Juank

Some footage right now from 35nap 2-4. This lens almost identical to 35nap 2-3m, little smaller, little difference with light streaks. Minimum focusing distance I have 50 cm

Test 35NAP 2-3M. Not bad for old soviet projector lens
p.s. no program sharp
 

Maybe hard to find at first, but your footage (and its variations  ) is the first thing that pops up on YT or Vimeo. 
Kudos for providing the footage for all to play, and for all your efforts (as in feedback) to make GH5 an even better camera. 

Ding!!Ding!!Ding!! Noone wins the prize! Would you like an AM clock radio or the cuddly toy? No? Ok, well you can have the X-Pro2 review anyhow...
 

 
I've owned an X-Pro2 for about a year now and it is my main stills camera for just about everything that I do, which is headshots/portraits, performance, behind the scenes reportage and documentary weddings. I've always done video on the side of this as it is nice little extra when a client says to you, "you're doing our promo images, could you also produce a trailer / do an interview / record this rehearsal for us?" Until now, I've kept a DSLR system as well as my Fuji's to use for video and the more tricky movement-based stills stuff - but after bringing along the X-Pro2 to a number of dance and theatre shoots this year and seeing how capable it is, the less and less I am seeing the justification to keep the Nikons. It is simply the best stills camera I've ever owned, but this is not the point of the review. 
On the video side of things, I've never been wowed by the Fuji's quality but neither did I put any serious effort into testing it out. Going on holiday last year I would normally have brought the X-Pro2 and the 35/1.4 with me but instead brought the 18-55 so I could give the video a whirl. Nothing fancy, just larking around and having fun. 
 

 
And you know what, in it's quirky, strange little way I kind of loved it. The biggest thing about it is that it completely changed my attitude to sufficiency in shooting video and how I want to work in the future. That said though, we need to run through some basics about the machine to get to the conclusion. 
 
The Good
The video quality - this is much improved over previous Fuji's, which had so much moire as to be pretty much unusable. There is still some moire present, you can see a some at 0.24 on the suitcase and 0.28 on the horizon for instance, but it is not too bad and manageable unless in extreme situations.
I really like camera's colour reproduction. I was using a Pro NEG Std preset that I use for headshots and it looks just great to me. The other film simulations are cool and will likely cater to your taste. It isn't a realistic colour palette per se, but rather it looks very classic. I don't want to use the term flim-like, because that just about means anything to everybody because it is so overused, but the colours from this camera look very familiar and recognisable, no doubt because the socialisation process we all go through when we grow up looking at movies, photos, tv etc. Yeah, that's a fancy way of saying it looks nice.
You absolutely do need to deal with the issue that straight off the card the files have a wonky black level. In Resolve, this is easy enough - just change the data level in the Clip Attributes screen to Full.

Once you've done this, all of the detail return to the shadows. It is still 8-bit footage so you can't push it around too much in the grading, but I think the point I'm making is that you don't really need to from an aesthetic point of view.
 
The output is really sharp - possibly a bit too much, provoking some aliasing. I didn't do any tests to see if turning down sharpness works when recording video, anyone tried this? 
Raising the ISO above 1600 loses detail quite fast, although the noise is not very distracting so you can get away with it. It seems quite fine and monochromatic as opposed to the sort of red/purple noise you get with Canon DSLRs for instance. IIRC the first two clips in the car were at 1600 and it looks perfectly usable to me.
 
The build quality - really, really good. It is mostly metal and feels very solid and tightly put together. The loose and cheap feeling shutter release that the X-Pro1 had, has thankfully been replaced with a much better one. Funnily enough, I didn't consider whether taking the camera out in -25C weather for a week was going to be good for it until I was on the way home but the camera didn't skip a beat. I just took the lens off and battery out when I got in to prevent any condensation damage and it was all good.
 
The lens choice - Fuji's lenses are just great optically. I've owned or used the XF18, XF27, XF35/1.4, XF56, XF90, XF18-55 and XF50-140 and they are all optically great and solidly built. Even the XF18 and XF18-55 which the internet seem to dump on are great lenses for the sorts of prices they command used. I used the 18-55 exclusively for the video above the stabilisation is great. Even with my crappy technique it was perfectly possible to get useful handheld footage. If you are getting a Fuji for video, you are going to want to get this lens. One caveat I will put out there is that most of the XF lenses focus by wire as opposed to hard manual rings. I think it is the XF14, XF16 and XF23 are the outliers here. The focus mechanisms are dampened and pleasant to use but obviously you can't use follow focuses etc.
 
The looks - I won't wax lyrical but it is a fine looking camera. Beyond the venality of this, it does come in useful if you work in the way I do and value an unobtrusive camera that can also be a conversation starter. I bumped into a photographer acquaintance of mine at a bookstore and she was convinced it was a film camera. Many times with the camera to my eye recording video people have assumed I'm hipstering it up with an old rangefinder and ignored me.
 
The Bad 
The feature set - 4K, IBIS, headphone jack, LOG profile, HDMI out, audio meters etc etc - yep, this camera doesn't have any of that. It is just about as basic as it gets in terms of what you get for your hard-earned. 15m max record time.
 
The price - linked to the above, this is not a cheap camera. It's about £1250 brand new right now, and you are going to want to spend £300 or so on the 18-55 as well. There are a lot of other options in that kind of price bracket.
 
The ergonomics - this is the real killer. The camera's tactile controls and multiple viewfinders are a pleasure to use when taking photos but translate very clunkily to using video. The OVF and hybrid finder work perfectly for taking stills but feel very off for video. The concept of seeing out the frame becomes less useful as the tab which shows your exposure and focus is often too small to be useful.
The worst culprit though is the rear wheel that is used to trim shutter speed.

In a big step back from the previous model, this is much easier to knock with an errant thumb. I normally turn this off when shooting photos but you can't when shooting at 24P/25P because the top wheel stops at 1/60!
To top it off, Fuji has made some very strange choices about what you can and cannot change and access whilst recording. So, you can change your shutter speed (and you will, many times and always accidentally) but you cannot change ISO. Yep, the ISO ring does nothing whilst recording so if you are walking between inside and outside for example you are out of luck. Eventually, I gave up and shot everything in 30P, disabling the rear wheel.
Also, you can't access a histogram or the focus peaking tools whilst recording. Why? No idea...
This adds up to a fairly cumbersome shooting experience until you get used to it, although it is a bit easier on a tripod for a static scene. 
 
So what does all this add up to?

  At the end of each year I ponder at length what has gone well, what needs improvement and where I want to focus my energy in the next year. It quickly became clear to me that the video side of what I do is very much an after thought but demands an extraordinarily high amount of kit.
After looking at the holiday stuff, it struck me that for all of the flaws and gimme's of this camera, it is absolutely sufficient for what I need: a nice 1080P image, the ability to get handheld footage and a form-factor that suits my documentary style. In fact it is way better and more enjoyable than lugging around a D750, two pro lenses, a big-ass tripod and a Video Assist. I feel much better about pushing myself to do good stuff with this machine than relying on a load of gear that ultimately weights me down. I'll still be able to do the quickie Youtube vids / interviews / casting tapes that my clients ask for, just do it in a more fun way.
The point of sufficiency has been reached. For me this has been a great lesson that more isn't necessarily better and that learning to use what you've got will make you better at what you do. 
So, the Nikon stuff is now on sale: http://www.eoshd.com/comments/topic/21355-fs-studio-sale-nikon-blackmagic-and-sachtler/
 
Should you get one?
 
I'm aware this a video forum so people's needs are going to be different to mine but here is how I feel about it:
Do you shoot mostly video? No, get something else.
Do you do half and half and are looking for a second system? Maybe, rent one and try it out.
Are you a photographer who wants to do a bit of video and likes the rangefinder style? Seriously consider it. 

Interesting, I've been looking for someone with enough knowledge of HEVC to ask a few questions, so if you have the time, I would appreciate. But before that, from what I've read, VP9 wasn't really as efficient as HEVC, being closer to AVC than HEVC but I don't know how much it has improved since then.
Does HEVC have All-I encoding or just IPB? If it has All-I, how much less tasking would it be compared to the usual IPB? Is there advantages of having an All-I H.265 encoding?
I fully understand that NLEs and computers haven't caught up with HEVC yet but since Panasonic GH5 is already capable of encoding it, I don't see why it shouldn't have H.265 for 4K as well, even if RIGHT NOW most people wouldn't be able to take fully advantage of that.
Well, simply because some people would and as time passes, more and more people would, H.265 is after all the codec of the future and having a camera like a GH5, that is already making some splashes, using HEVC, that by itself would help the industry move forward faster since it would help creating a demand for that. Otherwise we will be stuck and simply waiting for Manufacturers and Software to start supporting whenever the feel like and since there is not much demand, why would that be a priority for them?
So even if I can't personally take full advantage of HEVC now I would like Panasonic to think forward and implement it, if Photo 6K already uses it and if Anamorphic Hi-Res will also use it, I can't see why they couldn't be able to implement it for 4K or even create a 5K video mode. 6:9 5K is 4800px and DCI would be 5120px - which is why this is much more like Photo 5K than Photo 6K, what an unnecessary marketing BS.
Anyway, I'm all for pushing technology forward. C'mon Panasonic, just give people the option to record in H.265 10-bit 422 - since Photo 6K seems to be 10-bit 420 for now.
 
 

I think its hard to judge softness and even aliasing from a youtube stream.  We're talking about 8mbps.  The downloadable footage will tell when its available.  Still looks to be the best implementation of overcrank in a DSLM yet.

I must admit I completely dislike at least 95% of other peoples graded shots. Not because I think I can do better, it's probably mainly (but not exclusively, see below!) a matter of taste. My own attempt, with explanation:

On top of Panasonic V-lut (usually not recommended) I desaturated the shadows and also (like mercer) added some blue to them, but not so much. Is her jacket really a very dark blue? I substracted some magenta globally, thereby unwillingly adding more green to the trees, but fortunately the muted shadow saturation counteracted this (don't like the green in any of the shots). I boosted the saturation of the midtones, I like vivid colors, but not to the degree that the image looks artificially colorized.
I admit I am not good as far as serious grading is concerned. I think I know a lot about it in theory, probably more than most here. If you say my version is terrible, you are probably right. Do better, show, explain.
The point of this rant is, people - including me - can't grade. So why are they considering log the Holy Grail? I'd rather have a picture style that spared me all those steps and just left some color correction (which isn't a matter of taste and an artist's "eye" but merely cooking by the book with scopes). I would really love if the skin looked better. It's not wrong, it has the right tones, but it has too few nuances to look really alive. It's a pity that the above face is not in 10-bit, I'm curious to see if that made a difference.

I just put in a pre-order with the Leica 12-60mm. Here in Norway the price for the camera is 22500 NOK (2635 USD) and 28000 NOK (3275 USD) with the lens. The lens alone cost 10500 NOK and only 5500 NOK in the bundle. I should be able to get at least 4000 NOK for the 12-35mm, so I can compare them and keep the one I like the most. I'm guessing it will be the Leica because I have primes for low-light and the gap between f/2.8 f4.0 isn't that big. Let the waiting begin, or should I say continue 

Good looking video Neumann! Keeping up the good work
Please shoot some anamorphic tests also. Really would like to hear more about anamorphic mode:
-is there stretch preview (and what options 1.3x, 1.5x, 2x?)
-option for slomo rates on anamorphic modes?
-peaking, vectorscope & waveform working in anamorphic mode also?

@Neumann Films God bless you, thanks for the footages, looks freaking awesome.
Can you check the VFR bitrates for us please? Also, is there an anamorphic liveview/stretch on the LCD?
So how should we upgrade our PCs? I have i7 4core, 16gb ram, 3GB graph card and my computer had hard time to play the footages even on 1/8th of the original quality.

Hi all, I shot this in Jordan a month or so ago with a Sony A7sii and a Zhiyun crane. I used two lenses, the Sony 28mm f2 and the Canon Fd 50mm f1.4. We also had permission from the Jordanian gov to use a Phantom 4 while we were there. Would love to answer any questions and if you would like to follow along on Fb and on youtube that would be great, thanks!
youtube.com/channel/UCw0J_iNkme1qf2Q1nucVxJA
facebook.com/joshuamorinfilm
Edit: it's showing up a bit weird. Here is the link: https://www.facebook.com/matadornetwork/videos/10154847045404394/
 

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.

Sharpness test of 35NAP 2-2, similar to 2-3, 2-3M, 2-4. low light / original / ana

Hi to all! My friend Juan from France sent me Moller 63/2x, so I decided to remake it as rework other bulky ana projector lenses. First impressions - can work with that lens. Overall weigh of lenses without body around 700 gr. Little lighter than 35 NAP 2-4 / 2-2 (800 gr), and much lighter than 35NAP 2-3m (1 kg). First examples:
In future I'll add examples to the extent possible.
 

Beautiful shots !!!
Very cinematic, lovely character....

When snowy. Setup the same as on previous msg.

New shots from 35NAP 2-4 (2-3M same optic scheme, little bigger lenses) | Helios 44-2 | Sony A6300

An example of clean, sharp, smooth footage with nice colors, and a test between the F3, C300, and Epic. Even with a generation newer sensor than the MX, you can see that the RED can't compete with the F3 for exposure latitude; in fact, the F3 is the only camera in the test that holds up at +3 overexposure. The Canon and Sony both do fairly well with underexposure, although the F3 comes out with a less noise and softness once corrected. The Epic, on the other hand, goes crazy with blue channel noise and loses color information very quickly.

The MX can't touch the F3's low light performance, and falls far short of its 13.5 stops of dynamic range. With an external recorder, you get 10-bit 4:2:2 ProRes, which is a robust codec that flows like butter in the edit. The Sony is also less power hungry, lighter, and much faster to operate. Sony even makes their own SxS -> SD card adapters, making media costs a non-issue.

For almost a third the price of an MX, the Sony would be my pick every time. Hands down.

EDIT: I almost forgot to mention: that Convergence video was the launch film for the F3, and came out before the camera got the S-LOG upgrade, meaning you'll get even more DR than what you see in the film. Pretty impressive!

I start to think about the housing for my verbascope with single focus  
 
 
 

My first video review, shot on the X-T2
 

So, we had a quick shoot, here's the result:
Setup: GH4 4:3 anamorphic mode, pentax 50mm smc f1.7, Sankor Compact 2x Single focus anamorphot which is still for SALE, DIY LED panels, homemade dolly with a fluid head and a regular tripod work. You might notice that the opening shot is with a spherical lens, well that's because of the glidecam. Edited & graded in premiere with some luts.
Cheers!
 

They claim you can go as wide as 25mm. I have not tried yet. 28mm is fine even in 16:9. Size and weight is great, quality build is great as well as mounting. I think with a variable diopter, a lens hood to cut down on flares and shooting at f4 or f5.6, you can get a very nice image. I think it will do a good job at translating what ever your taking lens is in terms of character. I love that it is 1.75x so you can get the 2.35:1 ratio or 2.76:1. I wish it was multicoated and wish it flared a little less but it's a nice lens that has potential. I took this still with it. More to come. 

 

Fresh videos (2016.11.05) Quality closer & closer :-) First video 4K, I have more time to focusing. Second video Full HD. 35NAP 2-4 | Helios 44-2 | Sony A6300
 

I agree about the waiting game. If they fix the IBIS in the G85 I'll probably be perfectly happy shooting with that, with an external recorder, through the end of the summer. And who knows what Sony will do.
If the rumors of the GH5 price being around $3K are true, I think that will put a bit of a dampener on the excitement for it. I think it needs to be no more than $2500. $2000 would be pretty killer. And at any of these prices, IBIS is a must.
If Sony does an 8-bit 4K60 A7III, at say $2000, or the A7S/RIII is 8-bit 4K60 at the same price as the current R and S, or goes 10-bit at say $4K, the GH5 may not be as much of a coup as it would have been all by itseld in Q1.

Well, if it does come in at around 2000 € body only in France, many potential buyers will hold out for the GH5.