Looks like an EF mount maybe? Doesn't look like it can be switched out.

I'm honestly very confused why people are putting the Alexa LUT on when there is a LUT BUILT SPECIFICALLY FOR V-LOG right on the panasonic website: http://pro-av.panasonic.net/en/varicam/35/dl.html I understand that it's cool to see the comparison with the Alexa LUT, but first show us what it looks like with the standard LUT/the colors intended by the manufacturer.

On an unrelated note. I'll definitely be buying it to play with it. I'd love to see how it grades on the internal 4k. I'd really love to see an internal 10 bit 1080, but I guess that's asking a bit much.

I'm glad companies are starting to catch on. I'd love to see this but for full frame/super35 sensors. I know the Rokinons exist but they're plastic lenses. I want to see something around this price point or a bit higher (~under 4,000 for a set) with quality that at least splits the difference of Rokinon and the entry level PL cine glass. Indie filmmakers deserve quality glass that's relatively cheap. The BMCC of lenses.

I'm glad companies are starting to catch on. I'd love to see this but for full frame/super35 sensors. I know the Rokinons exist but they're plastic lenses. I want to see something around this price point or a bit higher (~under 4,000 for a set) with quality that at least splits the difference of Rokinon and the entry level PL cine glass. Indie filmmakers deserve quality glass that's relatively cheap. The BMCC of lenses.

I just wanted to point out that this was colored by Ian Vertovec, the same guy who colored The Social Network, Gone Girl, other Fincher movies, Enders Game, Expendables etc.