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On YouTube Mattias is a simple man who loves his cameras and dog. Might be a wife or girlfriend there too. On this forum, he's just another raving lunatic Cracks me up! We all need a place to let our lunacy run free. Thank you Andrew Anyway, I'm running out of cameras to try. I want to sell most of them but each camera has a "thing". The C100 perfect video in any light. The 7D shoots raw. The A6300 does 4K and let me run it all day through the USB. Have an a6000 too. The EOS-M3 (a recent edition) has a pop up LCD, mic in, and is small. The X3000 is really portable and has great stabilization. The GR--love poem there. A nikon D80--might want for my copy stand. An A7R, for real estate and portraits. However, I'd LOVE an D850. I'd love a Leica. I want every camera Mattias talks about. A point. I lose some money on each camera I sell. It's the cost of my lunatic hobby. I estimate that it costs me $1,200 to $2,400 a year. It's part of my photo hobby. If I was a full-on professional photographer, however, it would be bad business. Each camera has its strengths and weaknesses. None is the clear-cut best. So it's time wasted figuring it out when it would be better time learning how to deal with camera X's limitations. Or just spending time preparing to take better photos. I hate myself when I spend time on this forum. But here I am Where were we...?

I just rigged my EVA1 up with my Kowa BH (in a Rectilux housing) using my Leica Summicron 35, 50 and 90mm set as taking lenses, and it is awesome. Was also happy to note that i can get away with a 35mm taking lens without vignetting given the fact that I'm doing a 2.39:1 center extraction. Received mine 10 days ago. I honestly thought I'd be posting a bunch of footage with it, but the truth is, I'm having so much fun with it that I haven't had any spare time for uploading to vimeo. Hopefully soon, during the holidays. But broad strokes for me is this is a fantastic cinema camera. the two most important factors for me are color rendition and dynamic range and this excels at both. here are some quick pics from the day I received it, all rigged up and stripped down to almost nothing.

Please, don't listen Mercer, Jon! He is just one reputable clever and prudent voice of Canon EOS3 sapience - i.e. voice of that entity from which you already escaped I humbly vote for your acquisition - as soon as possible - of Atlas bazookas and panoramic-wide view of Far East beauties of every age. Seriously - because your joy in testing lenses is so contagiously and refreshingly rejuvenating!

Everyone is entitled to their opinion but I use my A7s as my main photography camera too and I disagree with just about everyone of those points. Focus point- is that really an issue? I hit the centre button to get up the focus area, hit it again to get the focus point (I usually use small flexible spot) and use the four way buttons to move it where I want. Very simple and easy and I find it easier to use than the Canon 7D was. If two quick presses of a button right where your thumb is takes too long you can always change it to one press by setting the centre button to focus settings instead. There is a LOT in the menus and to me they are well placed (though I don't have to go into the menus very often when out and about with the camera). Inability to map important functions? Not all buttons can be set to all functions but geez there is more that can be set than most cameras and while it is true you can not set silent shutter to any button, is there a list of cameras that CAN (it will be a short list)? Is silent shutter something that NEEDS to be set rapidly? I have only used it a few times in more than three years and it is still fairly quick to set if you are familiar with the menus (it is very useful though when needed). Looking further, the control wheel can be set to 4 things, custom buttons 1, 2 and 3, centre button, AEL and AF/MF buttons to well over 50 things each, left, right and down buttons to 44 things each, and if you use a lens like the FE 85 1.8 you get even more customization with the focus hold button being able to be set to over 50 things too. The camera is not built to the same level as more expensive Pro DSLRs but it is as robust as any other that I have used/owned other than early film SLRs. It is not a weather sealed camera but is a bit better than being completely unsealed (and besides many of my lenses are not sealed anyway including my most expensive Canon L). Battery life is an issue for some but I am still using the original batteries I got with it as well as an even older one from the A7 I had earlier and even after four years of constant use I still only needed one battery to shoot a couple of bands Saturday night at different venues with around 300 photos and well over 60% left. I take a couple with me in case but most of the time, one is enough for a days photo shooting. I just make sure and charge my batteries after use. For video, yes, I would want all three of my batteries for a gig but I only record the odd song or two. Jpegs and colours, again is subjective but I don't seen any huge difference to any other camera system I have used (which is most of them). The "issues" with the camera as I see it are not so much problems as limits- IE not a camera for tracking or fast AFC and if you need more than 12mp but it never was meant to be. If you applied the same logic to many other cameras that don't have many of the things as an A7s you could say just about any camera is not much good.

Wouldn't categorize Sigma as lifeless, that's the beauty of them. Their character is just not dramatically exaggerated or flawed as some others have that would give it something interesting right off the bat (that like screams like 'look at me!' or 'I'm special, because I'm different! I'm a true artist'), but it's for sure there (more in like a 'I love my job and I love to do it right' kind of way, like a chef in a kitchen). You really need to use a dreamy, quirky or different look with purpose, otherwise it might get a little gimmicky. But it you match it up with the right kind of situations, it adds a whole lot to your scenes and helps to convey the mood/emotion you're trying to get across more I feel like. I'd say the Sigmas are more versatile and approachable however, as they have a more laid back character and are just up for the task. Their consistent quality makes sure you won't get surprised, they're really reliable. But where these others might turn a bit cold and clinical, you still get more of a sense of beauty out of the Sigmas. Think the good wide open performance, smooth bokeh (f/1.4 or f/1.8 speedboosted is arguably more S35-esque than native f/1.7-1.8 and up options) and good light gathering helps there too. Guess that balance between solid performance and just a fine amount of character is what has made them popular with all of us, be it the ART zooms or any of their primes. Also makes them a good choice for camera manufacturers to turn to when they're in need of solid optical designs, although once provided with the main ingredient it's up to the manufacturer to add the flavoring of course. Of course in the end you can make masterpieces with any lens, enough videos on the internet are liked despite being shot on a potato. But a good lens can resonate with awesome content to bring it to that next level.

https://www.eoshd.com/2017/10/sony-a7r-iii-announced-4k-hdr-ergonomic-improvements-no-10bit-4k60p/ "What’s new in the A7R III for video shooters? Well the improved ergonomics introduced with the A9 are on this body along with a new higher resolution 3.3m dot EVF. The camera now shoots 4K in Hybrid Log Gamma for compatibility with the latest 4K HDR TVs, like the Panasonic GH5. Unlike the GH5 however, it is held back by the 8bit 4:2:0 codec. HDR and HLG require a very wide colour gamut, so we’ll have to examine very carefully in the review whether this camera is really capable of a nice 4K HDR image without banding and colour problems."

Shoot, didn't realize there's a v2 and a 2, I thought the 2 was the v2. Yes I've handled almost all of them, was in B&H back in Sept and spent hours tinkering. I have my sights set on the v2, just traveling around right now and can't find a good price on one. Almost pulled the trigger in Dubai a couple months ago, but it was still $800. Should have gotten one when I was back in the US in Sept.

I guess it is definitely brave for a retired guy to spend most of his savings on an anamorphic lens. But again, not my money, so I don’t really care. However I would probably find a comparison of the Veydra lenses on a BMMC vs a GH5 to be a more interesting video than an Atlas Anamorphic. Or maybe some Veydra goodness on the previous mentioned LS300 or handheld on an Olympus... A $7500 lens on a $2000 camera doesn’t really intrigue me all that much. Hell for that money, why not spend your whole nut and get a used Alexa Classic and some Super Speeds? Don’t get me wrong, I appreciate Jon’s affinity for better equipment, but if I were him, I would just sell off all of my native micro 4/3 lenses before I jumped off that Atlas cliff. And even still, I think I’d be more interested in a Voigtlander and the SLR Anamorphic or one of those FM/VM anamorphics (if those combos are even possible) instead of that huge hunk of Atlas. But can anyone recommend an inexpensive, single focus Anamorphic for my 5D3 with either my Canon 35mm f2 or my Nikkor ai-s 35mm 1.4 as the taking lens? I know very little about Anamorphic lenses so something simple would be better and I guess with the IS of my 35mm f2, something light that I could go handheld with would be preferred as well (if that’s even possible?)

Maybe if someone find a time for some opinion about SLRM 10mm, even better vs Voigtlander 10.5mm...

How dare you call me reputable?! It’s all a ruse.

Idyllic cobblestone streets... who says you ain’t a writer... Get a 5D3 if you want to try some Raw. Or a BMCC in m4/3 mount for some 2.5K Raw. They’re cheap as hell now on the used market. I don’t mean to go on and on about the 5D3 but that bastard was a game changer for me. I am not particularly talented at all this stuff, but I love it. I went through camera after camera trying to find a good fit with easy color. I was ready to stop altogether and go back to screenwriting only when I decided to sell as much as I could for the 5D3. You know how that story ends. I’m still not that talented but the 5D3 couldn’t be simpler. With an IS Canon lens or two and a hefty strap, I can shoot handheld with practically zero shake. Then ETTR (we won’t have to argue about that anymore) and hit record. It isn’t 4K but it’s the best image I’ve ever created and I am still rather sucky at it... lol. I still fantasize about cameras but instead of buying them, I just go and shoot with the 5D3 and forget about everything else. In the end it doesn’t really matter what camera you use. Just try and tell good stories.

Resist the temptation, Jon. For the money of the Atlas, you can buy a C200 or EVA1. I went through a lens buying phase a couple of years ago and now I’m stuck with a hundred lenses lying around I don’t use. Of course, I bought vintage lenses, so I didn’t spend all that much, but some of them are stinkers that are hard sells. I don’t know a lot about anamorphics but they seem to be a lifestyle choice that are entirely unnecessary for your street shooting. But then again, it’s your money and time... so do as you please. I would expand my cameras if I were you. To see comparison videos between your current lenses on an Olympus camera or a BMMCC would be interesting for your YouTube channel. Or pick up another branded mount entirely like Canon or Nikon or Sony. Shit, get an Ursa Mini Pro and shoot some Raw or ProRes. I don’t know if you have monetized your YouTube channel but you have enough equipment and reviews that an expansion of cameras or systems may make more sense than effing around with expensive anamorphics that most of your audience can never afford. Just my opinion.

Yeah, my first hands-on introduction with Sigma was their EX DN line-up with the early models of the 19 & 30mm f/2.8 (with the grippy focus ring, not the later rebranded ART lenses (just 'DN') with smooth finish). For 100 bucks you had a lens that was optically incredible (mechanically/finish not so much). They were very compact too. Then of course I as well went with the 18-35mm f/1.8 in Nikon mount with an aperture control ring focal reducer, because that's something that you've got to experience for yourself. Now that one... is pretty nuts. Especially for the price and being constant f/1.8. Who even does that? Well: Sigma. But it lends itself more to be used a tripod, rigged out, rather than the casual roaming around shooting handheld. It's just travelling wise... not the ideal combo. For me, unless the goal of my trip is photo & video (like if I were to go to Iceland or something), I'm not really looking to bring a lot of gear with me. To me it's one of the most attractive attributes of the MFT system, that you can keep the lenses/set-ups so compact and light. Now, the 30mm f/1.4 DC DN, also in my collection for a while now, is pretty fair in that regard. But with the 16mm, personally I'm taking into account there's already the Leica 15mm f/1.7... and concerning detail/sharpness I don't really need much more than that and I like the character, so better image quality for me hardly warrants giving up that compact formfactor (that DJI figured would be a perfect match for their Inspire camera X5). So it sorta depends on what you value most, for some one lens is the best compromise between a bunch of factors, for someone else it's another. But for sure it's going to be a stunner. Much like Kazuto Yamaki himself: on point, well-composed and very charismatic. Regarding anamorphics. Yeah, I tried that once too a couple of years ago. I bought a Kalart Victorscope 2x from eBay, it's much like the Sankor 16-D. But the dual focusing and the alignment and set-up of it all... it was just too bothersome and the results (although I'd happily take some of the blame for that) were quite soft. Don't really feel like SLR Magic, Letus, etc solutions do it for me (or Panasonic LA-7200 / FM Lens / ...). I personally really like LOMO squared front anamorphics. Some good stuff here for example: http://presynkt.com/2014/05/19/testing-testing-testing/ , http://presynkt.com/tag/lomo-2x/ . Of course for anamorphic stuff in general you gotta check out fellow EOSHD user Tito: https://www.youtube.com/channel/UC8nvNpXmCZmg_YJFkrQsryw . Alan did a bunch of stuff on that subject as well: But you might be right, in this day and age, it would be really nice to see some more accessible modern anamorphic lenses. The Atlas line-up is looking mighty impressive indeed. You don't get weird smearing of the image, it's not soft, you don't get outrageous flaring or anything, the footage I've seen just impressive. But so is the pricetag. Not sure owning a set would make much sense, but fair renting prices are very welcome!

A used A7s is affordable indeed these days.

Wow, at one moment it sounds to me as an love letter to a faithful dear (lenses) from an experienced, grown masculine mind! I'd try also and add: they called to be tenderly cradled as serene babies - these zoom sigmatwins - to whom they so much look like by size/weight and unobstructive, unscreaming-lowdly serenity.

and some are just delusional

Some see problems others see solutions.

I had an A7s for video only and many of those were non issues. The reason I didn't use it for stills was that 12mp is not enough for most commercial jobs. I use A7r2's for stills and none of those issues bother me at all. No camera is perfect but to say Sony mirrorless cameras (I assumed you meant the whole system and not just a video orientated A7s) have 'major' issues and flaws is stretching it a bit far - maybe try the A7r3 which I think will address most if not all of your current problems?

Agree - once it was desirable to use the best features of each ( PP for editing and Audio - Resolve for grading) but recent editions of both apps have brought them much closer together in terms of capability. I'd still argue that Resolve is better for grading but it's no longer significantly inferior in other areas and PP is not too bad for grading (I just find the interface messy). You do need the studio version to work with 4k 10bit GH5 files but the price is not unreasonable and if you are doing a lot of work I'd say well worth it for not dealing with transcoding and roundtriping which are 'workarounds' and not 'workflows'.

@jonpais sorry about that. Never knew they made a new one since the old has been rebadged as an "art" lens. Then I have no idea

Then you need to work on your buying/selling skills I switch systems all the time and make sure to turn profit on most of the lenses. No you make money. It all depends on what you paid for them in the first place.

Not all photographic situations require large DR and the 5D3's DR is more than adequate for most situations. You loose money when you swop systems unless you downgrade or buy less lenses. Investment in a lens system IS a big deal for most people. My Canon lens system has multiple times more financial value than my camera bodies. Camera bodies are short term assets with limited lifespans due to sensor tech evolution where as lenses are largely a mature technology and a long term investment. Not everyone has just a 'few' lenses nor a large fund to swop systems '4-5' times either.......

That 50 1.1 actually looks pretty sharp to me at the point of focus (which is not all that deep) but the background looks terrible. Some 50 1.2/.095 50mm lens are not THAT dear but I am not sure I would want any of the cheaper ones (again). I loved the Canon FD 50 1.2 L and at some point would not mind another if I could get a cheapish one that was still good. I think I would only get one with an aspherical element now except for maybe another Pentax 50 1.2 K though the Sony Zeiss 55 1.8 has pretty much cured me from wanting any more normal lenses.

I had previously watched a vid by woodencamera, detailing the process, with the intent of selling their $300 kit. I eschewed the kit and traded cents for sense. Or maybe I have that backwards! Part way through destroying most everything but the electronic bits, I realized just how large and old and fu mbly my not quite over the hill appendages had become. I briefly imagined how a pile of parts would look back inside the tidy Bmd packaging. Would blaming the Fedex man for the destruction be reasonable? I mean, violence against packages during the Holiday season is well documented I reasoned. But then the allure of an extremely light weight oled with real glass optics and a buttery smooth adjustable diopter that I can use with the glasses that I need for my not quite over the hill eyes won out. 18 tiny screws later, and some very intense moments involving an sdi cable the the diameter of a tooth pick, the evf was ready. I anxiously powered it up. Nothing. A feeling of panic quickly ensued. Then I remembered the evf has an awesome feature where it powers off when it senses your eye is away. I immediately placed my eye up to the display. I was greeted by the sight of my slightly dirty floor. Like the Koolaid man. Ooooh yyeeeaah. But the joy of performing an open evf transplant was short lived. I realized if I couldn't find a way to mount the evf, I would have to repeat the entire surgery again to install the kit from woodencamera. Ooohhh nooooo. An hour of trial and error later. I found a Manfrotto pico clamp. Success.

Yeah, I saw that too. And that’s a good point since the a6500 isn’t known for a spectacular 1080p image, but it does have an insane 4K image. I was actually surprised by how good it looked. And to learn that it shoots at such a high bitrate. I figured it was using the same codec and bitrate as the 5D3 and 80D. I believe if you get the Canon Log version, it has about 12 stops. Without the Canon Log... maybe 10-11... but probably closer to 10. However I never felt that his video lacked DR... not that he was shooting in a high DR scenario. Rolling shutter isn’t great in 4K but neither is the crop at 1.64x/1.74x (depending on who does the math) but in 1080p it’s supposed to be a lot better with no crop. The 5D4 probably isn’t the best camera for you, I just wanted to show there are other options if you are not set on either the D750 or the a6500. If I were you, I would either go all in with a D850 or go down to a Canon 80D and bank as much money as possible over the next year until the next generation of cameras are released... Both Nikon and Canon are supposedly releasing FF mirrorless cameras next year. Nah, I’d probably buy a 5D4, but I have a soft spot for Canon cameras.

I am sure you are sure of many things. You cited newsshooter completly in the falsest possible manner. I am sure that makes your recent comments even less convincing.

Post it, bud!:) If you found a nice shortfilm with plot, don´t wait and post it please. I didn´t happen to be lucky on my search for it. Well, Andy Lee has not been on the forum for a while now, unfortunately. Good shorts with ultra low budget are very charming. Would love to see that kind of filmic approach with one of the three cameras above. Every camera finds its avid shooters, its masters. So would have it charms to find that charming people having done one or two shorts with one of the charming three cameras above. @Anaconda_, I would not call your musicvideo a shortfilm in the sense I was trying to suggest @sanveer Cool! Really looking forward to seeing your footage with it! Posting threads on EOSHD didn´t make me rich neither:) What terminology would you suggest to give an adequate answer? For now, I´d say, some shortfilms which show joy of creation and being a narrative, showing off work with the filmic form in that context. Here is one of my shorts, I´ve posted a while ago, filmic sketch much, much rather, but still with an attempt to narrative, done with no budget, a Lumix G6 and a china boosted FD 28mm. Did a reshoot of the setup this August with audible!:) dialogue this time, with a small crew, two professional actors rather than non professional, though talented, collegues. This vid I did all by myself, therefore no audio for the voices

I like my D750. For stills, the image quality is excellent, the RAW files are very malleable and I often just need to get exposure "in the ballpark" and I can adjust it up or down a couple of stops. I've been able to recover highlights that I thought were blown. The LCD Screen is very nice (tilt only, but a very good, bright image, and the screen is not to reflective). However, as nice as the screen is, it is let down by the poor live view autofocus. The LiveView (LCD) AF is slow and it is quite time-consuming to move the focus point with the selector pad on the back (I think Nikon calls it a "D Pad" or something like that...) If you enjoy focusing through the viewfinder then the D750 is quite good (although the newer cameras have a better AF system, according to most people). Personally, I HATE using the viewfinder, so I can't say that I am in love with the D750. Just a lot of like.

Yup, in 95% of the cases, 12MP is enough. Plus it speeds up the workflow so much more, and it takes up less hard drive space. The one drawback (for me) of full frame is that you basically have to close down one stop more for the same depth of field that you would get with crop sensor, meaning I have to crank up my flash guns one stop higher to compensate. And I already use my flash guns pretty hard, so that is a bit of a trade-off. I could just get an original a7s, shoot in 1080p internally, and probably use the a7s for stills as well. The only time i really NEED more than 12mp is when I have to crop in significantly for a view shot, and since I am in the hills above San Francisco and the Golden Gate bridge, well, there are lots of view shots to be had... Yeah, one fellow real estate photographer I know shoots stills on his D300 and video on his D7200. He seems to be fine with it. I like Nikon a lot (I started with a D5000 for RE photography and then moved to D5100 and D7000 and D750). Just for the way I work, and with my bad back, I find the Sony is just a bit better for my style.

Bit of a "yawn" release for video shooters. Also I don't think the A7SIII will get 10 bit. I'd expect full 120fps in 1080p, 4k 60p and better autofocus.

Not enough of an upgrade over the MK2 for stills and without 10bit and / or a better internal codec for Video it's not going to replace my GH5 for Video. I somehow doubt that the A7s3 will address these issues so for me it's a win , win as far as my budget is concerned. I very much doubt that given the very minor changes to the video specs of this new model.

It makes no f’ing sense to me, whatsoever to offer S-Log 3 to people in 8-bit at 100mbps in 2017. We should be talking about banding like payphones.

Personally guys, I won't be buying one. You can bet the A7S III will blow it away for video. And the competition is huge... D850, GH5, Leica SL in particular.

Yup, Panasonic GH5 remains as king! Ruling over the land of hybrid filmmaking.

So close to pulling the trigger on gh5 now. Some good stuff there but not enough to pick this over the gh5 for video. A7siii when?

No 10bit and oh my god, we're still at a 100Mbps bitrate for 24p/30p 4K?!?! Goddamn Sony.. throw us a bone for video here.

People upset about no updated video features.. what did you expect? The s-model cant be news to you?

Isnt too old anaolgy to sell camera for this generation. [Here's the thing: A builder needs drills and saws and hammers. A painter needs a canvas and paint brushes and paints and paint tools. A cameraman (usually) needs a camera. If it's a hobby for you, you use what you can afford. The expensive cameras on the market are not aimed at hobbyists for the exact reason that hobbyists cannot afford $10k for a camera body.] Since internet and blogs like this made easy to understand who ripping your money more esily than other. An ameture becomes a pro in a day[may be somebody shuld write thread about pro]. To me Eva1 is a looser. lets see what they have next. I am sure magiclanthern will enable middle codec everybody disappointed, very soon.