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Sure; it depends on what you'd like. Fuji and BMD have very good, usable color. I personally will use P4K with GH5; I hope to have EC to do a production this summer. 8 bit is tricky; I'd prefer to only support 10 bit cameras, though I will try to find a way that will give viable production level results with 8-bit. I think Log is not really in the cards there. Bit of really cool news; last weekend, the director of a film starring Josh Hartnett wrote to me to say that they were using the GH5 with EC as a pick-up cam alongside Alexa Minis and XTs. He said that a senior Star Wars colorist was doing the grade, and said that 'everybody was very impressed' with it. I was pretty thrilled with that

As the price of existing L mount lenses for my Leica SL and T are frankly ludicrous, I've been awaiting the release of these adapters with bated breath and Sigma have now finally confirmed that they will be available next month and they will be very reasonably priced ($249 for the EF and $169 for the SA). All set to go and pre-order and then saw this ---------------------------------------- At the time of the initial announcmenet Sigma said the adapter would work with 'any L-mount camera body.' Sigma is now saying that the MC-21 won't work with existing Leica L-mount camera bodies due to 'specifications [that] have changed.' ----------------------------------------- What an absolute bummer. It throws into doubt how this alliance is going to work if they couldn't get this to work for existing L bodies, which when you add up the number of T/TL/TL2/CL and SL cameras out there, is quite a big market. I'm not quite sure how a 3rd party company like Novoflex can have a working EF to SL adapter and a member of the alliance (and not exactly a company short on resources and expertise in these adapters) can't get one to work ? It doesn't quite smell right to me. The presumption would also be that if the adapter doesn't work then the new L lenses from Panasonic and Sigma won't work with them either. Which is also an absolute bummer. Anyway, selfish moan over. Good news for S1/R buyers that these adapters should be in the shops not far after you get your camera. https://***URL removed***/news/6837838631/sigma-announces-pricing-availability-of-its-mc-21-sa-and-ef-l-mount-adapters

Every time I put my hands on it, I am still praising this thing. I've simply stopped to have pleasure to shoot with anything else : -)

I'll flick you now the Paypal link to pre order to order it ?

That's really weird. Makes you think Leica doesn't want non Leica lenses on their cameras, and have asked their "partner" not to allow it. Perhaps it's how they intend to keep the Leica brand "premium?" Frankly it seems rather short sighted. And it'd be nuts if it extended to actual L-mount lenses made by Panasonic and Sigma. But maybe that's the only way to have been able to use the L-mount on their new cameras? If that's the case though, I'm not sure why you even bother and just don't make your own new mount?

It's Canon, what you think will happen lol.

With the announcement of bankruptcy we thought this was all over? But no! Fran is the camera which keeps on giving!

stop playing hard to get, turn to the dark side. We have braw and chocolate chip cookies

SLR Magic have recently released 18mm & 12mm MicroPrimes for m43.

Never say never.. EOS R can already do 10-bit 4:2:2 external 4K, something even the C200 can't currently do. It makes total sense to now give C200 10-bit 4:2:2 internal (especially since C300 III is soon upon us) and EOS-R external raw to counter Nikon. Besides Canon strategy with mirrorless is for them to be complimentary B-cams to DSLR/Cine lines, they aren't in direct competition.

Would this work for you? https://www.newsshooter.com/2019/03/23/blind-spot-power-junkie-np-f-review/

"To start from"?? They're better off chucking out everything they've got into the fire and burning it to hell! Then starting again completely from scratch. (or even better.... not starting it up again)

There certainly is some content which ends up on YouTube, I'd have worked on a few like that. But yeah, most would be going to TV/paid streaming/TVC/theaters/etc

No one is happy about the crop or the rolling shutter (I am sure you were very happy about Log in the 1DXII), it is just what one gets from Canon at this price range and it still looks quite decent, simple as that, the RP is just way too limited in every way for not a whole lot less money. Panasonic Sony or Nikon all do FF 4k with internal stabilisation, but somehow I just don't prefer how they look. They also don't have the lens selection and support that Canon has. Looks very solid to me, rolling shuter or not. I think that this external raw thing could be completely bogus anyway, since originally it was offered 10-bit 4:2:2 external recording(4k only, so no 1080p FF to fight the trolling shutter), but maybe it is one of those rare cases, where they do actually react to what's out there (but it could take a fair few months to update the firmware anyway, even ver. 1.2 is a month away). If someone would crack the RF code and release a fully functional RF-EF focal reducer, for the EOS R (just like there is one for the M50), it would probably sell like crazy.

LOL! And that is just on the "big boy" Alexa, it has only got worse since then for audio! (exception: AMIRA)

I asked @Andrew Reid to check last night and unfortunately he has confirmed that the Panasonic 24-105mm L lens doesn't work on his Leica SL but his Leica 23mm L lens does work on his Panasonic S1. So, its bad news for Leica owners who wanted to use cheaper lenses but good news for Panasonic owners who want to use overpriced ones! Definitely smells like a software based lockout to me and I'm not sure where this leaves it with regard to the next generation of Leica bodies if they too lock out lenses and adapters from the other members of the alliance.

anyone notice a jump in ebay prices over the last week or so. i swear items i'm watching have jumped upwards of $20-30 . might just be the aussie $ doing a swan dive of the harbour bridge however. Been watching some pentax 17mm and 20mm and the same in canon fd mount they seem to be going ballistic in pricing, may as well just buy new. i think most people would assume your shooting stills and try to go around you. most people will look to see if if your about to take a photo. some idiots (like me) will wander about aimlessly hoping for 5 seconds of fame ?

I was looking at the 70-200mm f/4 earlier today but I’m afraid the white lens will draw too much attention to me while I try to steal scenes in public places. Do people stare at you when you shoot with this lens? On another note, I actually used my aperture ring for the first time today... haha... I’ve always been a wide open and fader nd kind of shooter. Am pretty surprised how shallow f/5.6 is on FF and how much easier it is to focus. #lazyshooter

Really interesting video by Wolfcrow about the Arri Alexa LF. It's long, but good info about the high end of filming and how, according to him, FF Cine cameras have been a flop. Also some Nikon Z stuff at the end of it. The output of the Arri LF is to kill for. https://wolfcrow.com/arri-alexa-lf-review-vs-red-monstro-vs-nikon-z6/?utm_source=newsletter&utm_medium=email&utm_campaign=weeklynewsletter&utm_content=text

i dont think canon cares what nikon does. nikon did it because they have nothing to loose. canon care more about their eos line. also raw is not that of a big deal for most. a good compressed codec, fast turnaround, thats what most want. and thats what canon is good at. but i was wrong on panasonic going fullframe, so maybe i just lack imagination...

You just asked and answered your own question

They were always very cautious about ever suggesting non Sigma EF lenses working on the MC11 E mount adapter so it was always unofficial even though most lenses did work so its likely the same story with the MC21 from that point of view. The big difference here is the restriction they've got on the body side of the adapter so even Sigma's own EF (and SA) lenses won't work. I'm sure someone will have a go to see if it does actually work in any way with existing Leica cameras but it sounds like its software locked to me as it seems unlikely they've only just discovered it doesn't work with them

The Panasonic S1 does have all of that now. It's sort of weird how much people have been ripping on the S1 - No, it's not a full-frame GH5, but with the upcoming V-Log/10-bit update, it's pretty darn close. Every other manufacturer gives us internal 8-bit 420 (Sony, Nikon, Canon), big crops (Canon), no 60 fps (everyone), etc. Add on that Panasonic has the best ergonomics for video by far (in my opinion) and a great XLR adapter, and you have a very capable camera.

A few things first: What does the speedbooster now make your sensor - is it S35/APS or FF? - If it's S35/APS, then the 58mm isn't going to cut it. You'll have to use an 85mm. (if it's FF, then that becomes 135mm). If you take off the Speedbooster & use the native M43, then you'll be able to use the Helios - in fact you could use a 50mm lens or you might get away with something smaller so try a 35 or a 40mm. That's your problem - you're using the wrong size taking lens. The larger Kowa will enable you to use a 45mm (maybe a 40mm) on APC size (with your speedbooster) & a 35mm on M43. Also, another thing to remember is that by using the Sankor 16D you will be getting a wider field of view than 85mm or 50mm, so don't get hung up on that! The Sankor 16D is a nice lens, so just work with it, rather than against it. Also what people tend to forget, or never knew, is that these anamorphic adaptors actually work best with longer focal length taking lenses - the wider the taking lens the more distortion etc. you will get!

Early April Fools?

I wonder if it's some sort of over compensation for always playing catch up. Sony has no real "firsts". And even if that doesn't mean anything, because it doesn't. It seems important among spec hunters.

If Fuji moves away from X-trans then I will move away from Fuji. The X-trans raw files is the main reason why I use them so much.

How about the RX100 M1 or the G7X M1? Either can be gotten below $200 used. Both have usable autofocus and usable 30/60fps 1080p The G7X has a 3 stop ND filter and a touchscreen and it will achieve the same level of background blurriness as an APS-C kit lens while having 100mm FF equivalent focal length. They are both pocketable and cheap enough to not worry about losing them/theft Both don't have mic ports though

That's really interesting. I remember loving the look of the Revenant (not my favorite movie, but I loved the cinematography), but feeling that a lot of subsequent Alexa 65 shows were a little more clinical and boring. Bandersnatch I thought looked good, but might as well have been Red or something. There's a rumor that Arri uses a diffusion filter over their OLPF. It's not true. But if you look at this footage carefully (download it): You can see the C200 has more fine detail and the Arri has more sharpening (unsharp mask) and a "smoother look." (The Arri also has a much nicer noise texture, superior linearity in color over exposure, and 1.5 stops more highlight detail, which this comparison masks.) I'm trying out Tiffen's Digital Diffusion FX 1/2 filter to try to get a similar softening effect, but it's incredibly subtle. Obviously, that smooth/soft effect and the Alexa's "film like" noise texture would be reduced with the larger sensor. So I think the S35 sensor for whatever reason has this smooth look that the LF and A65 lack. They feel more clinical and more textureless. But I've only worked with the OG S35 and watched footage from the others. Granted, the others still look great and are perfect for as a Venice competitor (or for Netflix), but it's really interesting to read that Deakins prefers the S35. I do agree there's a lot more great cinema glass for S35, even if it's mostly very expensive, and that sensor has an organic "feel." But the opposite is sort of true on the affordable end of the spectrum: there's a real dearth of affordable fast wide glass for S35 and tons of it for FF. The only good options I can think of for S35 at consumer price points are the Sigma 18-35mm for a modern look, or for a vintage look the Olympus 21mm f2. I think there's a Rokinon 16mm f2, too. I found an Olympus 55mm thread wide angle adapter on a swap table... maybe it's a sign that I should get the 21mm and use the adapter on it. 14.7mm f2. :/ And that would look VERY "vintage." I almost see FF making more sense for consumer cameras than for pro cameras due to lens availability. Nikon's 24mm f2 AI is a weird looking lens–I personally love it. But it's neither that fast nor that wide. (Nor that sharp wide open.) On full frame, however, it feels like a decently sharp 16mm f1.2 that's full of character... Canon's new 20mm t1.5 cine lens would be pretty great on FF and is relatively affordable, too.

Well, The cameras are massively more expensive to buy/rent, most content end up in 1080p on youtube so that a cost hard to justify. 4k+ camera also mean more data and more expensive post production. Plus the DOF is more shallow, when you pull focus it make things harder, and if you want a deep DOF you need more light if you want to keep the iso low. I don t think that much of an issue, they are many options available both modern and vintage, available already and rehousing solution for those have already been here for years Even the alexa 65 use rehoused mamiya 645 glass for the Arri DNA set ,and people are fine with it, vintage cinema glass also breath, much more than modern glass . For FF/vistavision you can get old cooke double panchro, panavision glass, leica R glass, russian glass ect....

Awesome! Arri is set for another 10 years of camera domininating. Hopefully one day I can afford one. Also prepare for the following posts: What no IBIs, what no autofocus, noisy at iso 3200... what a dealbreaker ?

No, I haven't. It might have been this one that you are thinking of which is the definitely not lacking in zoom range Canon 35-350mm L

I had the Moon Dog Anamorphic and now I have the Moment Anamorphic. I think the Moon Dog wins hands down on the stabilization part is better on the case or a aftermarket thing. But the 37mm is pretty huge to have to deal with also, I think the Moon Dog is a better overall Anamorphic lens but the normal Moment lenses are very hard to beat. And they are on average pretty small to deal with. And you can leave the Moment case on all the time. You are not doing that with the Moon Dog case and the clip on thing, which I have, is not a good option at all. If you are going for more of a Pro look output wise go with the Moon Dog, if you are just doing this for fun, family stuff go the Moment route. The Moon Dog stuff is a hassle trust me. Big and clunky equipment to do it. You can put the Moment stuff in your pocket. But both are pretty amazingly good for Anamorphic stuff. Done well it can be Pro looking output wise. They are not just toys. They hold up pretty damn good to the big boy stuff. Cheap trills and a darn good way to get into Anamorphic on the cheap. Phones are getting scary better each year now.

I love his response! "you can do that once you've refunded everyone else first...."