Michael Coffee

Not all PL lenses can be adapted to EF from what I saw on th web :s But EF is more convenient for sure !

If you're not rich enough to own a handful of PL lenses yourself, then don't buy it in the PL mount. 

I believe you can find some static stock footages of old 8mm film online.  
Using that, it's not too much trouble to motion track the image and apply it to your own shots. 
This'll give you that old looking analog/mechanical image shift and jumping. 

Good to know.
The 35mm F2 IS by the way is a gem.

Just to chime in, I have found the 22 on my eos m1 to be an awesome little lens, and the 18-55 is pretty good too I reckon  

I've been asked by Private Message regarding using the higher ISO's in recording.
Ordinarily, the extended ISOs are for stills only but there is a way round it for G7 owners at least.
On the GX80 it is always clamped at 6400 irrespective, so when you go into video mode it will always revert to this setting if you have an ISO set above that.
On the G7 however, if I instigate the recording with my controller then I can then change it beyond 6400 and it will accept it.
I have a trick with the hardware controller so that when you put it in record it re-sends the currently set ISO so if you have it on 12800 on the controller it will record a tiny fragment at 6400 but then switch to the 12800
If you want to try this manually you can by just putting your G7 in record at 6400 and sending the higher ISO command form a browser.
My feeling is that this will probably work for other cameras too (except the GX80 where it definitely doesn't) so if you can test it and let people know that would be great.
 
 
With regard to asking questions by Private Message - and please do not take this the wrong way as I'm really pleased this has sparked so much interest - but can I just ask that people put them in here instead, as to me this should very much be a community project so everyone will benefit from the shared information and there is a much broader range of model variants represented here that people can share the testing on as well.
Ta

Try this with the Luma corrector effect to recover info that's outside of range - raise pedestal and lower gain.

You are right, it works with Luma Corrector, but I cant get the information back using only Lumetri Color. Isnt that strange!? Looks like a bug anyway?

I did some vlogging stuff with a G7 on a trip earlier this week and I have to say that it performed really well and the articulating screen and iPad/iphone remote controlling of it was a real boon. 
I actually wanted to take the GX80 for the stabilisation (I could've lived without the articulating screen because of the ipad/iphone remote) but the lack of a mic input made it dead in the water. 
I'm now, of course, spending loads of time stabilising everything in FCPX which is a real pain in the arse and certainly detracts from the immediacy of what I was trying to do.
Clearly, the best solution for me would be to have the G7 with the GX80 stabilisation.
So that'll be the $80 over budget G80/85

Panasonic GX85 or G85.  Nice to have the IBIS.
If you really want to stay cheap, pick up used old glass and a dumb M43 adapter.
If you want better low light capability, you can get an inexpensive chinese speedbooster with a fast old prime.

Do you know this for sure---or have you seen things like this before?
Either way this is the best explanation I've heard so far---in fact, it's the only explanation I've seen. Thanks.

You used viewfinders/loupes on both cameras? Out on a sunny day?
They're burns, from the loupe optics concentrating the sun onto the screen.
Like a kid burning ants with a magnifying glass.
There's a reason all the nicer loupes/viewfinders have caps on them- to keep this from happening.

Had a look around Google and it could be a fungus or mould. Various people suggest trying something called a UVC sanitizer wand - something like this: https://www.amazon.com/Verilux-CleanWave-Portable-Sanitizing-Travel/dp/B00144I3ZU/ref=sr_1_1_a_it?ie=UTF8&qid=1490088025&sr=8-1&keywords=uv+sanitizer.
I guess it's perfectly possible that there's something in the air at that location that hasn't been there other times you've visited.

If the budget is only $5000 i'd recommend this kit.

Canon C100 MK1 - $2499
Sigma 70 - 200mm f/2.8 - $1299
Sigma 18-35mm f/1.8 - $799
Rode Videomic Pro - $229
SanDisk 128 GB Extreme Pro - $66

Total: $4892

I've heard good things about Ikea shower curtains!

Interesting! I didn't know that other cameras showed the same problem. As many people have mentioned, the average viewer wouldn't spot it, but it seriously gets on my nerves every time I see it.
For anyone just popping into this thread who doesn't feel like trawling through pages of ghosting tests the bottom line is this:
To prevent ghosting, shoot in EOS Standard and don't go over 1250 ISO.
Explanation: the different camera profiles demonstrate differing amounts of ghosting. C-Log is the worst. EOS Standard is the best. But what about dynamic range? EOS Standard captures the same dynamic range as C-Log if you expose 1.66 ISO stops down (5 clicks). EOS Standard 160 = C-Log 500.
If you then want to get back to a C-Log gamma for whatever reason, just bring down your superwhites to below 100 IRE and use the attached lut. I'm kind of amazed that this works as I thought C-Log was some special voodoo. It's actually an evil voodoo as it's applying a hell of a lot of noise reduction which reduces image detail and increases temporal ghosting.
Every review I read said "Don't use EOS Standard - it's too contrasty!". I've learned a lesson about trusting the value of my own experience, based on my own tests.
 
XC10 EOS Standard to C-Log v02.cube

Well, I would love to hear your thoughts once you have both

Apology to everyone including John Brawley - 
The Ursa Mini 4.6k from reviews is looking amazing .  They seemed to fix the various problems.
I'm going to do a skintone test on thursday with the sony f65 and red epic mx and canon c300 ii.
 

Speedboost it!

I see some people - bigfoot, mercer, viet bach, don't understand what's at stake
This isn't me being a communist and bemoaning another site making money from advertising.
Viet Bach, you say "as long as their reviews remain honest"... Well honesty is as much about what you DON'T SAY as what you do.
Read my article, and what it has to say about self-censoring and PR jaunts.
Looking at this purely from a business perspective now, it's bad for business too as readers get sick of it and leave. The watery opinions don't do anyone any good. The sponsored content is only the tip of the iceberg. From a business perspective, in my opinion it is better to to have very high quality premium paid content like books alongside the free articles and standard affiliate links than to compromise the creditability of your entire core business and your reputation with a ton of tacky advertising.
Like if you agree.

If only the alexa mini was £4000.....

Dedo's are my favourite lights ever - 100w isn't much, but for anything - especially involving products - get the dedo's! If you get the redheads too, I reckon 2 dedo's and redheads could do almost anything you need! 
 

I just struggled a bit with this very issue, and here's what I ended up doing.

I started with a couple used Mole Richardson 1K fresnels. I got each for about $150 off eBay, used in good condition. Beautiful lights, very robust, and easy to control. They're my bread and butter--I use them on everything.

Next, I hopped over to Home Depot and picked up some dirt cheap clamp lights. Fitted with some high-wattage incandecent bulbs, they're great for accents, hairlights, background splashes, etc.

Next thing on the list (should be coming this week) are a few ETC Source Four Pars. $70 each shipped, again used. These are 575W tungsten fixtures, but the design of the bulb makes them about the same output as a 1000W open face. These are great for bouncing or pushing through diffusion if you just need raw output, but they also come with 4 lenses: wide flood, medium flood, narrow spot, and very narrow spot. These attachments don't produce the same quality as a fresnel, but they're usable as direct light and easier to control than a redhead. I've used them on a few sets for background punch, kickers, and even as an effect spot for a dream sequence, and they're surprisingly versatile. You can even pick up 3rd party barn doors for $15 or so. Dollars per lumen, S4 Pars are unbeatable.

As soon as I sell off a few more things, I'm picking up a couple Aputure Amaran 672S LED panels. Excellent CRI, dimmable, run on batteries or AC, remote operable, and easy to diffuse (if necessary) with the built-in umbrella mount or Aputure's softbox attachment. I'm debating going with the Ws instead, as I already have enough hard lights, and maybe a variable color temp version, but we'll see how things pan out once I'm actually ready to buy.

Last item on my wishlist is a Lowel Rifa. I admit, this one is a luxury item; it's essentially a big tungsten softbox, but what makes it cool is that you can have it out of the bag and set up in maybe 20 seconds because of the slick way it collapses and expands. Great for motivating interior lights, as a dramatic toplight, beauty light, or anything else you'd use a big soft source for. Some of the newer Rifas even have a system where you can replace the tungsten fixture with three florescents, lowering your power consumption and giving you the option of daylight balance. Very nice. You can find used ones missing the front diffusion sheet for reasonable prices, then just replace the front for $20 or so.

Just remember, don't skimp on light modifiers, stands, and flags.

Go back to Home Depot and find those big 4x8 ft. pieces of styrofoam insulation--white on one side, silver on the other, 1" thick--cut them in quarters (halves if you have the space), and wrap the edges with gaff tape. Bingo bango, you've got some pretty dope bounce boards! If you're using fresnels, grab some used scrims off the 'Bay. They're a little pricier than dimmers, but they won't mess with your color temp when you need to knock down your output. Buy some basic Lee Gels (get these new) in all the essential flavors: CTB, CTO, Straw, Diffusion, ND. They sell a combo pack of 1'x1' gels that include all these, as well as more exotic stuff and some fun colors (primary red is a personal favorite). Grab a bag of clothespins to hold them on your barndoors, and 1" pony clamps for anything else that needs securing. Grab some blackout fabric (duvetyne) for negative fill and controlling spill. Extension cords seem like a "duh" item, but you'd be amazed how many beginners forget about them. You can't be loading 4000 watts of light onto one circuit, so keep enough of these around to run power everywhere you need it. Lastly, some black wrap (I use Rosco Cinefoil) is great for any time you need to shape a light on the fly. I like to cut mine into big, useful-size pieces so they can be reused from project to project.

When it comes to stands, it's hard to cheap out. You simply don't want to trust heavy, expensive, hot lights to a subpar stand. Most brands are great, although my friends speak pretty harshly about Impact. I haven't used enough to confirm or deny. A lot of people like to use C-Stands for their lights, especially the Matthews ones. Personally, I think they're best-used to hold your bounce cards and flag, as the leg design and articulating arm on the top make gripping and positioning modifiers quick and easy. A good one will run you $180-200 retail, although areas with more local filmmaking may have some on the used market for less. In terms of actual light stands, my favorite for the dollar is the Kupo Master Combo HD Stand. It folds up nicely, has both a baby pin and a junior receiver, gives you a leveling leg for uneven surfaces, a solid steel construction, and can hold up to 88 pounds. What a beast! Best of all, they only cost $150 retail. Use these for your fresnels, Rifas, or anything you need to fly high. Don't forget to pick up some sandbags to keep all this from tipping. I have a set by Impact filled with fine gravel from Home Depot (I feel like they should be paying me for this). Lastly, for your C-stands, some Matthews flags are a staple in any grip's kit. It's essentially just a sheet of black fabric on a metal frame with a post on the end for clamping into a c-stand knuckle, but they're invaluable for shaping your light the way you need it.

This may seem daunting at first, but the best way to learn is to pick up the basics and start using them. Practice makes perfect, and lighting is no exception.

Cheers!

I got the Dedos last night. A lady got them for a theater production and had them laying around for quite a while untill she decided to put them online for sale. I had a good fiddle with the set and the way they work beam/flood and light fall or lack thereof made me getting them. Thanks again!