.  I did it with the GX85 and EM5II.  I'm not lying when I say that I'm glad I did the job on these consumer cameras rather than something like an Arri.  One would look INCREDIBLY better than the other, and I would love to use that camera for many many many things, but I wouldn't have been able to do half the work load (nor the radically informal work that yielded a lot of good results) without the flexibility of these goofy, small, hybrid, IBIS, 8-bit, cams.
I know it's hard to fathom among a forum like this, but having the best IQ is not always a priority.
My favorite industry idioms comes from the National Geographic guys.  It's simply, "f8 and be there."  And I think you can understand the sentiment of that saying.  
That's why I can't get caught up to much in the IQ debate.  My factors for my particular work rely on a lot more than just IQ.  You'll have other needs.  Someone else will have other requirements as well.  
For instance, I'm doing a cinematic doc/narrative in 2017, and I plan on using a Sony F5 and 100% static shots, so it's always always an "it depends" sort of answer with tools one decides to use for a project.  

Going to be a little more cautious with the GH5 than I was with the GH4. I took possession of two of those on day one and spent a year trying to wrestle that image into something it wasn't capable of -- and VLog was a massive disappointment. Have been much happier with the Blackmagic line -- especially with the more cinematic motion cadence of those cameras. Optimistic about the GH5 but again, taking a wait and see approach.

mesmerizer off the scale good a very large beast.
mr kish who designed it was a very clever optics man i think he realised early on why try to beat an old isco design.
so he built his monster around early isco 54 and the very large isco inflights which would have been had for cheap from the retirement of the inflight film projection systems on  dc9 and boeing 707.
it is a great optic it is really a rehoused isco inflight or isco 54 without the 2 extra focus optics that have been copied so much in the last few years.
work out your focus zone range dial onto mesmirizers scale critical focus on taking lens.
 
the original design was mainly for tv show dream sequence commercials and many music videos of the 80s and 90s.
sold to many big camera rental houses great for the warped bent anamorph spin effect or you can lock the rotaion down and use as a very fine quality anamorphic optic.
 
i had a few one was 1.75 the other 2x one more modern coatings the other golden early 70s coatings.
the one i still have looks like it uses the original isco focus helicoid system just put into a nice big metal jacket.
because of the beyond heavy duty  quality of the exterior jacket and the rental house  buyers i would imagine this would of been a 8- 10 thousand dollar optic back in the day
if it had the isco patented 2 extra focus optics making it single focus it would be going out on rental every day for big bucks.
 
as it is now stiill very usable
slightly radioactive as is a lot of the magic vintage oldtimer  glass
 
 
 
 

Hi everyone, just wanted to share my experience fixing a bad singer 16D i got on ebay for cheap.
1. I got this Singer 16-D for a very good price on ebay. As shown on the ad's pictures, there seemed to be fungus/dust inside.

2. I received the adapter and noticed that there was no fungus but the coating has gone bad and was partially gone or made tiny bubbles. I tried the adapter but it was just a hazy ghosty mess.

3. I got the adapter open (you can follow @Tito Ferradans guide with his Elmoscope/Kowa B&H as the construction is very similar), removed the the front elements and got to work. I did scratch the remaining coating with my nail (went away very easily) and finished the job with a bit of acetone. The result is not perfect but way better than I expected.

4. Here is a very quick and dirty shot with the Singer 16-D :

Compared to the same quick and dirty shot with my Isco Ultra-Star 

Both shots with the Helios 44M wide open (f/2)
Still hazy but very usable IMO, plus I want the Singer to be hazy and flary as I already has the Isco which is damn sharp and does not flare by itself.
Do you have similar experiences to share or have any remarks on my repair ?

I wish they'd just focus on developing a killer new model of the BMPCC. To me, it looks like they've wasted a ton of time and money developing all these niche cameras when the one camera they have that sold reasonably well and has broad appeal is in dire need of a hardware update. One or two cameras for BM is more than enough. Keep it simple. They have spent a fortune developing all these other cameras.  Just focus on improving the 4.6 and the BMPCC.

OMGZ GUYS I FINALLY GOT A 5D3!!!!! ??????
for those interested i need it now for stills so i bought it used off craigslist here in california for $1800 - came with 4 batteries, battery grip, 2 chargers, sd card, cf card, and 40mm pancake. its still under the resellers warranty (not canon, local shop) for another month, two small marks on the bottom of the body otherwise in great condition, and 12k on the shutter.
the seller was legit and he already had magic lantern on the sd card! so....
PLEASE HELP ME WITH MAGIC LANTERN RAW 5D3 BEST CURRENT PRACTICES
Whats the easy way to do things in terms of workflow? Mind you i am brand new to this so dont spare the details. I have a mac with the adobe suite, fcpx and resolve lite. speaking of which...
TRY RESOLVE ITS FREE
i really have to thank you all for teaching me so much over the years ive read this board. when i first downloaded and opened resolve i had NO idea what was going on. thanks to a lot of learning i am now able to get into it a bit and i love it - resolve is AWESOME. and ykno what? it wasnt nearly as hard to get started as i thought it was going to be
so this is a special message for anyone who has had the ambition to try resolve but is too intimidated, or someone who tried in the past and gave up almost immediately (me lol). its really not that hard at all, for me the big disconnect was never using a node based app before and being terrified of that for some reason, but nodes are kinda like a tree of adjustment layers - its just weird looking at first ?
/anyway please prescribe me a raw workflow!!! id like to use resolve cuz i wanna learn it anyway but im open to whatever. any tips/tricks/pitfalls to avoid also much appreciated!!!!!!
thanks for the inspiration and all the knowledge guys!!! i really might not have bought this camera if not for eoshd ?

thank u, im glad someone like results. Have much more ideas to try, sadly always on low budget, so progress is slow)

im finishing my third prototype, need just rectilux to complete all, but already test it. And its great) i've used 105mm and there is no vignette, thats something between 50-60mm on hFOV. My luck there was a post on selling rectilux cdna now while its almost two month till next production of new units. Gonna pay today and waiting package from japan to complete my prototype)

Hi, I just used two different 2x front and rear lens and got at least 2.8x ratio.  But looks like it needs much longer FL taking lens to use.
P.S. Image taken by hand hold front lens, 3m distance, resized only.

The quote is "one stop better and IS"
I think "one stop better" is referring to ISO. They claim the G7 replacement, combined with one of two current optically stabilized lenses- but they plan on making the dual IS compatible with more of those lenses over time, is good for 5 stops of stabilization. Which is pretty remarkable. I imagine the GH5 will at least be able to equal it. Still, looks like Olympus has the edge unless Panasonic can step it up for the GH5. 5 stops is incredible. 6.5 stops is just unbelievable. 

Holy shit, the flares in that second to last pic. Wow.

source image, no process

I shot this a couple months ago, and had a blast! It's always changing, but my anamorphic rig is getting more useable. 
 
Kowa 16-H (still amongst the best ana glass.)
SLR Magic Rangefinder (could loose the blue blobs but otherwise does a great job.)
RedStan Clamps (what more needs to be said? They're the best, and they're red. Makes Canon L-glass jealous.)
Konica Hexanon 40mm f1.8 (this lens just works. Really well. Set to f/4 and forget.)
Samsung NX1 (yeah I'm one of those guys. But this thing pays the bills, and will continue to do so for at least one more season.)
 
 
EDIT: yes, the anamorphic is not perfectly aligned. That's actually on purpose to add to the vintage low-fi aesthetic.

Those flares are really awesome.

Damn, that is looking good.
Is that snow on the ground in the last picture?

test in field after work

35NAP 2-3M lenses. New tests & additions. Little vignette in infinity, can be removed, cropping to 2:35:1. Sony a6300 (crop), Helios 44-2 58mm

Some useful links, parts of construction:
Camera accessories Fotomate LP-02 high quality 200mm Range 2-Way Macro Focusing Rail Slider Plate 1/4 Screw for DSLR Camera
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Photo Studio Accessories aluminium alloy Rail System 15mm Rod Rig Grundplatte Mount for DSLR Follow Focus Rig 5D2 5D3
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2pcs 40cm Length 15mm Diameter Black Aluminum Alloy Rod Rail Mount for Canon Nikon DSLR Camera Camcorder DV Rig Cage
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FOTGA DP3000 M1 Steady Shoulder Support Pad For DSLR Rod System 15mm Rig NI5L
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Drawings by Alexey Bravo AlexKubrak85@gmail.com. All questions to him. Necessary before printing checks all sizes to fit your lens and mount
 

I do. It seems more natural but with the normal anamorphic properties (barrel distortion, oval bokeh, flares).

Some one ask about these.   So I just took some picture with 16H for comparison.
Rear mount thread is the same as 16h lens----50mm.   Size and weight comparison, see pictures.
Roughly tested, with 85mm taking lens has obvious vignette on FF camera.   I think it needs 100mm or above at least.
 

Tested this Zeiss lens with 100mm/f2 taking lens on FF camera.  Is it OK?

If Canon is able to put a 24-100mm equivalent f1.8-2.8 in the G7x  which is tiny compared to the XC10, surely they can provide an even better lens with a similar focal length for the XC15. I know the slow lens tended to be the first thing most people complained about.

I can't imagine them selling many in the US at that price. You can get established brands for less money.

A couple more tidbit.
http://www.mirrorlessons.com/2016/09/22/olympus-om-d-e-m1-mark-ii-extra-information
There is no sensor crop for both UHD and Cinema 4K unless you activate digital stabilisation in addition to 5-axis IS (8% crop).
Continuous AF will be available with the same features as for stills. You can vary the exposure while recording.

The EM1ii probably won't be as good as dpaf but then again, can Canon offer 6.5 stops of stabilization? The af looks to be vastly improved, and given the stabilization with the new 12-100, I'd probably be willing to make do.