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I think personally that while I can make the 24-70 & 70-200 combination to work for me, a lot of the time something in-between would be useful, as I mentioned before, in portraiture. In the 1980s and 1990s, there were still a lot of lenses with intermediate ranges such as 50-135/3.5, 75-150/3.5, 35-135/3.5-4.5, 35-105/2.8 etc. but somehow these disappeared and standard zooms started at 24 mm and telezooms at 70 mm, 80 mm, or 100 mm. In portraiture a range that is between the two (24-70 and 70-200) would be ideal. I think the reason why 24-70 became the standard "pro" zoom is that when the first digital SLRs came with 1.3x, 1.5x, and 1.6x sensors they needed the standard zoom to have shorter focal lengths, so instead of a 28-105 or 28-80 they would make a 24-70 and 24-105. Of course, then came lenses like the 17-55/2.8 specifically for 1.5x / 1.6x sensors. But anyway the 24-70 range stuck and now some photographers would consider a zoom that starts at 28 mm too limiting even "useless". This I don't agree with, and I'd be happy to have an in-between range zoom such as 50-150 or similar. To me this sounds a very practical lens and not at all weird. However, the f/2.0 maximum aperture does make it a bit big and heavy and I can see the objective is to replace primes for some users. If it becomes popular, perhaps they can make an f/2.8 zoom with a similar range. The f/2.0 makes the lens expensive as well. I notice a 4600 EUR initial price in Finland (incl. 25.5% VAT) vs. $3900 (not including VAT) at B&H. This seems absurd considering the tariff situation, it's like they slapped on the price increase from the tariffs on both regions instead of just where it is actually applied. I think it's completely unrealistic to expect most European customers to even consider this lens at a 4600 EUR price point. I would expect the price to fall rather quickly if Sony wants to sell these lenses.

To me this is the only advantage I see for the 2025 model and is not little even though the room to improve in future versions with a larger sensor size when will come... Brandon Li's entry (and this is the other reviewer I recommend for everything 360º related):

It’s unfortunate that AI has such a weird issue generating hands as it would be ideal for the camera to also create something that looked more natural when it is doing the selfie stick removal. Aa it stands everyone is walking round in these videos looking like a 1970s Action Man with the gripping hands. Its an impressive camera though all the same.

Well I am one of those, but not the other...

Chinese competition is getting serious so Japanese are trying to take advantage of their only weakness: fast, unconventional and complicated zooms. Its more about showing six pack muscles of expertise. The results are expensive niche lenses that you have to be rich rat in recession economy to buy, and gym rat to hold for more than 30 minutes. Of course "competition is good", but I'm afraid they run out of weird ideas in the not too distant future.

Apparently one of those people on the fence was me? So far, I like it. Views from the 8K mode might be enough to use as quick inserts on a 4K timeline without being overly jarring. The 71 megapixel photo mode is really pretty good too. I shot the thing below into the sunset. The tree branches near the setting sun don't look awful and there's some detail on my face. I just need to remember to hold the selfie stick more casually so the hand is less noticeably funky after their software subtracts it out. The image SOOC (as below) isn't too bad. It'd probably only be a few minor tweaks in curves to get the look as I'd like it. Pureview HDR seems to introduce artifacts on things that are moving more than a little bit. Like holding the selfie stick at a 45 degree angle in front of myself, my feet looked a little weird as I walked. I'm still not sure about using the camera for more than inserts for anything serious, but if I can get over my shame at holding a selfie stick with a little UFO on the end, it could be a pretty great tourist camera.

Hope this week 🙂 I'm thrill to try the Alexa lut.

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Thanks for chiming in. I'll probably grab one in the next two weeks. Got some video and a Bunch of photos today, so i watched some youtube tutorials on resolve and made a slideshow. I used the e-m1 iii with the 24mm sirui anamorphic. Not entirely convinced i did the carpet snake justice with the focus peaking but i reckon i got better as i progressed through the day. There's probably a million things i done wrong. i did watch a youtube on desqueezing and i'm not convinced that going though the clip attributes and changing the ratio from square to anamorphic is the best way to desqueeze footage, something seems a little off to me. I didn't use log just the standard video setting. i didnt do much to the colour apart from clicking on the @ symbol in the colour page. If you have 2.30 or so to waste...

Exactly. I have a second smaller/lighter camera for wider stuff but it's always a choice I have to make otherwise, ie, do I go short (up to 75mm) or go longer but accept I can't go wider than 70mm, which is almost always far too tight. The Tamron 35-150 exists but extends too long when zoomed out and is just a bit too 'geeky' as is it's Samyang sister, so a pretty hard no for me. There's a compromise, there always is and if it's to be a bit of size and weight, so be it. I mean I was looking at the Sigma 105mm f1.4 fairly recently and the Nikon 135mm f1.8 Plena and whilst the latter is a little smaller and lighter but barely faster and FAR less flexible, the former is 300g heavier. And has zero flexibility. OK, it's faster, but that (beyond a point) is not the primary factor for me. A relatively fast: 50/70/85/105/135/150 all in one single lens? I just need to find the funds! I'd have been happy with a 50-150/2.8 had it maxed out at no more than 1kg, but if it was over, I'd suck up that extra weight and have that extra stop.

I think an intermediate range like this would be good for portraits, where a 70-200 might not always be short enough and is a bit too head shot focused, while the 24-70 is a bit short for narrow head shots but otherwise is good. 50-150 mm sounds good, though because of the f/2 aperture, this lens is quite big and heavy. It has no in-lens stabilization so the stabilization is only in the body. I personally understand why manufacturers don't pre-fit their lens feet or cameras with quick-release dovetails as these can be uncomfortable to hold in the hand and there are so many different, incompatible systems. I would prefer something like a 40 mm to 135 mm range with f/2.8 aperture as the images from the f/2 zooms don't appeal to my sense of aesthetics and the focal range would be easier to get a full-body image if needed in a pinch. It would also be smaller and lighter than the 50-150/2.0.

I just borrowed the X4 from a friend and somehow it is so much fun to work with it. Especially the post process when you just tweak some settings and get a super different picture - add some keyframes and the whole thing becomes super dynamic. That being said its strange that you somehow get accustomed to the effect pretty fast. Size and battery life are nice too. For the X5 i am really wondering how it will perform as "normal" camera. 1,26" is bigger than Super 16mm isn't it?

I think I ‘need’ it… More (exclusively actually for me) for stills than video. 2 years ago, I was running around with an S1R + battery grip + Leica 24-90 as my ‘one & done’ stills unit. It had 3 principal faults. 1. Weight; it was 2.8kg in the hands. 2. Using an APSC crop on the 47mp sensor, I could extend the focal length to 135mm with something like an 18mp file but that was not quite long enough for my needs ideally needing something within the 150-200mm range. 3. F4 at the longer ends which is a bit slow for a 90mm lens. Roll forward to 2024 and swapped that rig out for a trio of f2.8 zooms on the Sony A7R5 with the heaviest combo being approx 1.75kg with the 70-180mm, but that lens being a tad long for more general use. Sigma offer their 28-45mm f1.8 which primarily for indoor use would be PERFECT for my needs, but lacks a longer companion such as a 45-90mm f1.8, but even this would not give me the reach I need. Step forward Sony with this constant aperture f2 50-150mm. Does it cover all my focal range needs? No because it starts at 50mm, but covers everything beyond and then some because with the 61mp sensor on my A7R5 and APSC cropping, I can reach 225mm with a 26mp file. Is it big? Yes, but not ridiculously so and it is internal zoom and unless it’s a short extension, I can’t abide long zooming lenses. Is it heavy? Yes, kinda…and more than the 1kg self-imposed limit I would prefer but it covers 50-‘225’mm. At f2. Without extending. Or lens swaps. It would be approx 2.5kg in the hand as a combo with the baseplate I have on the A7R5. Three criticisms: 1. Why white only? Some of us would prefer to be more discrete and maybe they will follow up with a black one or someone like Alphgvard will have a skin soon? 2. No Arca Swiss built into the detachable tripod foot. That’s a bit of an oversight IMO. 3. Price. Despite US trade tarrifs, it’s still more in the UK and EU than the US… At least according to launch prices. So will I be getting one? I think yes, though it may have to wait until next year when they are beginning to appear on the used market, for financial reasons but I don’t think I am going to see a better option than this in my working lifetime. One & Done? Nope, but I have my Nikon Zf with 20-40mm f2.8 for the wider stuff and 40mm f2 for candid when I don’t want to be poking a white canon in peoples faces, plus if I ever decided to hop over fully to Nikon bodies, this new lens will work adapted on say a Z8 no problem.

Picked up a Contax Zeiss 85mm 1.4, my first 85mm, and I cannot believe I have neglected this focal length for so long. Absolutely loving it so far.

Officially announced. If I had an X4, I'm not sure that the new features would convince me to upgrade, but maybe they're enough to convince people who were on the fence to go for it. The leaked info that Emanual added seems right overall. https://www.insta360.com/product/insta360-x5

I have the Ace L, two of them actually, am very happy with them for the price I paid used. Only change I would wish for is drop-in loading instead of having to slide in from the end. Not sure what the differences are with the mkII but the mkI's were one of the best choices for a "cheap" fluid head.

Question for the members. I'm looking at a Sachtler S2170-0001 Ace XL MK II Fluid Head. I know i know, i said no more buying in another thread. However my tripod and its head is proving to be better at photography and less good for panning and tilting in video. Reading some threads on here, Sachtler seem to be the bees knees and pretty much the same thing is said on youtube. Anyone one using the Ace XL MK II Fluid Head ? Kinda looking for some in house confirmation before i do anything rash... I can get the head at a reasonable price at the moment. How long that lasts is anyone's guess. It should fit my tripod which I'd like to continue using until i can save for a better tripod. Thats my thinking anyway. Visiting some waterfalls tomorrow, so that will be interesting.

«seems that Inst360 plans to install a larger 1/1.28-inch camera sensor with up to 133% better light performance» https://www.notebookcheck.net/Insta360-X5-New-leaks-reveal-pricing-specs-and-early-camera-performance-ahead-of-schedule.1002234.0.html

I have been delivering in 14x9 (1.55:1) for a few years. With my new rig I will be narrowing that up a bit more, even, to 1.5:1 or 1.43:1 or maybe just 1.5:1. I'm liking the way 1.43:1 looks the most so far. Plus, Imax! The Panasonic frame masks are going to be really useful for this, particularly for my fisheye, where I will actually be cropping width and height. I just wish I could use the masks when reviewing footage.

In fact, ProRes stands side by side with Resolve... Horses for courses. As many fields in a same industry or industries of similar craft or technology realm. Their subscription model is not friendly nor up to date when we are in 2025 IMHO...

Same, costed me lots of jobs as well. As often they request the premiere/Ae project files. Or they ask if I can take over an existing premiere edit. Been working in resolve for 10 years now, and stopped using adobe because of their subscription model. All in all I might have made more money, just paying for the subscriptions.. Sorry to get offtopic a bit here.

In my experience, at least in my area, a majority of editors are still using Premiere. I'm one of the few using Resolve.

You are right, I kinda missed that. Honestly, the part I don't understand is that most editors are now on Devinci, Yet no one would entertain using B-Raw, everyone is stuck on ProRes!

Hence my disclaimer up there on those 'clients' and word written in italics... 3rd business parties, co-workers, other professionals who have not adopted it yet, industry standards to require the hassle and yes, time, which and where a new standard can be not handy indeed. My point? That's a format to tend to end as rule of living. And mostly not necessarily part of everyone's life/work. No solution fits everything, pretty on the spot no less :- )

There is nothing wrong with Braw, one bit! however EVERY single edit house we ship footage to only accepts Prores LT or ProRes, so it would have to be a transcode, which if you have time is not an issue (but then why shoot raw and not use any of it's advantages) but in very quick turn around situations when you have to hand off a drive, Braw is not possible! These are challenges where you are part of a much bigger production, but if you are a solo shooter and cut your own work, then it's absolutely not an issue!