does the 35-100 f2.8 vignette at 35 with vsm set to 100%?

[Lee Powell]

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

[Steve Rosen]

Originally Posted by Alex Humphrey

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...

[Brad Neff]

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

[Steve Rosen]

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.