Mmmbeats

We use a couple of Nikon mount Metabones "dumb adapters" - nicknamed so because the have no electronics, but a full manual iris that will work with any Nikon G/F mount lenses.
They're really well built like the speedbooster versions but with no glass obviously...around $150 I think.
I'm sure there are a lot cheaper versions but MB makes nice gear and these are great.
And to the crop thing with the Sigma on a MFT sensor. Obviously if you shoot a lot in the 24 - 50mm range then a SB is a good option. That's why I like both the Oly and Sigma as zooms in the kit. The Sigma shines in the 35-70mm relative range. There are a number of nice 12mm MFT options for wider work and the Oly at 12mm (24mm) is really as good as most primes...the Rok 12mm f/2 is one I always carry going light. I really like the Sigma 50mm art as a closeup lens with the 18-35 but again for a lighter kit I have the Rok 50mm f1.2 which is a great, fast little mft portrait lens.
Really looking forward to using these on the pair of BM P4Ks on preorder.

I feel like a bit of a 'dumb adapter' myself, for only just realising the potential of the 18-35 on a non-speedbooster adapter ?.

I feel like a bit of a 'dumb adapter' myself, for only just realising the potential of the 18-35 on a non-speedbooster adapter ?.

I feel like a bit of a 'dumb adapter' myself, for only just realising the potential of the 18-35 on a non-speedbooster adapter ?.

If I'm using a zoom for speed (setup) reasons on commercial stuff, I can shoot all day with the Sigma 18-35 w/ dumb adapter (35 -70mm.) Just a great lens that can cover a lot like that.
If we're moving around, action/documentary style w/ monopods and smaller support gear then I think the Olympus 12-40 (24-80mm) is pretty much an ideal zoom in that it's much smaller and lighter obviously and perhaps even sharper. It's just a great utility lens that's got a great manual focus clutch.
Again, IMO there isn't a zoom that can draw an image like the Sigma. It's a one-of-a-kind piece of glass.
But for one small lens that can cover all the bases from wide to portrait and render really sharp, contrasty and rich images the 12-40 is my second favorite zoom.

So are you going to use this "pocket" camera as sort of a B cam to the GH5s? Which I think the GH5s is an excellent choice by the way, and I can see theGX80 working with it pretty well also.

Heck if you want a pocket camera than just buy the original BMPCC and put a Panny 20mm f1.7 on it and be happy. Doesn't get much better than that output wise. And a Bunch of batteries in the pocket on the other side! Bliss on the cheap. And damn near Arri output.
I know it is not fast enough for you but that Olympus M.ZUIKO Pro 12-40mm F2.8 is going to be pretty hard to beat if you want something that is top end stuff, well built, and can be a beast on a normal m4/3 camera down the road with the AF ability and the Clutch in it..
That is the same lens Blackmagic had on Every 4K BMPCC I saw in the videos. They must know something we don't. ?

It will work with the Olympus ZUIKO 14-35mm f/2.0. AF and MF. It does have the MF linked Mechanically. SO it might be worth looking into.
BiF stands for Bird in Flight. It is pretty hard to photograph or even video really fast flying Birds. It is sort of a Art that that takes lots of skill and well a decent camera with AF in it. Some of the best ones are from people that just Manual Focus. But it takes years of practice to master that.
Kingfishers and Humming Birds are about the fastest in the United States to photograph. It can become addictive to try and shoot them. People spend crazy money on a great BiF rig, camera and lenses. But it is a very rewarding Hobby and you become One With Nature as they say. And the exercise is good for you to boot. Win, Win. It is sort of a Zen thing in a sense. I love it. Very calming. Good for people like me that have no Damn Patience! ?

Has anyone mentioned the tamron 17-50 2.8?  That one could be nice and good for your budget. 
I think 2.8 is enough to shoot indoor events that are not well lit. 

Even though the lx100 is cheap, I don't see why you would consider that one over a used gx80 or not just keep your gh4 with a stabilized lense, for example 17-55 stabilized kit lense to begin with?

I think you will be able to still sell the gx80 in two years from now by the way, and while you might have reasons to do that, you don't wanna loose the lenses you have, rather your camera. 
With both the gx80 and lx100 you run into codec and therefore color restrictions, apart from IBIS your gh4 still is a far better camera in that context and has a mic jack too. Instead of getting IBIS and downgrade everything else you could even consider getting a small rig. 
Do you want to shoot b-roll slow motion or 24fps? If 24fps, you can get the gx80 with 4k 100mbs, if not, the 60p 25mbit/s 1080p will not hold up well to any grading or even nice luts you already use.  

Apart from that I think the mentioned nikkor zoom lense should give you everything you want, if you shoot manual like me. 
For B-Roll, I would consider getting a rather close lens. 40-50mm with a simple adapter should serve you fine. 


Last but not least,  two alternative ideas:
Is the problem for you changing lenses, or changing all your filters (tiffen contrast, nd filters..) as well? 

A:
Get some kickstarter lens flippers you can wear on your belt, will save lot's of time and you can use the lenses you alredy have! 
They have them from https://www.friidesigns.com/ or some simple ones for just two lenses: https://www.amazon.com/NEW-Gowing-Lens-Holder-Canon/dp/B00KYP0LK0. I met someone on event who changed his lenses lightning fast. Remember two lenses will always give you better quality than one with the same range. 

B:
If you have problems changing filters, I use XUME Magnets for like 80dollars total who are a life saver too and always impress people who don't know them.

My final advice would be: Always consider if you can get what you want cheaper too, instead buying a new big thingi. Go simple and future proof, and invest in lenses, not cameras. The lenses you already have are quite nice and so Is your gh4! 

What I use: Sharp vintage Lenses for the best look I can get. 
Once I get a client that want's a sharper/clinical look, I will use my 18-35 1.8 that I kept, paired with a simple 50-70mm range, like you. 

Cheers 

 

There is wonderful Angenieux 17.5-70mm f2.2 which is S16 lens - it covers GH4 without vigneting, so if you can tolerate some shadows and blur in the corner as artistic effects on 2x crop of GH5 etc, results could be majestic. (Older 17-68 and 12-120 are not S16, but 16 lenses).
If you work in more controlled condition, Zeiss 11-110 T2.2 is also S16 lens, but it is pretty big. Angenioux 17.5-70, contrary, is enough compact... (and probably only one lens I truly regret that I had too early in my passion for testing lenses and than sold it - I was so lucky to find, now it is so hard to repeat. )
 

The Sigma 17-50 f2.8 worked pretty well when I had a BMMCC. Not as nice optically as the 18-35 art, but that extra range came in handy.

The old nikon 28-70mm 2.8 with speedbooster is a f1.8 Lens uf you want to compare it to native m43 lenses. 
Buy a copy with broken autofocus, it should cost around 200€  
It's actually pretty good.

It's one of those perennials that pops up quite regularly when people are looking for a "standard" zoom lens for Panasonic cameras so it's in a few threads.
It pops up as an option because the lens range and speed it has isn't one that you can get in a native MFT lens and if you could it would certainly cost far more than the £300-400 price you can pick up a used LX100 for.
It's not a solution for everyone but it can make a lot of sense for many situations because you're basically getting a free backup camera into the bargain. Be aware though that the LX100 can't have the Cinelike D hack so you are restricted to standard profiles (or the excellent EOSHD profile) which is why it won't work out for everyone.
But if it does then it's an alternative worth considering.
It's one of a couple of such anomalies (like the Leica Q and Sigma DP0 Quattro) where even if you own the interchangeable lens version of the cameras (Leica SL and Sigma DP Quattro in this example) it's still actually cheaper to buy the fxed lens version of the camera if you need that focal length than it is for the equivalent lens for the interchangeable camera.
As I say, it's not for everybody but if it fits your needs then it's there as an option 

There have not been very many zooms at f2 or faster made for M43 or larger sensors for normal photography gear.
Pretty much Sigma 18-35 1.8 (APSC), Sigma 50-100 1.8 (APSC), Sigma 24-35 f2 (FF), Olympus  14-35 f2 (4/3), Olympus 35-100 f2 (4/3) and Tokina 12-20 f2 (APSC) is it I think.
Any others?
That is one reason I love my A7s as ANY lens can be a 2x zoom including fast primes and exotics for Jpeg stills and video using clear image zoom.       EG I have tried my old Canon FD 85 1.2 L as a 2x zoom for testing.
 
 

What about the Olympus lenses with the MF Clutch? I think there is this variety of them? 12, 17, 7-14, 12-40, 40-150.
Well I forgot the killer lens from hell. The Olympus 12-100mm with the manual clutch. Man 24-200mm, what's not to like at a constant f4.
https://www.imaging-resource.com/lenses/olympus/12-100mm-f4-is-pro-m.zuiko-digital-ed/review/

I have never tried it but what about the Canon APSC 17-55 2.8 with a non focal reducer smart adapter? 
Not sure if it works with a Speedbooster (other focal reducers?)
I had a Kipon non focal reducer smart adapter and liked that a lot but it was not great for video AF or AFC though almost native for AFS with a GX7 (all sold).
If you are keeping any Canon lenses, a non focal reducer smart adapter makes sense anyway just for an increase in range.

The following comes from a guy using FCP X, but don't worry, I won't try to baptize you ?
First thing you have to do, of course, is to manage your media. JBOD is very risky. I have a raid5 TB, and recently one of four disks died. Easy enough to replace this, but what if the whole controller died? Go with JBOD, but provide redundancy, in short: a complete backup, elsewhere. Never ever run out of disk space!
Sounds wrong, is wrong. You should better split the project. Has nothing to do with performance or launch time. There is a threshold beyond which you simply invite disaster. A project of this size can't be managed. And with it going over several versions of the NLE ...
Good idea. However, Premiere may be less dependent on a specific OS, but I doubt very much that Premiere 2018 will run on prehistoric Mountain Lion. If it can be installed in the first place, it will probably creep.
That said, there almost certainly is a way to split your project with your old OSX and PP version. Like, saving as, deleting all edits not used for the part you want to create and consolidating it with copying to an external disk. Or so.
There may also be third party software to manage the project. 
It's all about instant and continuous access to databases. Have your media in compact bundles, separated from caches, render files and project files. Limit the number of files Premiere has to access all at once to a few hundred. Remember, Premiere only has to open the folder(s) that contain(s) material for the current sequence. Close the timelines not in use. Split episodes to scenes (=sequences, rarely longer than 10 minutes). But even if for a short timeline Premiere has to open 8 folders containing 4000 clips, you are asking for trouble.

4K?  10-bit?  Low-light? Budget limit?
Surely that's a no brainer.  The GH5S is the only fit (until the BMP4K arrives).
Don't know what you've heard, but it's a fantastically capable camera.

My dear erstwhile member can you please stop attacking John Brawley now.
I have long since given up on camera forum arguments so might not be completely up on who is right and who is wrong-evil / killed-a-kitten, but can we tone it down a bit. It's JB! We could be learning so much and having such interesting cameras talks with a film industry guy and I am sure one of the only people with a Blackmagic Pocket 2 prototype yet instead a handful of you are just bitching. It's pointless. Even if you disagree with him on certain matters, hold your tongue a bit for the benefit of the rest of us who are interested in what he has to tell.

The 8000s are indeed only splash proof as they incorporate a fan for settings at 6300Lumen and higher. 5000, 2000, and 1000 are
waterproof. Light and motion started making dive lights so if they say 100 meters then I would believe them. They do have a specific
dive model of the light ... back end looks exactly like a Stella Pro.
Here is a review of their build quality:
 
 
Doubt that these would light a large room ... more for interviews and eng closer up ... or lighting a part of a room.
 
This youtube video is on the 555 Kit ... three of the older 5000s:
 
 
You will find other stella pro information clustered around this video.
 
BH still lists the older 5000K Head light, nonRF here:
https://www.bhphotovideo.com/c/product/1181850-REG/light_motion_850_0335_a_stella_5000_led_light.html
5000K 90 CRI 93 TLCI
 
and the new 5600 replacement head here :
https://www.bhphotovideo.com/c/product/1327560-REG/light_motion_800_0318_a_stella_pro_5600k_head.html
5600K 92 CRI 93 TLCI
 
There description of the 5000K RF Action Kit with the new head shows older specs similar to the original 5000K light but
this is a link to the Light and Motion listing:
https://www.lightandmotion.com/choose-your-light/stella-pro/stella-pro-5000-rf
5600K 92 CRI 93 TLCI
 
Reviews of the older lights showed a green spike ... but minor and easily corrected with a custom white balance. Ideally ...
all of their lights should have a similar color profile show correction for them would be consistent.
 
Definitely a niche product ... but works for me as it covers small video scenes and all of my still photo needs.

I think for a kicker / accent light the CRI (90) is fine. The thing about the internal battery is that it's so light you can almost forget about it's existence. I haven't verified this, but I imagine the Stella with internal battery is lighter than the Boltzen even without an external battery attached!
As to the personality of the CEO, I couldn't comment. These things put me off companies too from time to time, so I can sympathise. As you may know, they are bringing this all to film from their origins in scuba lights, and I think there are some innovations emerging as a result.

I added a couple of the Stella Pro 8000 and will add a Stella Pro 5000 as they allow for Profoto Speedrings and Modifiers. Gorgeous light,
drop proof and you can dive with them.
Couple of stills to illustrate the light.

 

 

 
 
Pricey but on the order of a Profoto or Broncolor flash .... these were through the umbrella at 4000 lumen.
 
Bob

I've actually gone with the Stella 1000 for this purpose, because of weight. I had originally gone with the boltzen, but it's just a bit too heavy, especially when you add on batteries.
The Stella was a pricey buy though.

I've been looking to get a set of LED lights that I can travel with (fly around the world) that are versatile, high quality, powerful, not heavy and not too expensive. In this test I was comparing lights that I want to mostly use as a kicker/practical or maybe key (if I need to). 
The lights tested are: 
Boltzen bi-color 30W (3200k - 5600k), Aputure LS-mini20d (7500 k), Aputure F7 (3200k - 9500k), Luxli Viola (3000k-10000k/RGB)
Test methodology: I placed all lights 3 meters from a gray card. I set my camera to center/spot meter at auto ISO. 1/50 and F/4 (this is for my needs) and then I read the iso meter. I repeated the reading a few times to ensure there are no strange anomalies. The Aputure LS-mini20d (7500 k) is lighter than the Boltzen. It has much better spot focus ability. But it has two big issues. Just during this simple testing the fan came out. Not loud but audible. However, more importantly I place the 3200k soft gel inside the slot (I guess the slot was for the 5600k hard gel) and it burned. I heard Kaleb talk about the 5600k gel bleaching. Still makes the LS-mini20d a useable kick/accent light. Since I'm planning to shoot tungsten WB and it will give me a nice shade of blue. But it makes it not as versatile as I had hoped. Otherwise it's a perfect light. The Botlzen on the other hand gives you pretty much the same output in 5600K as well as 3200K. It's more powerful on paper, but not having as good as a spot as the Aputure makes the same power but for more weight. On plus side it has not fan, but it uses a heavy heat sink which is why it's heavier. 
 
@IronFilm and @HockeyFan12 as promised here is my quick test so far. 
Boltzen spot:
3200k ->  iso 320
5600k -> iso 250
Boltzen flood: 
3200k iso 1000-1100
5600k iso 640-800
------------------------------------------------------------
Aputure spot
7500k iso 140 
5600k gel iso 250 
+1gel 3200k iso 400
Aputure flood
7500K iso 640 
5600k gel iso 1100 
+1gel 3200k iso 1250-1600
---------------------------------------------------------
Aputure F7
5600K iso 1000
3200k iso 2000
7500K iso iso 1100
9500k iso 1250 
 
Luxli viola 
5600k iso 2500
3200k iso 2500 
 
2 Luxli viola 3200k iso 1250 (I did this, because I'm looking at a Luxli Cello as a possible key and Cello is essentially has 2x the LEDs of the Viola). 
 
Here are some images of the shape of the light on the bookshelf where I have my gray card
 
Boltzen full spot 

 
Boltzen flood using the barn doors to shape the light to around the book case 

 
Apurture full spot 

 
Apurture full spot with a 3200k gel on 

 
Apurture F7

 
Luxli Viola
 

So this was my bad, I put the flexible 3200k conversion gel (this is for the Apurture to convert the 7500K light to 3200k) in the slot where the hard gel goes (the hard gel is to convert the light to 5600k).  I only had get there long enough to do a flood and spot mode a couple of times. Maybe 5 minutes and it practically burnt right away. I'm not sure if the hard gel for the 5600K would do any better or as Kaleb Pike said in his youtube channel they got bleached. I can see that happening. Which really makes this like a 7500k light that you can use as accent/hair light etc. 
 

Would it be possible to use a SATA ---> USB 3 Caddy enclosure, so everything stays permanently in place and you're just swapping out drives?