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I'm really curious to see what you guys have been able to make with your lenses! Let's see your stuff! Doesn't have to be finished, or really have any structure, just some footage you've shot! Post it here and leave the setup you used in the description! I'll start, I shot this wedding with an Ursa Mini 4.6k, a rokinon 50mm T 1.5, Rokinon 85mm T 1.5 a Schneider Super Cinelux and a Rapido FVD-16A variable Diopter. https://drive.google.com/a/kimhaskell.com/file/d/1CdLZc746FEAo-j6fRRfyh4nxUZQIpOh3/view?usp=drivesdk

I can just share experience and point of view, not at all advice. So, from my narrow perspective and goal of usage, I learned that my decision primarily and mostly come from lenses, not from cameras. I learned that I'm so fond to old school manual and cinema lenses, that I can't really find enjoy in modern, electronic, plastic ones without precise MF. For some reason that maybe origin from my character or education, I simply can't use autofocus, although it is great add - maybe I don't like helps and adds. But, I also learned that, unfortunately, I don't fully enjoy in permanently usage of adapters. So, my totally narrow experience say: choose first lens(es), then system. Cameras comes and go, bettering each other, lenses may stay with us for a long time. Having said that, it seems to me that both Fuji and Panasonic (and BM) today are extremely attractive. Without doubt, we can match them, but why complicate matters and do so? At the moment when I started to be more seriously engaged in video/movie shooting, Fuji had no enough competitive characteristics. Now it is different, although still not quite. If I'm starting now and have XT3 in hand, maybe I'll wait and see coming of XH2 - it seems that it will be greatly rounded tool. But, I will not choose that if I don't firmly know about most important lens that I'd stick with it - it is Fujinon MK zoom. I tried Fuji XF lenses, but I was not fully satisfied with them, as also with Panasonic, Sony, even also and Olympus ones. But now I think that SLR Magic or Makinon or so make old school Fuji primes and there are also Veydras that give wider angle to APSC sensor. It seems that new Nikon cameras have to have adapter for using old beautiful Ais's. Pity, but maybe I could digest it. In general, it seems to me that FF cameras are not yet enough reasonable choice for my narrow usage. I had few Sony ones. The most important reason for still staying with Panasonic is, of course, again lenses. But I'll not name them

Lots of good info here already. One of the things that you have to understand is that you're in a situation that many here have found themselves in, being invested in the Canon ecosystem with lenses, and wanting to do great video while also enjoying the Canon colours and the great focus performance. Canon offers great quality from their cinema cameras, but unfortunately, when it comes to video quality from their non-cine cameras they are a long way from the top. Depending on what your expectations are, and what level of image quality you're willing to accept, there's really a few options: Stick with Canon and just be happy with the quality available Switch to another system that offers better video quality and keeps reasonable autofocus abilities, but have to reinvest in another brand (eg, Sony) Switch to another system that offers better video quality and keep using your lenses but sacrifice autofocus (and have to play with adapters etc) It's really a situation where no manufacturer offers everything, and you have to pick two out of these three: great colours great focusing great video quality You can also choose multiple brands of camera to keep your kit as flexible as possible (eg, have a camera that doesn't do great AF for interviews etc, but another with fast AF for gimbal work) but then you introduce the challenge of matching your cameras in post, assuming you used both cameras on a project, or want consistent colours between projects. There's no wrong answers, and I'm sure you can run a successful video business with Canon quality video, but every time a new camera comes out many of us here get all excited because we're all still chasing a camera that can really perform across these three aspects. Good luck

Warning harsh opinion ahead. Indie filmmakers need to be realist, the general audience/distribution platforms won t care about your project if it s not up to the industry standard. If you have a very good script and are surrounded with people with decent credentials, you are likely to find some money to make it happen properly. If you are complaining that the audience is crap and don t understand you, your project is the issue. It s definitely possible to create good content with very little money but it s very hard to maintain the quality all the way to the end to the production, you need talent and discipline. I recently saw Shoplifters, the movie got a lot a attention and won a lot of prices ( and yes, was well funded) but honestly that definitely the kind of movie that can be done with a super small budget. I did a fair amount of grading/ post production for indie movies, mostly shorts, you can see that the directors were more focused on shooting expensive equipement than really focusing on their script/skills. But couple of times, I also meet very talent emerging directors that, in the same shooting conditions made very high quality movies. But to really get produced properly, I think you either need to make a decent indie feature with no money, or very successful shorts and have a feature script ready. No one is going to come to you if you are no one with big dreams and no actual material. I think all those platform are really looking for new quality content, and are willing to fund all kind of projects, I think the issues is more down to the filmmakers with unoriginal obsessive zombie movies projects .

I quite like the look of the Tiffen Black Pro Mist filter, and thought that I could simulate the effect in Resolve. (This conversation started in another thread but I think it deserves its own) My theory was that if you can simulate it in post then it's more flexible, so you can mix it in to taste, and its also cheaper, applies to all your lenses, can be applied to historic footage, etc.. Here's the video showing what these filters do thanks to @heart0less I've had an attempt and I'm now convinced that a completely accurate simulation is not possible. To explain why, here's an unmodified screen grab: and here's the waveform of that shot: Here are the reasons you can't do a completely accurate emulation: The Tiffen doesn't "clip". The flare from the light globe is much brighter than the flare from the hair light on the blond lady, but in the "no filter" waveform you will note that these have very similar values because the globe is clipped. Also, the flare from the globe is coloured, which presumably is from the tint of the globe, however because the waveform is clipped that colour information is lost. The Tiffen has a very wide flare pattern and will include lights outside the field of view. There don't appear to be any flares from off-camera lights in the above shot, however we can tell that the Tiffen has a very wide pattern because the level of the dark background is raised for almost the entire width of the frame but the exposure seems to be the same (by comparing the levels of the grey cards at the left of the shot). If you are using this filter and it is being hit with sunlight from any angle I think you'll get the influence of that everywhere in the shot, because although it might be very off-angle the sun is practically an infinitely bright light. However, I think we can probably make a passable attempt that might work in some situations. Here's the original of lady #1: and my simulation: Lady #2: Same simulation as above applied to lady #2: The logic of this preset is this: The Tiffen has a non-linear rolloff, so I have simulated it using blurs of two different sizes, one smaller size applied to the Highlights and a larger one applied to the Mids and Shadows. If I really wanted to get serious about it I might try converting to a Log colour space and doing the blur in there before converting back to REC709, but that's something for another day. I think that preset looks pretty good for both of these shots, but unfortunately, if we apply that preset to the main shot then we see that it definitely isn't suitable for all shots: If I play with the levels and add a third blur that is highlights only and is even smaller radius then we get a better result, but it highlights the issues I mentioned earlier: If you're going to try and use this effect in post then I would suggest a number of things: Shoot in Log and don't clip any highlights from any colour channel If you move the camera don't have any lighting going in and out of the frame (because the effect will start and stop when it does which will look very un-natural) Experiment with applying the effect before you convert from log to any other colour space (after all, a Tiffen filter gets applied before the conversion) Experiment with different blur types - I used Gaussian Blur in the above, but maybe other types will look nicer? The Mids and Shadows processing chain is the kind of "beauty" element, and the Highlights processing chain is the "flares" element, so you can mix these to your taste I hope that is useful, and that Tiffen don't object to me using clips from their video!!

accident lol

I mean don't act suprised.

Yeah, not sure why this misconception still floats (pardon the pun) around the internets. That's not what IBIS does.

Meike are soon releasing a set of cine-style lenses. I had a quick play with the 25mm at BSC and it seemed quite well built.

There's a concept that I particularly like called Satisficing. The general idea is that you work out what the minimum criteria are, and then you work out how to meet that criteria in the most efficient way. Applied to equipment, it might be that you need certain resolutions, apertures, lens range, battery life, reliability, etc. You then work out what options there are and buy the cheapest / simplest / easiest one and then ignore any options that were better than the one you chose. We kind of talk a lot on here about how we love high quality images and therefore if we could all afford it we'd have an Alexa. Apart from the times when we often have criteria that rule it out (like, most of us can't afford one!) if we worked out we just needed 1080p RAW we might instead end up with a BM camera instead. Personally, I had a Canon 700D and I was dissatisfied with the sharpness (this was before I knew anything about anything) and so I decided to go 4K. I got the XC10 but ended up being dissatisfied with the images that came out of it because the lens had a very small aperture and I wanted to get more depth - the images from it just looked flat. Then I got my GH5 and some nice lenses and I love the look of it. I watch high budget films shot on Alexas / REDs / film / etc and I see the BM RAW from the P4K but the grass isn't greener for me. When I look at the footage I just want to love the images I get, and with this setup I do. There's some part of me that looked at my previous setups and said "no" and now it says "yes" and I don't feel the need to upgrade. It took a GH5 and a few nice lenses to get over that line for me (as well as me having to work out what it was that was important to me) and now I'm satisficed. I think that's a good way to think about it, and it can work for the creative elements too. There will always be a better lens, a higher DR camera, a cleaner more directional mic, a cleaner preamp, a higher bit-depth, a higher bit-rate, etc, but once you're satisficed then those things stop mattering. If you're feeling the urge to buy then work out what it is that your current equipment doesn't do for you (that you actually miss in real life, not in tests or spec sheets) and then work out what is the cheapest easiest simplest way to fix that, and stop as soon as you get there. My theory is that some of us like older lenses because they're less sharp, and when we were growing up the cinema was also less sharp, so the old lenses are triggering that nostalgia. I shoot my GH5 with the least sharpening (and soon to start using 5K open gate mode), lower bitrates, and also with softer lenses and I love the images because they kind of feel timeless to me. They feel 'right'. If I look at a 4K YT video shot with an RX100 it looks too sharp. If I look at footage from my 700D it looks too sharp and compressed, if I turn down the in-camera sharpening then it looks blurry. Therefore, there must be a middle ground somewhere in there. That middle ground is kind of my reference, and the look my setup gives me hits that middle ground and so I don't get distracted by how sharp / blurry / compressed the footage looks, and due to the DR and 10-bit it has a kind of film-look to it that also triggers nostalgia for me. To me it looks timeless. Who knows what the nostalgia will look like in 30 years time when the people in their teens now are watching over-sharpened 4K YT videos and Transformers 6 will be in their 40s and wanting to create a nostalgic look. Maybe they'll take their 12-bit RAW 8K VR goggle 360 footage and over-sharpen, then blur, and then over-sharpen again to get that digital pushed-to-breaking-point look that they fell in love to, had their first dates watching, etc.

I can't believe they are serving the 6DII sensor in this camera. This company will never stop to disappoint. A $200 APSC Nikon D5200 has better DR and produce better landscape photos than this. That's insane, really insane. They just have to put a decent sony-like sensor in their cameras and give decent specs like 4K no crop (like ALL FF mirrorless manufacturers in the world do except them) and people would be all over Canon. Every body out there no exception would buy Canon if they matched A7III specs even for more expensive because everybody agree their ergonomics is better. Yet ergonomics is not all. At the end of the day if I have the best body and menus in the world to output a 1.7 crop wobbly image at this price then I have got nothing. Yet they prefer to release garbage and only retain some of their users, with 80% of Sony/Nikon users laughing at them. Can't understand this company.

Yes... sad but true. The GH4 and then later the 5 sort of gave hope that perhaps Panasonic wasn't going to play those games. But now it appears that the real money maker they are protecting might be the GH5/S... and saving the real goods for the upcoming GH6. I think it's possible the real progress will come from Fuji. Their upcoming XH2 and Medium format monster look to be very interesting. Imagine 4k downsampled from a medium format sensor ?Fuji claims the upcoming GFX100S will do just that. Plus, I am certain these two top tier models will be manufactured in Japan... so build will likely be much better. I like the Fuji lenses also. Nikon also seems determined to be counted as a force in the mirrorless hybrid world also. I would bet good money their upcoming offerings will be serious contenders.

Both HCDNA and Rapido are quite heavy and that's why they are often mounted using clamps. FVD-16A has a thread on its back - it's a 75 mm (female, and that's quite unusual since almost every filter has a male thread at the back) thread. HCDNA - can't really say much about it because I've never considered it as an option, sorry.

I had the same doubt when I've been looking myself for a gimbal for the P4K as user. I've finally found a manufacturer who is releasing a new one fully featured and other goodies available in the second half of February as far as the last update I received from them. Seems to me a much better deal without mention the first feedback coming from the initial tests, reason why I've placed my bets on their product. They are closed until February 14 because of Chinese New Year's celebration. Once I am committed for some business related with, you can reach me through my PM inbox. Send me a private message as you wish and I may somehow contribute to satisfy your needs. Hope this helps, E : -)

Yeah... well... gear never holds anyone back... Its a mental state that you and most people on this forum have... including me.... its just G.A.S. Trust me.... this constant look for the best gear... best color... best dynamic range.... never ends and these companies are more than willing to fulfill your needs only for you to blow more of your money - supply and demand - the rich are getting richer and the poor are getting poorer just to feed this never ending need for consumerism. You need to "focus more on the creative aspects without" thinking about the gear your are using. If Ford Coppola kept thinking about the gear holding him back..... Well.... you know how that would have ended up...

Thanks, its a pretty simple setup, just a smallrig cage and wood grip with a sennheiser wireless on top - sometimes on a monopod, sometimes handheld. Everything else was in my backpack. After shooting this, there are a few things I would do different, but the a73 was exceptional and the Sennheiser G3 produced some great sound despite some really noisy streets - super impressed with their handheld mic. There may be another shoot like this coming up in a different cold city so I may have another chance to fix some of the mistakes of this shoot. But the powers that be are happy so I'd call it a success. Chris

Great video! Love the BTS shots, it's always nice to see how other work.

I'd certainly like to do that. Last weekend I figured out the last of the technical framework for the website that I'd been trying to hammer out for two months, so now it is simply a matter of finishing the website to move on to new cameras. The problem @deezid is referring to here is the infamous red clipping situation; BMD appears to have unwittingly allowed their redefined gamut for CS4 to clip in the far red region (something that I hope will be fixed before I support it, as any redefinition will invalidate the work) Working toward it! Its a top priority as soon as I get past the website for it, and I've figured out the most difficult server stuff now. I've been simultaneously shooting a film and battling what is perhaps the worst cold virus I've ever had hehe. I would be displeased with myself if there wasn't something by the sunny season.

A few BTS shots. I used to live in Alaska, but walking around in the cold/wind all day while trying to operate a camera was tougher than I remembered. Living in a sub-tropical zone and spending a lot of time chasing sun while traveling around the world has left me with no tolerance for the cold. Chris

I’m certainly not pro 4K crop. Of course I would prefer no crop. But that said all things are not equal. For whatever reason the Canon produces a more filmic/organic image that it’s contemporaries regardless of crop. Let me put it this way... if there was another mirrorless full frame Canon with 10 Bit output, DPAF in 4K, 30MP + sensor, flippy screen and no crop in 4K... I would be all over that. But that is not yet available. With the introduction of the S1, the above scenario is a reality within the Panasonic lineup. So it would seem the argument for purchasing the GH5/S is diminished. Especially when the body is near to the same price. The problem is Panasonic seems to have kept some of the weaknesses of the GH5 and removed some of the strengths when creating the S-line. I cannot understand why they didn’t just pull out all the stops.

Got to agree with all that advice

For anyone else reading this who is looking for an external preamp and wants more features than the headphone amps as previously mentioned (I wanted a -20dB safety track), my advice would be that if you only want a single shotgun mic to just get a Rode VMP instead of mucking around with those external mic-preamps. I bought the Beachtek Dxa-Micro-Pro to use with my XC10 and Rode Video Micro and to keep the setup small and flexible. I didn't want to be buying disposable 9V batteries for it all the time (both for cost as well as environmental reasons) so I did the research and got the biggest capacity rechargeable 9V batteries, didn't know how many batteries it would use but I figured it was more than two a day so searched the earth for a 9V charger with more than two slots. I was getting battery life of sometimes only 15 minutes, sometimes more, but I didn't know if it was the Beachtek, the batteries, or the charger. I did tests and kept notes by recording time lapses with my phone that included a clock. The battery shop blamed the charger so I bought one from them and discovered it wasn't the charger. Then I found some anecdotal accounts of what the battery life was and realised that I was getting about what I should have been. What I didn't know through all this was that the battery life on this thing is abysmal, and this was even without it sending phantom power to the XLR. The Rode VMP+ gets something like 19 hours from its single rechargeable battery, and I was getting something like an hour or two. So, for my shoots I would have to have been carting around maybe half-a-dozen batteries, a large charger, and the Beachtek. In the end I just bought a VMP+ and had a smaller, lighter, simpler setup that I don't have to fuss with, and it charges over USB!

Depends on how small you need it to be! Here's a few setup recommendations from my experience. 1) The Anamorphot 50 with the Rangefinder is a classic setup, and the flares work well together. The full kit can be had for less than $800 if you wheel and deal on ebay. If you stay stoped down and don't use lenses with long focal lengths (85mm+) that is a great one to start with. People make a deal about it not being sharp due to the Rangefinder, but at the right aputure and focal length settings, it does a great job. 2) If you don't mind getting a little bigger, the Kowa prominars are all awesome. I'd recommend most iterations of them. These are around $350-$750. They are fairly compact and sharp. They also flare nicely. If you get one with blue flares, which will be most of them, the SLR magic plays well with them. 3) If price is your main concern and you don't mind going bigger still, the Hypergonar Hi Fi 2 is about as much Anamorphic character as you can pack for less than $200 The flares are golden and have an excellent pattern, the footage is organic, raw, a litttle distorted, and a little soft wide open, though the lens can get sharp with the right combo. Don't go for a Hypergonar S.T.O.P. though, as you know Tito isn't a huge fan. Other lenses worth a little research are the Proskar, Aivascope, Isco Ultrastar, and the Schneider Cinelux. My biggest recommendation is that you order yourself a Rapido FVD-16 variable Diopter. Great sharpness, not flare tinting, and a front filter size that makes much more sense than a Rectilux. It goes for $550 currently too. You can go for one of those Isco Kits on ebay, but you'll pay for convenience. If you've got the money though, the single focus system is sharp and not tinted as well. That's what I got! If you have any questions reply and I'll see if I can answer!

My last: Kowa+Nocticron+Rectilux (who the hell put those names to the optics??)??

Yeah, that's pretty much the next thing he told me. Basically his point was that writers can do whatever they want, but no-one will buy your script, so you have to be careful and understand how films are made and write around those limitations. I heard that he had a bit of a reputation in less mainstream circles because his scripts often featured particularly realistic street fighting and criminal elements and most of his scripts were made by low budget productions to cater to people that like shows like Underbelly or whatever. It was funny because he didn't really seem the violent type at all, either in his tone, his home, or his career. Although he did give me some dating advice once, and that was to date as many girls as possible, to have multiple ongoing relationships at the same time and be completely open about it with everyone, and basically see who would be willing to fight hardest for his attentions. He said that that's how he ended up with his wife, and I think they'd been together for 30+ years at that point, so he was an advocate for his approach. That's not the kind of strategy that I could bring myself to ever do, but thinking about it now he really was a cool guy. Meeting him in his younger years might have been a much more exciting experience!

dammit too many entrepreneurs these days

i can get you a verified avatar for $200

Yes, this 100%. Sometimes a lot of the Netflix Originals just look and feel like they are trying too hard. When some of the better movies and films are simply about story and less with all the crazy explosions and fancy (and expensive) special effects and stuff. If the story is good, viewers don't care!

Oh, I'm mistaken. I thought canon had some investment into that company. Sorry about that.

Dude, what are you on? ??? Just kidding, thank you for the reply. I know there were some filtermatic lenses in the past, maybe that approach could be taken, maybe in camera ND. Not sure which one, but I certainly need one so I can get rid of the one on the lens’ front filter thread.

Yes, and I think we'll get there eventually. The FS5 proves it's possible, but when I looked into why we don't all have them I saw something from Sony saying they are difficult to make or expensive or something (can't remember) but basically there was a good reason why we don't all have them yet. They will get cheaper and easier to make (like all tech does over time) and we'll start to see more high-end cameras having them, and eventually companies will start putting them into adapters, and Metabones will do it and release the kind of product you want. It will be really expensive. Eventually it will probably trickle down to be in every camera, probably just built into the sensor stack, but that will be a long time from now. An integrated electronic variable ND solves a problem that isn't there for high-end cinema cameras, is there for mid-level cine-cameras used for run-n-gun doc work, is there for us hybrid shooters, and the consumer doesn't really care about, and in some cases is actually undesirable for the end consumer (eg, for any camera likely to be moving a lot that relies on post-stabilisation, like all 360 cameras). It will trickle from where there is the greatest need and money to where there is the least need or least money.

I have Voigtlanders, had SB's... But, please, Mr, when you start statements with "The new order will be"... or "BM is joke of company" it seems to me that it is not quite logical to expect answers - because you are so sure you know everything and in advance make impossible any exchange of arguments. (Moreover, I must admit that, personally, I'm especially sensible to such attitude in conversation - but, of course, that's my own problem and I'm sure someone else will applaude to such tough-definitive close-the-door words. Unfortunately, I'm so tender, soft, even meek, so always ready to recede in front of such authority... )

RS on EOS R is poor in 4K. That said if you’re shooting car chases or fight scenes RS will be an issue on most cameras (even pro cine cams unless you’re shooting an Alexa or GS camera). I often notice RS skewing in big budget TV/Hollywood productions (just the other night watching The Sinner on a bridge shot). RED even has an article on it: https://support.red.com/hc/en-us/articles/236069387-8K-Sensors-and-Rolling-Shutter-Skew-Effects They also suggest reducing the resolution to counter the issue. I do this all the time on EOS R, mainly to get FF shots (you can easily switch from FHD to 4K with custom movie settings) but also to combat RS. I just know when I’m in 4K to slow down camera movements. It’s far from ideal, it’s clearly a workaround the 4K crop & RS. Hopefully EOS RP’s 24MP sensor will have similar or better RS performance to other 24MP cameras (A7III/Z6) as it probably won’t supersample.

Just buy the Osmo Pocket for 1/10th of the price.

This is a great review. I very much like how he deals with all the problems and then at the end says how the camera was fun to use and is a really good and effective camera. Looks like a great camera.

Updated ISO/Dynamic Range Chart

I believe you can turn off ibis on gh5 also.

How about you post the issue and your fix for someone else to find in the future if they encounter it again?

Quick snippet from Griffin Hammond:

Uses SD cards? HOLY SHIT take my money ? Look, you do you. That's fine For me it's a no

I used the EOS R for 4 days and loved everything about it except no 4k FF. I think I might have bought it if that feature existed on this camera. Here’s a couple of stills i shot w/ it.

Listen, I'm a happy Canon user, so yes you will find me generally speaking positively about products I own in Canon related threads. The difference is I don't go into other brand threads I don't own (and have zero intention of owning) to troll & toot my own horn..

I'd imagine so. There's a thing in the fashion industry (and others too I'd imagine) where to get a job you need to work as an unpaid intern for long periods of time. The fact that you have to work long hours and these offices are in the middle of big and expensive cities means that you can't work a second job to pay rent, so these opportunities are basically only available to people with money. Considering that to make money in film you must do a lot of work up-front as well as make contacts and build your network, if you didn't have pressure to put food on the table it would really make a large difference. Not as much as working in downtown NY 15 hours a day, but some at least.

By the by, one of the obvious observations in photography - is that the many of the most famous photographers in history came from 'independently wealthy' families - meaning they never really needed to work for a living... Off hand, I am thinking of Ansel Adams, Cartier-Bresson, Diane Arbus, Sebastiao Salgardo, Richard Avedon but there are many more. It isnt really surprising I guess because it is far easier to create a body of interesting work if you have no pressure to earn your daily bread and butter through weddings, school pics and other commercial photography. I wonder if the same rule applies in film...

I know.. I wrote that to try and cut through the continual "new camera" discussions on here so that people didn't think Levi was just another YouTuber who only talked about new cameras. It's us amateurs who are buying the new equipment all the time!! In terms of pen and paper, I remember talking to an amateur screen writer who wrote feature films once, and he said that the writer was the only person without a budget. He was referring to the idea that he can write space battles or car chases or battle scenes with thousands of people just as easily as he can write two people talking in a room, but for every other person involved in making a film there are huge cost differences of filming those different types of scenes. IIRC that's why we get the strange budget sizes for films, like No Budget which is actually a large amount of money - it's because the cost to develop the film for a movie was a cost that couldn't be lowered below a certain point. Even if you only shot a 1:1 shooting ratio, you would still have to buy and develop 90 minutes of film, which cost a lot of money. Nowadays for that same amount of money you can buy a modest camera setup, have a small budget for expenses, and pay everyone to make a film and still have money left over. It wouldn't be a great film, but the idea you can make a feature film for less than a "no budget" film is amusing from a language perspective It depends on the camera ML is running on, and what you're shooting. If you are shooting something without exotic camera movement, are shooting manual lenses (where the focus will stay put), and have the time on-set to fuss with focus etc, then ML can be great. It's when you need to work quickly, need to be able to monitor real-time to change focus and framing on the fly that some ML setups aren't so good. Andrews post about the EOS-M shooting 5K shows what is possible, and yes the monitoring is abysmal, but if you were to only shoot for a 1080 delivery then the camera is under hugely less strain and all the monitoring and performance potentially improve significantly. If you have a set of lenses and are shooting drama or interviews where people are sitting around talking then ML is a gift from the gods!

As good as the image is on the EOS R, I just don't see how it's a practical camera with that big crop and slow readout, unless you're on a planned shoot where you purposely take the required lenses. I won't take this product line seriously until they remove the crop and also improve the battery life.

@Andrew Reid Hey Andrew, great interview. I really like the introduction. Awesome that you had a such an open talk and constructive time with the Lumix S1 team and its leading gentleman. The current codec choices are Lumix G7 territory, which would not make me consider to buy this camera. I hope for GH5 codec choices, ALL Intra included and full VLOG. Then this would be my first full frame video/cinema camera. All full frame GH5 with full VLOG and without artificial sharpening and good battery life- here is my money! For now these codecs area available, which give Lumix G7 and GX85 quality.

For all you well heeled sport, wildlife shooters your dream lens is here. https://***URL not allowed***/canon-50-1000mm-cine-servo-lens-review-yes-1000mm/

Well, i store anamorphic and taking lens rigged together with rods and supports. And this way i really dont move it so much. You can see i use 2 long lens supports: one blocks the taking focus and the other one block anamorphic aligment and focus.

Oh my God don't let @mercer see that! ?