mercer

@noone According to Ken Rockwell, the Canon FD 50mm 1.2 L was discontinued in '88 which is a year after the introduction of EF. Of course, I know Canon released some EF L lenses pretty quickly so that may be why they discontinued the 50mm but I rarely see any nFD lenses that are newer than '86. I shoot 2:35, so I think the vignetting is minimal. You're right, I rarely see the Sigma 85mm EX for sale on eBay. Do you need the AF? The Samyang 85mm is a nice lens that can be had for pretty cheap. I have the 50mm and love it.

I never had the Sigma 85mm, that shot is from the Canon 85mm 1.8. Of course, it looks different on eoshd than it does on my computer screen, so it's probably not a good representation. Anyway, the Sigma 85mm is full frame. Side note... I believe the Art 30mm 1.4 just barely covers a full frame sensor with slight vignetting. I think BTM confirmed this.

@Anaconda_ didn't you recently buy a Canon zoom? If so, the Canon 85mm 1.8 may match better. I briefly had the lens and it is really nice, especially for the money. I ended up selling it because I don't use the focal length that often. Here's a shot from my film with it to give you an idea... With that said, I've heard great things about the EX Sigma as well. Their 50mm from that line is supposed to be excellent as well, so you could build an inexpensive f/1.4 set eventually. I believe they also have a 20mm, 24mm and 28mm at f/1.8.

I've used a few of the Zeiss ZF lenses... and they are all really nice lenses with great micro contrast and color separation. I still have the 25mm 2.8, which being a Distagon, it has insane close up capabilities. I swear half of the focus throw is devoted to its near macro range. Weirdly, I actually prefer the 25mm to the 28mm. Unfortunately, I have it up for sale on eBay. As much as I like the lens, I need to cut down on my collection. Good luck with the 35mm.

If that camera was rolling, then Blackmagic missed an entire marketing aspect for the P4K... time travel filmmaking. And even if they were rolling, we have no idea what audio equipment they were using or what the settings were. The mic could have been too hot, so they had to back off. Their main audio could have been from a lav and the boom was a back up. And finally, wouldn't it be a lot more constructive to hear the audio before criticizing the manner in which they did it?

I would love a G85 with the BMMCC internals + the G85's IBIS of course. It sounds like a job for @BTM_Pix

I was just looking at the DVX200 yesterday and was astonished by the price. Does Panasonic not believe in lowering their prices anymore? That camera is 4 years old. I guess they're still selling at that price. I'd happily shoot on a camcorder if it gave me the specs I want... mostly ProRes or raw. The closest thing at this point is the FS5 with an external recorder. Does the Ninja V and ProRes Raw work with the FS5?

Yeah that's what I'm seeing too. Personally, I'd go with the GH3 over the G6. But I never found Panasonic's focus peaking to be all that great anyway, so it doesn't really matter if the GH3 has it or not. On a side note... Begin rant... There was something special about these cameras and what people were using them for. Today, everything is about corporate videos, or content creation for YouTube or IG, back then it was about guys or gals with a camera and what they could shoot with them. People were pushing the boundaries with what the cameras had. Today, it's complaining about what the cameras don't have. Don't get me wrong, I'm just as guilty of it. But I miss the days when I was so excited to go and shoot with my eos-m or couldn't wait to see the release videos from the GH3. I've been wanting a second camera for casual shooting for a while. I bought a BMMCC in the summer because I always regretted selling the first one I had. I paid $400 for it and $100 for the Ikan VL35 monitor. The problem with it is it isn't really good for casual shooting but for the price, it has the technical qualities and IQ to make a superb indie film with. Yet I still bitch that it isn't handheld enough, or the crop factor is annoying. I remember having a camcorder and I didn't care what the lens' focal length was... I just moved back or stepped closer if I needed to get the shot. And I think that's what's cool about these older cameras, whether it's the BMPCC or the BMMCC, the GH2 or the GH3, the G6 or the G7... even if it's the t2i, they all have a unique look. They're not trying to be an Alexa... even if the Pocket has been called the Baby Alexa... they were just tools for filmmakers to tell their stories. So with all that said, I think I'm going to revisit my BMMCC and if it is too much of a hassle, then maybe I'll look for a GH3 or maybe even a G85 and shoot in B&W so I don't have to mess around with WB. The point of these cameras are to have fun with them and push the boundaries of what you can do with them... for me... sometimes that's enough. End rant.

I think the G6 was the first Panasonic to have focus peaking. Weirdly enough I forgot the GH3 existed until you mentioned it... LOL. Even weirder, I always liked the image from the GH3. That 90Mbps All-I looked great and it had a great build quality... I wonder how much they are selling for?

Well if it has to have focus peaking, you can rule out the GH2, so it's a choice between the G6 or the P2K.

I don't mean to speak for Kye here, but I think you guys may be missing the point with his intentions. Remember Kye hacked apart a GoPro so he could attach an old D-Mount lens for an 8mm movie camera, so I think this second camera is as much about experimenting with a cheaper camera as it is about having a second camera to intercut with his GH5. I'd say go with a P2K or a GH2... or an Alexa Classic.

Great lens. I briefly had it a couple years ago but had to sell it. I've been looking for another good copy ever since. @JordanWright has some great work with it shot on his P4K.

Thanks, I've seen some Varizoom Lanc controllers but I think I just need to bite the bullet and buy the Ursa Hand Grip because that really has the simplicity I'm looking for. That paired with the BMPCC Speedbooster and the Canon 17-55mm seems like a great minimalist handheld set up. The problem with that setup is that the total cost would put me in the P4K price range and I'm unsure if it's a wise investment at that point and I don't know if the total size would be much smaller... OT - Do you know of any good 12-75mm c-mount lenses that cover the S16 sensor of the OG or the P4K crop mode? I have the Cosmicar but it vignettes heavily as I believe it's designed for 1/2in sensors. It was a beautiful little parfocal lens with the EOS-M in ML crop mode though. I'll probably just use my 5D3 for another few years... LOL. Seriously though, I think I can't conceive shooting in anything less than native full frame raw/ProRes. Completely OT - I don't know if I ever thanked you for turning me onto Samyang lenses, but the 50mm 1.4 continues to amaze me on my 5D3... So cheers... for continuing to be one of the most helpful members on this forum!!!

Honestly, I forgot about that controller. I am mechanically minded, but I'd prefer not to tinker with equipment. I've found it becomes about the tinkering instead of the shooting, for me. With that said, I am looking to make the Micro into a tiny "cine-corder" so I would love a right-handed handle that works off of Lanc, with a simple and direct Lanc connector into the port. I'd like it to be able to control record, zoom and one touch AF if I have a native lens attached... most likely the 12-35mm and/or one of their PZ lenses. With that said, I'm still tossing around the idea of selling it and trying out the P4K for the new modes (S16mm and 2:40) ... the free Resolve upgrade ... and your AF controller with the Panny 12-35mm or one of the Canon IS primes... most likely the 24mm.

I was surprised he didn't even mention the S16 crop mode of the P4K but after thinking about it, his post was born from his plan to shoot his next film on S16 film and needing an inconspicuous B-Cam. And although the P4K's image has grown on me, I still prefer the organic, filmic look of the BMPCC and BMMCC and since he is looking for a S16 sized sensor, to intercut with S16mm film, the P4K, even in crop mode, doesn't really fit his criteria. I've contemplated selling my BMMCC and buying the P4K, but there is just something special about that original Fairchild sensor. Plus I am patiently waiting for you to create some kind of ingenious accessory for it.

Click the top one and make sure you have "color managed" selected.

The problem with the GH5s was always the price and lack of IBIS. I could look the other way with the IBIS but the price, even today, is way too high. Panasonic should be selling the GH5/GH5s for $1000/$1500 respectively. They've been out for 3 years now. With that said, I like the look from the GH5s and would choose that today over the P4K if they were priced the same. In fact, I'd probably buy one. As it is, I believe M4/3 will be dead in 2-3 years at these prices. In fact, I wouldn't be surprised if Panasonic chooses an entry level FF camera over releasing a GH6.

Honestly, I think you should revisit your GH5 idea. You can only fight these cameras so much. They are good at what they're good at. If you were using a gimbal and needed the AF, then yeah roll with the a6500 but if you want to go handheld and do movement... the GH5 is the way to go unless you want an Olympus which would be even more steady.

Haha, I don't think I even NEED a 4K side camera... I probably need to be happy with what I have, put my head down and get some work done. Lol. My friend bought a GH5 and I had a chance to mess around with it and I must say it's a fine camera. The IBIS and waveforms are enough to make it a very fun camera to shoot with. Good to know about the Samyangs. I tend to shoot with one lens so maybe the 50mm is enough for me. But you're right about the sharpness. It has an interesting mix of modern sharpness and vintage creaminess. I used to have a few Pentax-M lenses and a couple SMC K versions... the original K lenses are interesting because most of them are identical to the Takumars with the new mount. How does Dual ISO work? That feature has been around for a while but it was my understanding it's at the cost of extra noise... or something that made it impractical. That eos-m video looks great... you really found the secret sauce with that camera. I just watched your Beach Vibes video as well... did you process and upres that in the MLV App or in Resolve? Whatever you did, it looks fantastic!!!

Thanks!!! Now when I can find a new one, with the software, I may have to give it a try. I wish BM would offer a fire sale on the P4K like they did with the OG.

Yeah that is a marginal difference, so if I had to guess, a 3x crop (give or take) sounds about right. That shot is in BRaw, right? Did you notice any more noise in the S16 mode? And finally, will SD cards work in that mode or do you need CFast/SSD?

It may be, but from your calculations, the crop seems too large, but I am not the right person to ask about such things.

Should we expect a Fujian P4K sample shot?

With the original they were at the mercy of the sensor but with the P4K its a specific crop they created, so one would assume they chose the traditional S16mm size... maybe @CaptainHook knows? I find this mode very intriguing because it opens up a slew of lens options that could soften the look of the P4K. I don't know if you've seen any footage from the Alexa S16 mode but it's pretty gorgeous. I appreciate the sentiment. Weirdly enough, I haven't found one sample from the new S16 mode online... I would have thought it would be a pretty big deal since a lot of members at bmcuser were petitioning for that mode since the camera was announced. Also, is the S16 crop mode only in BRaw or is it also available for ProRes? And will regular SDXC cards work in that mode?

Thanks, I asked because the OG Pocket was often referred to as having a S16 sized sensor but the actual crop factor was a touch less at 2.88x so I wasn't sure if BM followed the traditional S16 crop in the P4K or the OG Pocket crop of 2.88x.