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is there anyone use his/her bm for street "photography" ? Since I don't want to carry another camera, I shoot quite a bit at low shutter angle and just grab still frame from it. The resolution works quite well for me since instagram is my main publishing platform https://www.instagram.com/harrykise/

These a few frame grabs from a short I did last year... used a set of Xeens and Samyangs, they matched very well - only a slight difference in warmth between the two sets.

Ah, maybe because I'm an International visitor. I thought the UK wasn't keen on those any more? ???

I don't know about whether they are relevant to the market as a whole, but to me they are since they remain unique for their features and price. There are no other brands with anywhere near the number of focal lengths, all with similar size, clickless manual aperture, decently long focus throw, and standard gear positions. And they are all very fast, and in EF mount. The only problem is they make fairly ugly images, in my subjective opinion.

I'd say there's really no reason to afraid of look of BM files straight out of camera: it is just one click operation to "normalized" them without any exotic manipulation: there's already native BM lut and, say, equally nice free CaptainHook's lut and - voila, footage will look (pretty obviously) better SOC (to say true) than that of "natural" profile of GH5's. Unfortunately, I have no Fuji XT3 to say the same with ground of personal experience... So, please, hurry to buy P4K, play with it and I'm sure that @Kisaha will help you in trouble to get rid of it if you find yourself disappointed

To me, the P4K is usable up to ISO 10,000. It also cleans up really nicely when you use noise reduction in Resolve. I think that the GH5s is a bit better in low light, probably something like 1/3 - 2/3 of a stop. I don't have the Fuji, but I think it is probably about a stop better than the P4K from the footage that I have seen and from my usage of the GH5s & P4K. For great low light, get the Sony cameras (e.g. A7III) their engineers used magic pixie dust in those things

Please remember who mentioned it first - especially if you are, as it seems to me, not too faraway, from Greece :)

https://www.kickstarter.com/projects/williamgraham/the-gimbalguntm-a-run-and-gun-gimbal-support-tool?utm_source=kickbooster-direct&utm_medium=kickbooster&utm_content=link&utm_campaign=51647dcb

To answer your first question, I wasn't able to run Fuji H265 files on my laptop without transcoding. For the BMPCC4K, I can smoothly play and edit BRAW files on my laptop. The only problem I've had with it is that my video card is only 2GB so I sometimes get Out of GPU memory error messages in Resolve.

Go with the GH5. Nothing against the P4K, it’s a great camera but it will require more of a learning curve and more to get her going. With the GH5 you can be up and shooting right out of the box. I think for what you’re looking for, you’ll be grateful to have the IBIS. And the P4K isn’t going anywhere. In 6 months to a year, you can probably get one used for around a thousand or less if you want more of a cinema camera than the GH5.

@Kisaha another consideration are the Zeiss Classics... they used the same glass in the ZF and ZE versions as they do in the CP.2. With a Cine mod from Duclos or Simmod, you’ll have perfectly usable cinema lenses with that Zeiss look. You can easily get a couple primes, in your favorite focal lengths for around the same money as the Samyangs. Another option, which may make the most sense, since you’re going with the Olympus 12-100, is to go with native Olympus primes. The 17mm 1.8 is a glorious little lens and that manual focus clutch is like using a proper focus ring. Now if you’re looking at the Samyang lenses because of their Cine Lens characteristics... declicked aperture and lens gears... then why not buy the 85mm used and see how you get along with it and then build a set of individual primes as you need them. I think the problem with the Samyang lenses is quality control... so if you buy the kit and the 24mm is wonky, do you have to return the whole kit? As far as IQ goes, I found this video from the Samyang 24mm shot on an FS7. I think it’s a beautiful image. I already posted it in the lens section, so sorry for the repost if you’ve already seen it. So basically, I think you have lots of options and I think that these lenses are as relevant as any lens. I mean, a lot of DPs are using Nikkor lenses from the 60s, so if a 50 year old lens can still be relevant, I cannot believe that a 7 year old lens wouldn’t be. @AlexTrinder96 nice work... which Xeens did you use and how do you like them? Also what camera were those shot with?

I am one of those that do not value much the 18-35! I seriously consider my NX 16-50S 2-2.8f a lot more versatile and equally performing, and I am not abandoning NX yet! Super fast AF, pretty good stabilization, the important (for me) 2 extra mm at the wide end, and a lot of useful extra 15mm at the tele end - enough for wide portraits and small groups (75mm equiv) and it is 2-2.2f until 32-33mm, so not missing much on the aperture side. As a run n gun solution I am getting the Olympus 12-100mm. I have used it extensively for broadcasted TV shows so I am pretty confident about it. The 2 Fuji lenses are 8-9000€ here and no EF. The E version could be interesting too. The Samyangs are full frame lenses also, something to consider.

The takeaway from that thread really from the response is that proof that they were Samyangs or not would have to be forthcoming in the way of a complex process of teardowns, bills of sale, paper trails of supplier meetings and on and on. It is pretty informative that that proof hasn't come in the way of someone saying "of course they are Samyangs, look at how shit the images are from them". So from that backhanded compliment @Kisaha maybe you will have your answer I'd pick them up used if you can though as they tend to be part exchanged into dealers at low prices due to them not being a particularly loved brand. Definitely get them in EF mount as it is the best intermediary mount anyway and as I'm presuming you predominantly want these for a Pocket 4K then with cheap EF spedboosters (as no smart AF aspect needed for manual!) you get the extra speed obviously but also that bit of sharpening if you are concerned about them being soft wide open.

Not really. That is a fairly typical ballpark price if you hunt hard enough. Not unusual to see sub $2.5K FS5 cameras on eBay (although getting a mk2 for that price is a good deal! However the mk2 didn't add much over the mk1) And getting an Odyssey 7Q for under a grand is easy enough

They are good lenses , I had the 16mm t2.2 and the 135mm t2.2 For the prince nothing come close, when you buy vintage there are very often some issues , plus the cost of adapting/declicking. Here it s plug and play. The big bonus for me is the weight, for cinema primes the year are quite compact and light . The issue for me is the same as any entry price cinema gear, it s accessible to a wider untrained audience, who produce tons of garbage with them. So you get a biased judgment based on that and brand loyalty. Look at the Celere, some DOP were praising them for their look , until duclos pointed out that they are rehoused Samyang....

It's available for pre-order at my local camera store as well as on eBay with world wide shipping. The price is $359

They don't have feelings... so... Just kidding. Ugly maybe is too strong. But I have shot quite a bit on a full set of Rokinons, and quite a bit on a set of Nikon K lenses, and I prefer the Nikons' look, and that of most other lenses I've used I find the Rokinons to consistently make unpleasing flares and to have some annoying warm color casts. After seeing in Duclos' teardown that Rokinon applied a yellow tinge to one of their elements, I was like "oh yeah, that explains SO MUCH about the color." I prefer cooler colors I guess. I do actually like the 14 and 10mm Rokinons, simply because they were very affordable and fast for wide angle primes. When I use them, it's because I need an ultra wide and there is no other option, so in that sense they are very useful.

@kye, no that's totally applicable to me. "CAT VIDEO MM/DD/YYYY" describes a lot of my "personal work." I think that might be the better naming convention for a lot of my stuff. Uploading to YouTube like that is a smart idea. The only caveats I can imagine are that you can never truly delete anything that way, or there's that story about Myspace losing 12 years of music. You can't really choose if it gets deleted, I guess. Still, I do that with a lot of stuff on dropbox, always keeping essential files there, but of course have to pay monthly to keep that data online. @KnightsFan, tons of great advice, thank you. Are your tools OS X or Windows? One thing I didn't realize would be helpful but think would be, is including relevant information (client, project name, etc.) in the "comments" section of all the files correlated with a certain project. That way, it's searchable even if it's not in the file name, I believe. Batch modifying comments might be interesting. I'd rather not change file names in some instances, but I wouldn't mind adding comments. The flip side of me (perhaps) having more projects to organize than you is that most of them are a couple weeks of work from start to finish at most. So I can't relate to most of those concerns about years of footage existing together in one scene; even for longer-term projects, it's a few days of shooting and then pick ups. I did something long-term like that many years ago and it was awesome, though. Despite some continuity errors and changing hairstyles... What's the two-year project you're working on? If it involves Blender and Fusion it sounds cool... That might be the best advice of all. I try to archive footage and photos I shoot, but have no idea why I keep most of it. Been shooting a lot of raw video lately and I can fill up a few 256 GB cards in a day. Backing those up is not cheap.

I noticed a bug today with the new firmware update for the Metabones Ultra SB EF. The touch AF is absolutely horrible on the Sigma 18-35mm in BRAW. But, switch it over to any flavor of ProRes and it’s pretty decent. Along those same lines, the same lens setup works horribly with the Bluetooth+ app’s manual focus slider in BRAW, but is perfect in ProRes.

recently @BTM_Pix compared the 24mm and 85mm Samyangs to other well-regarded lenses and they punched well above their weight. I'm assuming that the F1.4 stills versions are the same lens as the T1.5 cine versions. Lenses are very subjective, so you really need to look and assess for yourself. One mans trash... etc. Oh, and that kit is showing as being on special now.. £1,915.83 for me, unless I'm special https://cvp.com/product/samyang_7413-vdslr-lens-kit-5-canon

Ugly images?! Really?! I am not really fond of them either, but I wouldn't call them names! It seems like the 4 lens kit costs even less (obviously), and the 16mm T2.6 is a lot better than the 14mm! It could be a good starting kit, even for P4K setups

I recently switched switched cameras and have a few leftover Fuji items including 4 Wasabi batteries, 2 chargers and a vlogging mirror. Instead of putting them into storage, if an XT3 owner wants them, just drop me a message and I'll send them out to you. All I ask is the postage fees. Thanks!

Ah right. You can only search within a selected thread on a desktop browser, not mobile. I didn't make this forum software, not much I can do about it.

I love the Olympus 12-100 f/4. It is on one of my cameras almost always. I would like it even more if I could get that kind of range in a f/2.8, but oh well I was sharing the specs for the 18-35 + Speedbooster in terms equivalent to the Panasonic 12-35 lens, not "full frame" equivalent. A new person might not be familiar with the 35mm equivalent conversion specs. Also, to me, quoting everything in 35mm equivalent specs is just silly when we were only talking about the m4/3 format cameras. It isn't like the video world records most everything in 35mm format (although some of that is changing now). I could see it if everyone converted the different formats to Super 35, but 35mm? That wasn't even really a thing until the Canon 5D Mark II a few years back. Of course, I also think that calling 35mm "full frame" is silly too as there are many cameras (e.g. medium format) that use much larger sensors. So, what are they? "Mega Frame"?

@kye I definitely have to agree with you on this. I watched the whole season and was very impressed. Good performances from everyone involved [Stephan James and Julia Roberts scenes in particular] and for the director to be allowed to hold onto the smallest of beats/emotions that the cast put out is so valuable. The visuals their DOP was able to make were excellent - and I really liked the 'sssshhHHWOOOOSSSSHHhhh' as their transitional device. I cannot wait for season 2!

Even though the Takumar has fungus, I still think it’s the winner. The Minoltas look good too but the Tak and Pentax just has a little more... oomph. Maybe it’s just me, but you really do adjust fairly quickly to the different focus directions. But, I believe I shot with a lot of Nikkors and Pentax/Tak Lenses when I first started, so in some ways that direction feels more natural. Sorry to say, even with the cheap price, the Petri is the big loser here. Cool test. Thanks.

The Pocket 4K has better IQ but the FS5 has features I need: No crop, full coverage S35 or Full Frame with a speedbooster 4K 120fps RAW cdng positive lock EF mount with metabones cine inexpensive SSD media I was patient and got a used FS5II and a Odyssey 7Q bundle for under USD$3500.

The diminishing returns are certainly particularly diminished when it comes to the Samyangs versus lenses many times their price. I hadn't really considered the 135mm but I will certainly pick up a cheap used one when I next come across one. Just push sliders in random directions until you like the look of it ! Many, many moons ago when I was a young pup recording engineer there was a set of cards made by Brian Eno called 'Oblique Strategies". The idea was that if you reached a creative block in the studio you pulled out a card at random that had a phrase written on it that would stimulate you to take a different approach. So there were ones like "Don' be afraid of things because they're easy to do", "Cut a vital connection" or "Give way to your worst impulse". The one that always stuck out because it was generally the most effective though was "User fewer notes". If Eno did these cards for colour correction he'd definitely have one that said "Use fewer nodes"

Speaking of which.... I did tests at f1.4 and at f5.6 The top row is the Samyang 85mm at f1.4 and f5.6 and the bottom row is the Contax Zeiss 85mm at f1.4 and f5.6 I deliberately underexposed slightly as I would do normally with the SL but have added no corrections hence the slightly darker image. First up, the chart stuff. The Contax Zeiss has a glow at f1.4 but its a tiny focus error on my part being a blind buffoon. I could have stopped at this point as its pretty obvious that the difference between them is marginal but I like to give value for money so I did a bit more of a contextual test. It might not seem an obvious test (it looks more like a cry for help with all that booze) but its quite informative to illustrate the out of focus rendering, handling of colour and tonality, detail etc etc. Same lineup, so the top row is the Samyang 85mm at f1.4 and f5.6 and the bottom row is the Contax Zeiss 85mm at f1.4 and f5.6 and focus is set on the Cointreau bottle. Just to add a bit more context to what you are getting separation wise for your f1.4 dollar, I brought a couple of slower manual lenses of a similar focal length to do the same test with with both being shot at their maximum aperture. The top row is the Contax Zeiss 28-85mm at 85mm f3.4 and f5.6 and the bottom row is the Leica 90mm Summicron M at f2 and f5.6 CONCLUSION ? My own view is its not really worth pixel peeping between the Samyang 85mm f1.4 and Contax Zeiss 85mm f1.4 when they are as close as this. The Samyang though.....bargain.

I'm from Michigan, rust belt central. Lots of folks just okay with being and not really eager to do much outside of their normal. I suffered the same dilemma back during my 20's. You basically have to lead the way and pull other people along. When you find the colleagues that are eager to help, you embrace them and make them integral to the process. The people that are lazy or just not engaged, just flat out ignore them. Be harsh about it. Don't indulge folks that don't deserve it. You may find that the most creative charismatic people are lazy as shit. That happens. Hard workers are more important. Get people willing and able to make things a reality, anyone else is not going to be ultimately helpful. The best thing that could happen for you is to search out or hook up with someone more talented and ambitious than you. If that happens, try your best to keep up.