I kind of think 4:3 for higher end productions is becoming rather limited, but panasonic seems to be dedicated to the system and they are widely in use.
IMO
BC
I agree. There was a time when the m4/3 system was specialy interesting
For motion work, the mount is probably the most versatile,
And Panasonic understood earlier with their gh line that
Imagery was going to be motion so they developped a
Very well featured system for video. But since then, many things
Have happened and I really don't see nowdays what is the
Point of investing in m4/3 mount.
Unless they pop-up with another revolutionary game changer,
I don't see a future in m4/3 for filming.
There are lots of powerfull options nowdays that really
Are much more interesting and versatiles.
Ok, I bought the BMCC with m4/3 mount but when I did,
I knew it was going to be the last time I drop money in
A micro 4/3 system. I wanted a super 16 sensor and
Use exclusively vintage lenses I ebay here or there because of the buzz
Some lenses are excelent, others are pure crap but it's romantic,
It's vintage, it smells metal, oil on blades and oxydation. I like to feel
That touch.
The real value of super16 lenses is overpriced, the market has
Become speculative and you see authentic crapperies sold for the
Cost of a new cine lens...it's not the gold rush but the c-mount rush.
To me, the BM strengh was the Prores + raw in a small package. (not
That small by the way after rigged).
Now...