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M mount again A bit of melancholy with the Voigtlander 40mm f1.4 Nokton Classic

I'm pumped for the RF mount for all the lens adaptor options I used while using Sony's E-Mount for a bit. Unfortunately, the two best things about the RF mount are incompatible. Which are: LENSES - Canon is about to release a whole bunch of new lenses and among them are a 15-35mm f2.8 and 24-70mm f2.8 that both have stabilization - which is awesome! and something that their EF counterparts don't do. Add the groundbreaking 28-70 f2 and the other high-quality RF lenses, and their lens lineup will soon be one of the best in the mirrorless game (amazing after launching just 4-6 months ago). ADAPTER - However, the best part about the RF-Mount for mirrorless cameras is that forthcoming EF > RF Variable ND Adapter. I decided to get an EOS R for video rather than so many other options and in spite of its big 4K crop specifically for that adapter. Can't wait until that is released. Carrying around a bunch of step up rings and NDs and variable NDs has been super old for years now. Will be great when I can use ANY lens on my EOS R and not have to worry about filter threads and also not being able to use my lens hoods to block unwanted light and flares. But, I'm sure all future Cinema EOS camera will have an RF-Mount option. Easy to take mounts on and off like Red does or the Sony Venice does. And the RF mount is so much more versatile. Dreaming of a Super35mm XC-15 style RF mount camera or a C300 Mark III with the RF mount. We'll see

@heart0less some of my favorite ML Raw videos were shot with the 5Dii. Check out Northmen on Vimeo for some beautiful samples. For the money, I think you made a great choice.

Maybe even if ever? On the 30th anniversary of the EF introduction in 2017, Canon announced it had sold 130 million of them. Even if they maintained that rate of over 4 million lenses a year for a few years, how niche a product will interchangeable lenses be in 2048 when everyone is taking selfies in their hover cars using computational cameras? I think EF lenses are by far the safest bet for people looking for a universal lens that doesn't tie you into a system. The last hurdle was getting them onto a Nikon body but even that has been solved now by the TechArt adapter opening up a route to mount them on Z mount. When you add in being able to use them with the variable ND on the R as well and also them being able to be used on the Panasonic L mount, the new full frame mirrorless systems have actually cemented the ubiquity of the EF lenses rather than diminished it.

Well d'oh, of course it is. Mirrorless will in the long term replace DSLRs. (the biggest worry should be for EOS-M users, as clearly the EOS-M system is in the mid term headed to dodo land) My money is on them joining the RF system, maybe not the next generation of C series, but it will happen eventually. Odds are likely is what they'll do is the same as Sony with Venice, which is having E mount as a "sub mount" underneath it all. But of course RF in Canon's case instead.

True, but considering this filter adds a massive blur, I wouldn't think it would make much difference. Maybe for other filters it might matter.

Shot on the GH5 with a Sankor 16c in front of a Nikor 50mm f1.4

So I've been shooting a new mockumentary/short movie where I'm using both the URSA Mini 4.6K and the Pocket 4K side by side, for interviews etc. Did some preliminary tests on grading the footage today, and they match quite nicely. Nothing scientific (and not all 100% going for cinematic since it is a mockumentary) about this one so it's not as if you can take it as a direct comparison - but I think some of you might find it interesting. Both cameras were at 800ISO (which theoretically is sub-optimal ISO for the Pocket but eh) and shooting at 4K Prores HQ, only difference in grading is that tint is set to -8 on the URSA and 0 on the pocket. Top one is Pocket, bottom one URSA. Looking at them full-res, the most obvious difference is that yes, the Pocket is sharper. I may have mistaken about in-camera sharpening in Prores - on the other hand, they have drastically different lenses too; Pocket is running on Sigma 18-35 at 1.8 and a speedbooster while URSA was shooting with a Takumar 50/1.2 which is quite milky by nature. Anyways, it's proving to be a nice b-cam for the big bro Ursa.

I think many forget one of the greatest advantages of the GH5, it can go on recording until it runs out of cards or power. I have filmed whole day conferences with the GH5 (using the power cable). No other hybrid camera can do that (other than my GX85 bought from Hong Kong with no time limit ) I wish they were cheaper though! 1500€ for a GH5/GH5s/GH6 would be great.

Just as soon as they come up with this nebulous future solution that they claim they could use to try and control such an expanse of crossing points. With 50 days to go they will probably end up using this plan from Blazing Saddles.

Panasonic is waiting to start selling a few hundred thousand S1 cameras, before any GH6 announcements, since the next GH Camera would eat everyone's breakfast, in the video department. So there will be a deafening silence on the GH front until the S1 has sold in a fee truckloads. I am guessing the GH6 will redefining video quality and features on an ILC just like the GH5 did 3 years ago.

Sci fi short, shot on Iscorama and Contax Zeiss taking lenses + Original 2.5K BMCC

I'm not sure. If it works for you, then I guess it's okay. ( : I just read that some dev suggested doing a clean install to avoid conflicting files. edit: @kaylee, correct!

Drop the existing folders. Then you have to load the module, once you have it loaded (maybe restart camera) it will appear in the movie menu (magic lantern menu) -edit- I never format and reflash the camera, I just copy the new files and replace the stuff on the card, am I doing it wrong?

You have to download crop_rec from here: https://builds.magiclantern.fm/experiments.html Then just unzip it and copy to your CF card. It's a different build, so format the CF card in camera (important! don't do this on your PC/Mac) beforehand.

So? There will be 140 to 150.000.000 lenses to play with! Add dozens of millions from other manufacturers, and we are talking for hundreds of millions of EF lenses! The number must be really staggering! Like @BTM_Pix mentioned before, do not see Canon, or anyone at that matter, reach these numbers ever again.

I'm going to put it up and try to record some this weekend. Will post pics and some footage after that alright.

Well, the gimbal's job is to keep the camera level, so it's using the motors to do that. If you balance the camera perfectly, the motors aren't working so hard to keep it balanced, and instead can use their full strength to stabilise your movements. If you start off with a wildly unbalanced camera, the motors will be working overtime, which could have a negative effect on your movements, and it won't stabilise quite so efficiently. That could also result in faster battery drain, or possibly even burn out the motors quicker. I'd suggest balancing it as closely to it's centre as your patience allows and then letting the motors kick in to pick up the slack. Also, make sure to balance with the lens cap off. It seems simple, but it's very easy to forget.

Correct workflow is the one that works for you.

I'll probably just pony up and and buy a metabones. Its probably more useful than this useless 4k monitor I just purchased for not much less ??

Were you zooming in 500%? You aren't a true artist unless you do. ?

I am sure RAW is better but the prores looks dang good. Hard to believe the output you get for 1000 bucks.

Why US? Contact the Germany HQ directly. They usually reply less than 20 hours after they receive a mail.

I missed that some people actually wanted to see what I was up to with this thread. So I’ll try to make this quick, cause it might not be super interesting. I shot a 2.5h long performance of Cabaret on Jan 30th. I didn’t know I had to do audio but see my set up below for scratch audio. Anyway, their own audio station broke down and they didn’t record sound for me. On top of that through out the whole performance 70% of the cast’s lavs wouldn’t work. (It was a small intimate place so for being there watching it, I don’t think anyone really cared). Anyway, because of this, I tried my best to watch audio meters on the P4K jumping between 80-100% through out the show. So bla bla, next day, because their own audio was non-exsistent I had to use my own for the final delivery, and in my DAW the wave form was all over the place obviously. So my question for this thread was “Is there an easy way to make the lows and highs just normalize towards say -12dB?” I know “normalize” might not be the correct term here. Anyway, I ended up just going through the whole file manually adjusting volume. Then cleaning it up and mastering it. It took a few hours but yeah, it’s done now.

You're right. I just found the C200 review I got that from and discovered I read it wrong. My bad ??? That makes it even more of a general purpose lens I guess, but my point was that my default is 35mm so it's all relative to how you shoot and what you like to see

I wouldn't expect dozens of millions of EF (and they are not just Canon ones) lenses to vaporize on a couple of years. It will take years and years for production companies, pro photographers to change to another mount. Panasonic and Blackmagic offers EF cameras, a lot of Sonys use EF lenses. E.t.c. E.g whoever has the latest 70-200mm IS 4f, must be mostly happy with the performance and Image Quality, do not see them change easily. Another significant issue is that a lot of people are choosing a different mirrorless mount altogether, matching and combining with older EF lenses, and admittedly Sony has the most complete and wide full frame mirrorless lens line that work from the a6300 to the FS7ii. I would guess that it will take Canon a lot more time to sell as many R lenses as EF.

EF still has a long future, most of the workhorse lenses have been updated recently, and given the push into mirrorless it stands to reason the focus will be RF over the next couple years. There's no reason a company of Canon's size can't keep both alive and they'll still keep cranking out new DSLR's as long as people are buying them. The EOS-M mount seems to be the odd-man-out and probably won't see anything by the way of new lenses going forward. I wouldn't be surprised if we see a M->RF adapter at some point. They'll be similar to Sony's aps-c, new bodies, no new lenses. There has to be entry-level options because they sell really well, so Canon isn't going to abandon them completely. I do think we'll see the EOS-M line sunsetting and the entry aps-c line moving to RF in a couple years with a few plastic kit zooms. Then they can promote the mythical "upgrade path" to the more advanced bodies than few people buying plastic kit lenses will ever actually do. A RF mount cinema camera makes a lot of sense given the fact the lenses were designed for mirrorless. A ILC version of the XC10/15 with a s35 sensor would be awesome. Chris

R mount, pretty exciting lenses Long Flange distance can't compete.

Agreed @Django I think @Snowbro got a lemon. My R exhibits none of the freezing or banding he mentioned. If it did I would have returned it day one. Yes, RF is the future, but I think you are looking longer term for EF to be fazed out... 10 years or so. Canon are getting set to release four new EF lenses in the coming weeks.

I think Snowbro got a lemon, I’ve had EOS R since day one and have travelled with it across six countries already with zero bugs or freezes. Banding is also a total non issue imo: https://***URL removed***/forums/post/61799696 The camera has its well documented issues & limitations, namely poor RS & a massive 4K crop but other than that i find it’s an ace mirrorless cam for stills & video. UI/Ergonomics are also excellent imo, if balance or handling with big lenses is an issue just add the vertical grip. Obviously if you compare it to a $6K 1DX2 it may fall short in certain areas. As for EF vs RF, clearly the new mount allows for superior optics design but also the new electronic contacts allow the configurable electronic ring control and two-way communication for enhanced lens IS. Even more functionality is expected in the future. All this comes at a price though and with only EOS R/RP for bodies it’s a questionable investment at the moment for those invested in the full ecosystem range (EF based DSLRS & C line). Also the upcoming Vari-ND adapter favors even more the use of adapted EF glass on EOS R for video. EF still has a few years left ahead and even when Canon will have developed a full range of RF bodies & lenses, that will only mean cheaper second hand EF glass.

All Sony a7 series bodies have no-crop video. a7s was the first to do no-crop 4K, but to HDMI out.

It's the Voigtlander look........ If you want the Leica look at 40mm get the Summicron F2 that came with the CL camera.

I wouldn't sell my EF lenses too quickly given they have those EF to RF adapters that are pretty nifty and from what friends say do a real good job.

EF mount is dead! Canon did the same to FD mount lenses and cameras in the late 1980's. If Canon predicts a 50 percent drop in camera sales, then they need to generate new revenue by selling the latest fad to people with money to burn. If you have EF cameras and lenses, sell them now so you can get top dollar.

I think they're separate too. Canon proves that you can have FF MILC without great video and still be successful. In a way many other companies are limiting video quality on their FF cameras and keeping video quality for their cine-lines. If you think of Panasonic as having two cine lines - the cine EVA and the GH series, then it kind of makes sense. In my mind the GH5 and P4K are completely different cameras because the GH5 has IBIS and is rock solid and the P4K doesn't have IBIS and isn't rock solid. The GH5S doesn't have IBIS but is rock solid. Of course, the P4K also has RAW/Prores, but that's not a deal-breaker for me as the 10-bit GH5 files are good enough (hell, they're great, what am I saying!). Anyway, the GH6 will be rock solid and if it had IBIS and RAW then that would be spectacular, and we haven't mentioned 8K yet.... They could even make it a hybrid where it would do up to 4K RAW and 8K in H265, that would sure be something! I think AF is a funny topic that people don't really talk about sensibly / consistently / somethingly. I've been an AF person for a long time because I wanted the camera to do it for me, and have only recently changed to MF. Dear mother do you get kick-back on these forums when you say you need AF for your shooting style... all the "they don't use it in Hollywood" " you're not a real film-maker unless you use MF" "growing up I only ate gravel" type comments all get trotted out. I think our views of AF still haven't stabilised - the same people would criticise AF reliance and then turn around and criticise the GH5 for not having good AF. If you want a good argument for not needing AF then here it is... the GH5. Hopeless as shit for AF, sells bucketloads, reputation as industry standard workhorse. By the time we get around to accepting AF (and having some consistency in our opinions) I think AI and processing power may well have solved it. Panasonic might turn out to have made the smart move by getting their AI sorted out and when it finally starts delivering the others may be years behind. Sure, Canon might focus on the face, but film-making isn't always about faces. I also think that would be great. Not only would it mean inexpensive media, huge speeds, and less internal heating, but it would be cheap and small to implement in the camera body. Anyone who has seen the size of the SD and CFast slot in the XC10 knows that those things take up quite a bit of space in a small camera body.

DIY would be smaller. Split the mono to stereo, attach a resistor to one, then wire a stereo jack at the end for the camera input.

From RP to RIP then.

Shooting first location up in the mountains this weekend. Will post next week.

i asked him, he said WOOF! ARROOOOoo... ROOF! RerOOWWWWW which i think means "Image is everything" (????)

I just hope that whatever Card slots they use that they're both the same. Not a fan of one being SD and the other being XQD. I'd also absolutely LOVE being able to record to an SSD. That'd make my life a million times easier when I'm shooting long events.

hi @kyeI had the same impression as @Mattias Burling (https://www.youtube.com/watch?v=WGEYd863ekw) i don't like "I hate" manual focus By Wire, for me it's the biggest problem with this camera

Yeah, NDs like the C100 or FS5 would be great. Not a weak one like the XC10.

You already have "better low light" in GH5s.

More DR, internal ProRes and external RAW would be preferably to more pixels.

I agree, everything has pros and cons. Just think about how every new camera release we all turn ourselves inside out because there's no perfect camera I think it also depends on what situations you shoot. Some people have control and the time to tweak things as they shoot, and there are real advantages to getting it right in-camera. Others are recording with varying levels of control or even influence on their situation, and just getting the shot might be the best they can hope for. For these people, moving light-sources or tweaking settings just isn't feasible, so adjusting things in post when the pressure is off gives them extra creative expression. My personal situation is that in shooting my family and travel videos I don't have time to fiddle around with various things. This is partly because we go where it's interesting and not where the light is good, partly because for me the holiday comes before the photography, and partly because I'm just not skilled enough to operate the camera and think about every variable all at once, which is why I rely on automatic settings for some things. I started this thread because I really like the look of the BPM filters and was using the Glow OFX plugin with Resolve (that does an ok job at this effect) and wanted to see how well I could replicate the real filters. I shared it partly because others might learn something useful, because it's nice to give back to the community, and because writing it up forces me to think clearly and critically about it so I learn more effectively by doing it. Education is one of those things where everyone wins Edit: I also really love that look during golden hour when the sun is out of frame but catches the BPM and gives a warm light-leak style rendering to part of the frame. That's also something you could model through tracking and placing the lens flare effect off screen, but light-leaks and flares is something I haven't added to my videos yet, so maybe that's something I'll explore in the future. I want to really push my videos but not to the point where the medium gets in the way of the content, if that makes sense

yayyyy it snowed up here finally, the first big snow since i moved!! in the past few days i crashed my car (im fine, car needs a new side mirror) and fell down pretty hard but im STILL having fun i call this subtle masterpiece of rabbit footprints Hip Hop in the Snow

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

IBIS absence from GH5s was also explained as solution for protecting most demanding professional customers from image defects. Of course, most demanding professional customers immediately recognized and wholeheartedly congratulated such deeply protection-motivated move.

Is hard to say what VLog will do on this sensor. If it's the Sony IMX410 like many believe it is, neither the A7-III or Z6 get more than 12 stops in video out of it. The IMX410 is believed by some to be used in the Sony Venice too....but that camera is "allowed" to record 15+ stops. Its all in the sensor feature licensing contracts and the negotiations that go into the contracts of sale. Sony licenses read out modes and frame rates and bit depths seperately. That's how they price the sensor....on the market value of your feature choices. Its not a "1 simple price, you get the whole thing deal". You pay for what you want and you are legally blocked from using what you didnt pay for.

By the way I was told 4K 60p is full frame on the S1R. Pixel binned but no Croppy McCropface