Does anyone have the 35-100 f2.8 to check if it vignettes at 35mm with vsm set to 100%? I was considering this lens for a longer reach but with more usability handheld when shooting wide and with the vsm at 100%, that should make the lens about 28mm or so. My 12-35mm vignettes at 35mm when the vsm is set to 100 so I wonder if that would be the same for the 35-100 at 35mm?

I'll pm you a link

OH I can't.
Have a look at this: https://youtu.be/7KVvLnW4DKU

Thx! I probably was too optimistic believing it would not vignette, it's not a big deal but I was hoping to get the lens at a wider angle at 35mm by going from 80% (mft) to 100%. 90% seems to do fine as well so that might work as well.

Duncan had already sent me that clip, helped me a lot, very kind of him to do it.
Even though of the slight vignetting, I still did get the lens, since the price point was quite worth it.

Anyone that has used the Olympus 40-150 f2.8 and knows if that one vignettes?

Noa: I'd guess it does, because the 12-40 does, although it's usable at 92% VSM. (I've posted pix here previously).

However, although I still have the Lumix 35-100, I'd guess the Olympus holds the maximum aperture through the zoom range like the 12-40.. To me that's way more important than covering the full sensor.

I'd buy the Olympus but for the fact that MFT seems to be going the way of the Dodo Bird - which bums me out big time.

The 40-150 does hold it's aperture as it's a constant f2.8 lens, the reason why I was interested to know if 100% vsm could be used was that it made the lens a bit more usable at the wide end.
What do you mean with "MFT seems to be going the way of the Dodo Bird"? I have not seen any indication that mft will cease to exist?

The lenses will continue to exist, because of cameras like the GH4.. Sadly, full featured video or digital cinema cameras, like the LS300, are disappearing.

The LS300, it is rumored, will not be continued or updated, the D16 has become extinct, as has the AF100. That leaves nothing but DSLRs, and the BM Pocket and Micro.

I have two Pockets, and they have their place, but it is such a pleasure to use a camera that doesn't need an OLPF or IR cut, has NDs, XLRs and decent on-board audio. This is an argument that rages on at the BMD site, so I won't elaborate, but as someone with a s__tload of lenses, the future ain't too bright.

Ah, like that. I"m also heavily invested in mft glass, not going to change to another system though. Was planning to get some cine samyang glass but again in a mft mount, I know by doing that it won't fit any other brand but I dislike adapters, mft mount lenses just fit but with adapters there is always a chance of a little play in the connection. If only dslr type of camera's with mft mounts (like the gh5 with hopefully ibis) will remain in the future then my line of work would support that (and that's why I won't switch to another system), but I do prefer to have a "real" video camera that doesn't have any limitations. Who knows Panasonic might surprise us.

As a less expensive option to the 35-100, I picked up a Panasonic PZ 45-175 f4-5.6. The lens works perfect at 86% VSM, has a servo zoom that works very well with the LS300, and the auto focus seems to be very good.


Panasonic Lumix G X Vario PZ 45-175mm f/4.0-5.6 ASPH. H-PS45175K (http://www.bhphotovideo.com/c/product/818956-REG)

The LS300, it is rumored, will not be continued or updated

Time to buy another one then.
The camera continues to impress me every time I work with it.

As a less expensive option to the 35-100, I picked up a Panasonic PZ 45-175 f4-5.6. The lens works perfect at 86% VSM, has a servo zoom that works very well with the LS300, and the auto focus seems to be very good.

Thx for the suggestion but unfortunately that lens is too slow for me, I also have a 14-140 that came with my gh4 but that is also only usable in good enough light, because I often have to shoot in darker places I at least need f2.8 and faster to make the best use of a lens throughout an entire day.

Time to buy another one then.
The camera continues to impress me every time I work with it.

I just did... Bought an MFT D16 3 weeks ago (maybe the last new one in the world), then plunked down for another LS300.

I don't want to lose the ability to use all my myriad of lenses - and as far as I'm concerned, the tech isn't going to get a whole lot better anytime soon - it's going to be all about marketing from now on...

Hell, I may even buy the 40-150 too - I have a lot - A LOT - of work right now (thank you LS300) - so capital expenses are always good.

And speaking of tech - I've mentioned it before, but want to reiterate that the footage I've shot with the 300 intercuts well with my Pocket Cameras - and if you read the forums you know people are always exclaiming about the color science of the little BMPCC.. so the JVC is holding it's own - I wish there were more open-minded people out there.

Thx for the suggestion but unfortunately that lens is too slow for me, I also have a 14-140 that came with my gh4 but that is also only usable in good enough light, because I often have to shoot in darker places I at least need f2.8 and faster to make the best use of a lens throughout an entire day.

Ya, it's not the fastest lens, but I plan to only use it outside when I need a longer zoom lens. For interior work or low light, I've got my 12mm T2.2, 35mm and 50mm T1.5 primes.

I just did... Bought an MFT D16 3 weeks ago (maybe the last new one in the world), then plunked down for another LS300.

I don't want to lose the ability to use all my myriad of lenses - and as far as I'm concerned, the tech isn't going to get a whole lot better anytime soon - it's going to be all about marketing from now on...

Hell, I may even buy the 40-150 too - I have a lot - A LOT - of work right now (thank you LS300) - so capital expenses are always good.

And speaking of tech - I've mentioned it before, but want to reiterate that the footage I've shot with the 300 intercuts well with my Pocket Cameras - and if you read the forums you know people are always exclaiming about the color science of the little BMPCC.. so the JVC is holding it's own - I wish there were more open-minded people out there.


how do you like using the BMPCC and LS300 in J-Log together? Still like the combo? I'm thinking of order a BMPCC and probably at first just shoot pro rez, but occasionally experiment with raw. Thoughts or suggestions?

For those interested in OIS primes, Lumix 30mm f2.8 and Lumix 42.5mm f1.8 both work beautifully at 100% VSM without vignetting.

how do you like using the BMPCC and LS300 in J-Log together? Still like the combo? I'm thinking of order a BMPCC and probably at first just shoot pro rez, but occasionally experiment with raw. Thoughts or suggestions?

Alex, sorry if I took a while to respond, but I haven't been on this site much lately... I match the LS300 and BM cameras regularly (actually my A camera is a tricked out Micro now)... ProRes or raw are a big deal, and I really like the S16 size sensor after 30 years of shooing S16 film...

However I still use the LS300 a lot, especially with a wide prime like the 12mm Rokinon or a fast lens like the 17.5 Nokton, or the EF-S 17-55 on an adapter... I still think it's the best (technically) designed camera available, and if it was 10bit I'd use it more... If it also recorded ProRes it would be my only camera ("they" actually, I have two)

And yes, 10 bit is a big deal if you ever do long fades to black, or use a lot of layers or filters in post.. 8 bit just doesn't hold up - macro-blocking and banding, which everyone lived with for over two decades, are unacceptable now...

Steve, in your opinion, what is your preference btw the 12/2 and the Voigt 17 .95? I need a wider lens. How are they for interview set ups? I assume you have these in MFT mount?

thanks
Brad

Brad: I love the 17.5 on the LS300. I'm not a huge wide angle fan, so I use the 12 Rokinon mostly on the Micro and Pocket cameras.

The Nokton, shooting 1080, is a great all around lens. It's very fast and wide enough for most interiors, and with the VSM can be the equivalent of a 35. I can keep a 50 in my vest pocket and cover almost anything. Of course in 4K it's more problematic, but still a fun lens to work with.