BTM_Pix

I did of course mean the Contax Zeiss 28-85mm and not 24-80mm
 

Dont u wish 'getting to know your dslr' was a college course credit! Lol - we would all pass with flying colors (of shit). 
I sometimes think if we applied the same resolve as you have just demonstrated to an actual money making industry you would easily pass an LSAT or Series 7!
God, what have we become.
I blame Spielberg and Rodriguez. Tarantino too. Much explaining thrm folks need to do... to us.
 

Its interesting how when you're using a hybrid camera you'll switch your mindset when you switch your modes.
On Wednesday, when I'm using the X-T2 for shooting some build up footage of fans around the stadium then it'll be in manual focus all the way but then as soon as I'm inside and flick the switch to stills mode then I'll be using every tweakable part of its autofocus system to the maximum I can manipulate it to in order to get the shots I need. 
I could probably do both equally as well using a common fairly simple AF setting to be honest but its just ingrained in as being 'the way you're supposed to do it' isn't it?
Sticking dogmatically to both has caused me problems with missing focus when using manual in video and - just as problematic- disappearing up my own arse tweaking AF modes and custom ballistics and actually degrading AF performance.
For stills, I often use a hybrid of constant AF-C for tracking players but then a quick jab on the AF-On button to zone focus if its a fixed action like a corner kick or penalty where the AF system can get triggered by closer players crossing the frame.
It easy doing that with stills though as you just keep the focus point on centre frame and quickly point the camera temporarily where you want it to set the zone.
Different for video where you need to keep rolling with the camera in a fixed position and its not always possible to use touch focus or even move the focus point selector stick if it has one like the X-T2.
Thats why I'm interested in the Aputure lens regain focus system in that you can effectively use it to make two focus zones and rapidly switch between them and I think the way forward is for a camera manufacturer to incorporate that with multiple zones that perhaps have aperture and iso integrated into them.
On the Ricoh GR for example, it has a Snap Focus function that you set at a defined distance and then select your aperture and shutter speed. It illustrates the depth of field in front and behind the focus point for that distance set with the aperture selected and then the auto ISO takes care of the exposure given the aperture and shutter you've selected. This means that if you do a full press of the shutter it won't AF but will take the shot on manual focus with those settings. If you do a half press, it will AF as normal. It makes it incredibly good for street shooting as after a little bit of practice you get proficient at estimating the best working distance to set the focus point at (and your increasing accuracy means you can set wider apertures) and you can take the shot without bringing your eye to the screen for long if at all in a lot of cases if you are trying to be stealthy.
For a lot of run and gun video, as its akin to street photography in many ways, a two or three zone system like that operated from user buttons on the camera would be a good hybrid solution option for me.
So I could have a near zone at say f2.8, a mid zone at f5.6 and a far zone at f11 and when I pressed each one it would change the focus distance, aperture but also the ISO to keep the exposure consistent and that way I could be confident that I could quickly get something in focus. 
I also think we might see some tag based AF being incorporated into hybrid cameras fairly soon.
Either physical tags like the Soloshot system or screen based ones like on the Osmo Mobile or Mavic to track multiple subjects on a priority selection basis. The LS300 has a priority selection mode in its Face Detect AF but I haven't tried it as yet.
People are used to it at the consumer level with things like the Osmo Mobile and the selfie drones and its one of those things that will filter up rather than down.
Might not be for everyone but I could definitely see this sort of thing being a boon for people who shoot weddings to set the bride as the MVP in any shot she wanders through via a small wearable tag.

It looks brilliant.
But they all do when other people are using them.
When I get my hands on one it looks like I was shooting while walking over a path of upturned Lego and 3 pin mains plugs.
Does anyone know if Pilotfly's place in Augsburg is an actual retail premises where you can go and try one and get help setting it up?
 

No, the C/Y>MFT speedbooster doesn't arrive til next week so I was manually speedboosting by stepping back a bit!
Shot in Cinema 2K so I could have the option (which I used !) of the extra range on the long end using the Prime Zoom function.
Its a push pull, which isn't ideal but its a hell of a lens for the well under £300 you can get them on eBay for.
Some user reviews here 
http://www.photographyreview.com/cat/lenses/35mm-zoom/contax/vario-sonnar-t-28-85mm-f3-3-4-zoom/prd_84513_3128crx.aspx

The battery life on my Beholder DS1 is 9000 hours switched off. I am impressed that the batteries have yet to leak and finish the pile of crap off for good. Wasn't there a myriad of problems with the original Pilot that did not come to light until after the initial showboating videos?

Looks great! Speedbooster? Is that a push/pull zoom or does it have a zoom ring? 

I did of course mean the Contax Zeiss 28-85mm and not 24-80mm
 

Its the Aviva Stadium and used for both rugby and soccer.
 

Ahhhh....... heaps better!

Mmmm....
Collage app exported that with a saturation boost for some reason.
Should've been a bit more subdued.
 

Sorry but what I see is terrible, I supposedly have a color corrected 1440p monitor (not top of the range, but a few years ago it was quite good). The Face Detect photo just under it seems much better!

The face detect AF is just as good as the GH5 too

I save the file locally and drag it onto the bottom of the reply.
Not sure how you do it if its hosted elsewhere though.

Yea very sweet footage. I like how you use JLog.  Hey how do you post the video and pictures in this forum? Every time I try I only place he links. 

Am loving what you're getting from the LS300. I really think I'd rather have it than a GH5.
Btw, your XT20 suggestion is interesting. I saw some nice videos online. 

Used the LS300 in anger a bit more at yesterday's job doing some quick pre-match build up stuff.
Really hard contrasty light and I haven't tested enough to know how much can be pulled up if you ETTR and so as I was in a rush many, many highlights were harmed in the making of it!
Cinema 2K, JLOG and Contax Zeiss 24-80 
 

Used the LS300 in anger a bit more at yesterday's job doing some quick pre-match build up stuff.
Really hard contrasty light and I haven't tested enough to know how much can be pulled up if you ETTR and so as I was in a rush many, many highlights were harmed in the making of it!
Cinema 2K, JLOG and Contax Zeiss 24-80 
 

Yep, the exposure change was the result of the camera's internal "lens shading" correction, which did not keep up with the zooming as it happens in real time.
Also the slight wobble at the corners was the result of distortion correction.
Fuji is known to heavily rely on software correction for their lenses.

I can't test this out with any real movement at the moment as its pissing down outside and much as I like to contribute, I'm not going to get soaking in the process!
Anyway, here are a couple of stills I've just done using the 10-24 and for a comparison a speed booster Nikon 14-24 f2.8.
That particular Nikon is one of their so called holy trinity that even has a big following amongst Canon landscape shooters so whilst its interesting to see how the Fuji compares to it at about half its price, this test at close distance and reasonably wide aperture (f5) is not in the 14-24mm's comfort zone (particularly as its on a cheap speedbooster) so ignore the soft edges as its within expectation under these conditions. It is purely there as a demonstration of a non corrected lens to show you how the native Fuji lens is being corrected.
Here are the links to the original files.
Fuji 10-24  https://mega.nz/#!lnZxkDKA!K_enymlxtptOM9oHg8NAHR-ZalNjpK-U8UZ53WlEr90
Nikon 14-24 https://mega.nz/#!Fm5QAbzZ!PXOFWjOpC6mKM6jDVMC_MPPGls904qqRCe3VGaJrPnw
There is also a very short 4K video file of the 10-24 so you can see the correction being applied in video (and the crop factor for those interested in what happens to the X-T2 in 4K). The dip and correction in the first few seconds is a genuine physical movement as I had the camera on the work surface and was stabilising it with downward pressure and moved it slightly. As you can see, this is completely distinct from the behaviours shown in the other videos. 
Fuji 10-24 4K https://mega.nz/#!ZqBkAJSa!Cif-oIkckiplwdMX4IBe-w5vyncuXIbl48G5ldR-HWc
Everything is straight out of the camera on the standard profile, manual focus and no OIS. 
 
 

One major warning:
Regain steps focus motor. It's not as smooth as pulling mechanically. Do not for one second think this is a good substitute for a wireless follow focus.
 
I made this mistake and ended up selling my set, as the focus transition looked ugly when focusing short distances.
 

Has anyone got one of these?
I'm in one of those flip flop decision modes between one of these and the Metabones speedbooster with AF.
To be honest, I'd have bought the Metabones already if anywhere had them in stock but now I think the lack of availability might have done me a favour.
Basically, because of the amount of Nikon glass I have, I have the original Nikon speedbooster but now I need an EF mount version for the LS300 and also for my other MFT mount cameras and obviously the AF was a big attraction. (for Face Detect AF testing natch ;))
Not being able to get hold of one has had me revisiting the idea of the Lens Regain and weighing up the pros and cons I'm now leaning towards it and forgoing the AF.
Aside from no AF, one downside is that it has slightly less of a reduction than the Metabones (0.75 vs 0.71) but on the LS300 that is less of a concern because of the S35 sensor size.
The bulk factor is another issue that concerns me, particularly as it appears that you have to have the handle active to change aperture. Again, less of an issue with the LS300 as stealth isn't really its strong suit but it is a concern with the GX80 !
The upside of it with that really nice controlled A/B focus pull and being able to operate focus remotely if the camera is on a gimbal or jib is probably far more useful for me than an AF capability.
The other upside is thats readily available unlike the Metabones and the £200 saving wouldn't go amiss either.
With that £200 saving it gets me most of the way to the Kipon Baveyes AF reducer so I could have the best of both worlds albeit with two pieces.
So, has anyone got the Lens Regain and is it as good as it appears?
And ditto, has anyone got the Kipon and is it a decent performer?
 

If all you're after doing is adding to the weight of the camera then one option could be to get one of these hot shoe to tripod screw converters and then put some heavy washers on the screw part. 
The advantage of using the washers is that you can progressively add them to build up to the correct weight if thats what is causing the problem.
If it doesn't work then you'll only be a few quid out of pocket and at least you've got a hot shoe to tripod screw converter which are always useful to have !
And some washers for general plumbing emergencies.
https://www.amazon.co.uk/Camera-Mount-Tripod-Screw-Adapter-x/dp/B01KFUBALM/ref=sr_1_4?ie=UTF8&qid=1493939870&sr=8-4&keywords=hot+shoe+tripod+mount

Actually I think the LS300 may have the nicest 4K image under $3000. And some of the coolest features, but I shoot almost entirely guerilla style and I would be afraid the form factor may draw too much attention. But the idea of different sensor sizes sounds so cool. My c-mounts would love it and then to be able to use a Kern prime as a zoom... too effing cool. 
I have tested so many cameras over the past year and the images I come back to and really like are from 5D3 ML Raw, the D5500 and the CineLikeD with the FZ2500. So I should probably just stick to those. Although I did go through a Fuji phase and the color OOC really is spectacular. 

Get all three. Its the only logical option here!
Add the Ninja Inferno while you're at it and get ProRes and pristine monitoring for all three for only $300 per camera!