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take the "1" off and we can talk ?

If you guys are into manual focus primes, I'm really impressed by the Meike 25mm t2.2, and I'd imagine their new 16mm is just as good. It's very well built, incredibly sharp, and has a beautiful out of focus rendition. Having always wanted to try some Veydra primes, I couldn't resist the chance to test out the Meike for the $330 price tag. If you look at Veydra's performance in some MTF tests from Lens Rentals, they put some Zeiss CP.2s to shame. Even at T2.2 they look to just edge out the best Pany-Leica and Olympus pro glass stopped down to F 2.8. Some links to compare MTF tests: https://www.lensrentals.com/blog/2018/03/veydra-cine-mini-prime-mtf-optical-bench-tests/ https://www.lensrentals.com/blog/2018/03/finally-some-more-m43-mtf-testing-are-the-40s-fabulous/ I'm currently in the post hell of a large project I'm wrapping, and will not get a chance to really test the lens out for a while, but I've been towing my GH5 with the Meike around and shooting a few random things when I get a moment. Here's a few frame grabs from Resolve. The horse was shot around T4-5.6. The others were wide open. Everything was shot in V-log with a quickie color grade so I could see what I was looking at. No sharpening in camera or post. Based on how happy I am with the Meike, I might end up collecting a few of these if Veydra doesn't make a return to producing lenses.

In my reading about cleaning vintage lenses most people recommended not trying to clean zoom lenses because they're too complicated to put back together again. The vacuum method will either work or not, but if it works then there's no assembly issues

Maybe look at the Z-Cam E2-S6. It's a 6K cinema camera with a Super35 sensor and a MFT/EF/or PL mount for $4,000. These follow the "sensor in a box" definition of a cinema camera. It's like the next evolution of the Blackmagic Micro Cinema Camera. Due this October along with an F6 (Full Frame 6K) and F8 (Full Frame 8K), but those will be EF and PL only. I've got my eye on the F6. Sample clips look promising.

Sony absolutely dominated with the FS7 because they were the first to offer 4K at that price point in camera. (which wasn't a mirrorless/DSLR) Then on top of that they also had it doing 4K 10bit 60fps internal! And 180fps HD continuous slow motion. When it comes to specs nothing could compete for a very long time. Arguable there is still NOTHING which can compete. The C300mk2 is a competitor, but doesn't match (let alone beat) the Fs7 on specs. Ditto the EVA1. The URSA Mini Pro gets close indeed, but then you have to deal with the lower base ISO and the brand name of BMD can never compete against "Sony" This is why the FS7 was #1, as it was first to market with some really great specs, and it remains #1 as nothing matches it yet. Most netflix productions do not need raw! And the C200 is missing out some key features like TC, or multiple SDI outputs Don't forget Varicam LT / S35 for yet another new mount to throw in there..... PL mount! (although you can swap them to EF, so at least matching with the EVA1. But you're left with this big divide which can't be easily crossed when you're got new blood coming up with mirrorless Panasonic cameras, where can they go to? You run a very high risk they might then leak to other systems) Still a pretty lightweight package! Only the Panasonic EVA1 can really compete against it as an even smaller TC cinema camera

We have an Ursa Mini Pro at work and just shot a big project with both that cam and the Pocket4k both maxed out and, yes, in certain scenes the DR advantage can be seen, but for the most part they look very similar. So much so, that to most, no one could tell the difference. I guess it depends on what you're shooting. I have both the OG pocket and the Micro. Not sure I should keep both, but I too love the image. Even when we were shooting a lot of projects with the FS7 I thought the Micro blew it out of the water. Just a beautiful image.

I'll change my ways...

Especially if you're trying to juggle focus with a manual focus 0.95 lens!!

I think the price drops from Nikon and Canon are probably reflective of slow body sales due to people hesitating over buying into a new lens mount as much as they are about the bodies not being interesting enough. Both systems launched with pretty underwhelming native lens lineups that offered no enticement to anyone to make the switch if they could only get their current lens ranges via adapters. Most of us on here have no problem being early adopters and using adapters but I'm not sure its a view shared by the larger camera buying public. I think that Panasonic may well be walking straight into the same problem unless Sigma get those native L mount lenses out pretty sharpish.

But since I sent out the Canon FD 50mm L to be modified, I found a dirt cheap Samyang 50mm 1.4. And as much as I like the Canon FD, I'm unsure if I like it 3x more than the Samyang... Both were shot around f/2 and both have my hatchet job color grade... lol.

So, I received my EF modified Canon FD 50mm 1.2 L back last week. Simmod did a wonderful job. Luckily, I had a shoot day last week and I was able to get a few minutes in between locations to run off a few test minutes and here's a frame from that test...

GH5s in a C100/XC10 form (or even Sony VG30 form) would be great. A real lightweight all rounder.

Big fan of the new Cut page, I'm all about the fast edit and this makes it easy to quickly splice something together, then go to Edit for further refinements or just color and finish. I have to cut 9:16 and sometimes 1:1 social videos for IG and FB, anything that speeds up my workflow is a godsend. I absolutely love the triple timeline. The method of scrolling through the big timeline with a fixed play head will take awhile to get the muscle memory, I keep trying to move it instead of dragging the timeline. So I'm not saving much time just yet, haha. Fingers crossed the Cut page will also find its way to a Resolve Mobile iPad app with color wheels, scopes and other grading tools. Haven't found an app better than Lumafusion, but I rely on the RGB parade to remove color casts and balance things out, I tend to push things a little too far if I just eyeball it. Its my #1 complaint with photo editors like Lightroom, I prefer scopes to a histogram. Alas. So far 16 is a big winner, so glad I took the plunge and dumped FCP/Premiere. Chris

That's the digital stabilizer that shifts the image on the sensor. Kind of like an in camera version of post stabilization. I prefer to just use the mechanical sensor stabilization and lens stabilization if a lens has it, and add digital stabilization in post. If you need it and don't want to bother with the post work, it adds a little more smoothing to your video. One difference between the mechanical and e-stabilization though is that the regular sensor stabilization will help correct for the motion blur in micro jitters, but e-stabilization will not.

Yeah, I remember reading somewhere that the cost for a full frame chip is only a $100-$150 more than an APSC. Why would Nikon want to split their time catering to that market when they need to stay busy filling out an offering of full frame lenses? If you want to shoot super 35 on a Nikon, just use the crop mode. I think the APSC format was a compromise due to the limitations of the technology of the time. Nikon and Canon are probably happy to leave it behind on their new generation of mounts. I won't be surprised to see full frame Nikons and Canons in the $500-$600 range in a few years. Long term, I kind of see the market shaking out into M43 for those who want small travel cameras with a few more features and options than smartphones. Full frames with crop modes for the mid range, and Medium format for crazies who want to go for a niche look. Hell sometime in the next 10 years I wouldn't be surprised to see an IMAX digital sensor for big budget and special venue projects.

True, but if they come out with the Z mount on them I think they are doomed. You might as well buy a cheap FF, which Nikon is going to have to do to compete with e Canon RS. People are not going to pay more money for a lens than the camera cost in that bracket. Plus with the rise of Smartphones, I am not sure how many customers are really even left in the APSC market anymore. It really might not even be worth Nikons effort. The real hardcore enthusiasts APSC users are firmly in the Fuji, Pentax camp anyways. They are the ones that throw money at them. I really doubt Mom and Pop are running out in droves to buy cheap DSLRs, or Mirrorless cameras now. Those days are over with. Actually camera sales of any kind are nearing a end for anyone but hardcore shooters. Couple more advances on Smartphones and it is why even bother for the average user. Sure we might buy them, but that is not enough people to bother to even make them unless they raise the price to crazy money again like they were 6 years ago. I sure as heck would not want to be in the camera business long term as of now. It has to be a dead end road selling in any volume to make it worth it, Mirrorless or not.

The EOS R, Z6, even S1 are a hard sell in the eyes of the average customer, who don't really see these doing anything particularly unique compared to Sony, long established on the full frame mirrorless market, or compared to the kit they already have. I am sure some of us and early adopters love the Z6 and S1 in particular but I just can't see sales rocketing up... Panasonic made a mistake with the lens pricing and AF, whilst Nikon couldn't decide which customers to aim at. When China joins the party, the established players are going to be even more fucked.

What now?!

I got my R for way cheaper than that 2 months, thanks to Canon in Oz been generous with $1 R auctions (they stopped when RP comes out), though my one wasn't the lowest amount among the past winners but so far I am pretty happy with the camera overall, video look more natural than M50.

Pick up your color ; -)

This is exactly why I haven't installed it, it's not on their website, it's some file some guy uploaded and he didn't even answer my question about where he got it from. Shady I did and it's definitely there but I almost never notice it when actually shooting. Last sunday I shot a small concert and then it was noticeable, because I could hear the drums hit before I could see them, but again, it didn't bother me that much. You can check out my review if you want to see what the delay is

Yeah the FS5 is really nice and small. I feel like with Z-cam rising that type of form factor is the future.

What would "force" the FS7 to be "replaced"? It won't be 8K any time soon. The FS7 is a very solid camera which I bet will be a work horse for years to come. I wouldn't rent a C200! Would be nothing less than a C300mk2 or FS7 (with XDCA back) or EVA1

Wake me up when they've dropped another 50%! I'd rather take an Olympus EM10mk3 or Panasonic G85 (or wait for a "Fujifilm X-T300") It is the natural risk everyone takes as an early adopter! None the less I've seen many angry posts from early adopters on social media. When it really should be no surprise to them whatsoever.

Camera sales have been abysmal this year. CIPA shows that for the first 3 months, DSLR shipments were down 40% and mirrorless down 10%. The fall in mirrorless is particularly bad considering that both Canon and Nikon have fairly aggressively entered the market. A friend of mine wants to upgrade his 5D mkiii - he was torn between the RP and the 5Div. After going back and forth for a month - he decided to wait another year. As for EF lenses - Canon doesnt have a lot of choice. The EF lenses are built for PDAF focusing and dont have stepper motors for efficient CDAF focusing, so they have to bring out new lenses. (Incidentally pdaf should always work better on a DSLR because the sensor array (off sensor) can be larger than on sensor mirrorless systems.

Broadcast requires 10 bit 4:2:2 The GH5s is the exact same sensor as the BMP4k, the sensor size is exactly the same.

Sounds like you're talking yourself into the Samyangs, with their ease of focus, more flexible look, and greatly reduced cost. Plus, if you get a set of them then cutting shots together will be so much easier. Neither - those damned beaches are haunted! ?‍♀️?‍♂️???

It does. I've found there to be three different types of lenses: Fast ones that are soft wide-open but sharpen up stopped down two stops Slow ones that are sharp wide-open (are probably just the previous ones without the wider aperture adjustment) Fast ones that are sharp wide-open and cost an arm and a leg! I have a set of the first ones (fast/soft wide-open) and in a sense you get two aesthetics in one. You can always apply a slight blur in post to make the narrower aperture settings look soft like the wide-open end, and if you only have an odd shot wide-open here or there you can often sharpen them up so that they don't stand out in a sequence. Yeah, just different. I really like the IBIS for being able to stabilise manual primes, and that's one of the main reasons I bought my GH5 mid-last year. Yes, for $2.5k for a lens, you're almost better off buying two primes and a second GH5 and just carrying two setups

Some vintage glass is really nice wide open but most when stopped down a notch perform really well. For me the law of diminishing returns comes into play when comparing with higher end glass. Depends on the specific lens in question of course.

Ah, yes, vintage lenses are a different aesthetic. It's common for pros to have two sets of lenses, one vintage and one modern, although if you're shooting higher budget cine stuff then you often hire the modern ones (CP.2 etc) and keep the vintage set for yourself for low budget or personal projects (and maybe to hire out). It's about choosing which aesthetic suits the project. There's a new panasonic 10-25mm f1.7 in the works if that helps. But I fully agree with you, FF has the 2.8 holy trinity, APSC has the Sigma 1.8 pair, and MFT has ...... nothing. The holy trinity for MFT would be 8-12/1.4 + 12-35/1.4 + 35-100/1.4 and theres nothing even close. In live event stuff you may be torn between having a zoom with a wider range vs faster aperture.

Saw this at Reddit and thought you might like it. This person used your workflow and lut.

I haven't done side by sides, but I do like the Hero7's 4k60p output and the stabilization is convenient. I just did a shoot on a bunch of roller coasters and the footage looks good, audio is surprisingly good too. I don't shoot in low light with action cams very often, so I can't comment on the difference there - they all look pretty rough with the small sensor. Part of me moving back to GoPro is just the simplicity of the mounts/accessories, no need for a waterproof housing, and the touchscreen - makes changes a lot faster/easier and I don't have to do the button dance through menus. I have a few handles, the orange GoPro floaty with the padded grip, a generic extender pole that doesn't float, a suction cup, chesty and so on. I have the session as well, its served me well, but IQ isn't great, the battery isn't removable, and its app connection is iffy at best - and I rely on the app for framing quite a bit. The square form factor is cool though, makes it easy to get different angles by just rotating the camera in the mount - like sticking the pole out a car window, just turn the camera 90 degrees and you're good. I wish the Hero was a square instead of the rectangle. I really like the RX0mkII with the selfie screen and the larger sensor, but the lack of 4k60p at that price point is a deal breaker. From an IQ standpoint, especially in low light, the RX0 is probably your best bet. Chris

Seems like anything with a sensor smaller than full frame is fighting an up hill battle in the industry. It’s full frame hysteria going on right now in the industry. And everybody will migrate to full frame with big cameras with IBIS and monster telephoto lenses. Then software will catch up and make DOF an afterthought. A post processing, creative option with a checkbox and a slider. I really like the trade off MFT makes with regards to size and image quality, if you consider DOF as image quality and not a creative choice. I think shallow DOF is almost a fad now. Like you can’t have cinematic footage that doesn’t have it. Which is totally rubbish. Framing and composition is where it’s at. Shallow depth of field on every shot to make it feel “cinematic” has is a YouTube fad and just a type of laziness. I am afraid resources will be taken away from developing new and improved MFT sensors that offer improved dynamic range and color rendition. MFT gets shat on all the time now. Except it pioneered the mirrorless revolution we are seeing today. Everybody wants to be smaller and faster with amazing digital EVFs. But I’m just one of those illogical MFT shooters. So take with a grain of salt.

Yeah but it became the industry standard for a reason. again the ecosystem. By the time FS7 was getting popular, most low to mid videographers had moved over to Sony Alpha mirrorless system. Same E-mount wether APS-C, FF or S35. Metabones/Adapters for every lens possible. Sony also came out with the cheaper FS5 and all that created strong incentive to rent/buy an FS7 when moving up. Very clever of Sony. Canon however was very slow to adapt to the mirrorless game with ageing outdated DSLRs and especially 4K. They missed that boat with until recently only the C300 mk2 & 1DC as the cheapest 4K options which were astronomically expensive and exclusive to EF lenses.. They are back in the race now with EOS R & C200 providing a strong combo and upgrade path. a RF C100 mk3, pro EOS R & 8K C300 mk3 will possibly put them back on the map. Videographers will always have a soft spot for Canon CS and their glass despite recent disappointments.. Panasonic are trying to go after that market with GH5/S1/EVA1 ecosystem. Problem is those 3 cameras have different mounts & sensor sizes. It's a mess and not really taking off.. they alienated their own MFT user base by going EF mount on EVA1.. and now expensive L mount for S1. Folks that'll switch systems easily need a consistent solution for their lens collection. BMD remains the only real pro budget cinema ecosystem alternative to ARRI/RED which is a different market then what the Japanese are going for.

Yeah as a Sony shooter I wish there was a VG40 or VG900 successor (FS3) Handy cam form factor with built in NDs + XAVC L. They'd probably omit SDI and xlrs to seperate it from the higher End XDCAM bodies.

Haha, interesting idea. I saw a Micro sell for $450 last month. I was about to order it after I went to the bathroom... let’s just say number two cost me one really cheap Micro.

Definitely considering a Micro. For me right now though the Ursa Mini 4.6k seems like a great deal. Just saw one for $2500 on ebay. Quite expensive compared to a BMPCC but crazy cheap for what kind of cameras it can compete with.

I feel the same. That video of the fog looks great. The video of the boats man looks great... but they both look like they could have been shot on a number of different cameras. That BMMCC short is truly spectacular and there are so many narrative works shot with them... features and shorts. I think a new thread is in order showcasing narrative shorts and features from the BMPCC and the BMMCC. This way we’re not polluting this thread, while still showcasing very worthy works by the narrative filmmakers that shot on the earlier BM cameras. The image is more than relevant today and worthy of showcasing. In fact, I am seriously considering another Micro or Pocket camera. At the prices they’re going for... it’s really a no brainer.

A C300 mk2 then

Yea exactly. Seems so simple. I don't think this would cut into their EVA-1 sales because people who are buying that camera want super35mm, 5.7k raw, etc. But a 10-bit 422 GH5s-sensor with full V-Log in a XC-15 or C100/FS5 style would be amazing. Throw a speedbooster on there and you've got a wider FOV than super35mm or stick with MFT and use lightweight lenses. $4-5k. It also is weird that nobody is making MFT or APS-C video cameras in the style of the Sony NEX-VG30 or Sony NEX-VG900 - everything under $5k is fixed lens camcorders. I guess if you made a video camera for $3-5k, they'd lost A7s and GH5 sales? If there was an MFT video camera, I'd much more likely hang on to my GH5 and also buy the GH6 as a b-cam, especially with that 10-25mm f1.7 coming out. But I'm getting tired of having different lenses and lens mount for my A-Cam (EVA-1, EF Mount) and my other smaller b-cams and photography cams (GH5, S1) - so something has got to give soon...

Ah thats too bad, I thought we had a free lunch

Now only US$36K!! Bargain! Except you could buy a Panasonic Varicam LT for under US$15K instead https://www.abelcine.com/buy/cameras-accessories/digital-cinema-cameras/panasonic-varicam-lt-4k-super-35mm-cinema-camera-ef-mount

Just a reminder: You'll get a massive vignette if you use 25 mm M4/3 lens with a 2x anamorphic adapter. The widest you you could go is 42.5 mm

Thank you.. what do you think about the portkeys BM5? is 2000nits https://***URL not allowed***/portkeys-bm5/ In Italy the price is €560euro IVA included Is 500nits brighter than the Portkeys Lh5 HDR that is €364,78 IVA included..and is entirely made out of aluminum... I'm very happy with the BMPCC4k...but...I have to see what I'm filming...in every conditions

Honestly the LS300 is still a very relevant MFT cinema camera, especially if you use the Ninja package. It's a steal at this point, in my opinion. With that said, yes, I'd very much like someone to release a new cinema camera with the MFT mount.

While I hear what you're saying...what you are asking for is a MFT 'broadcast camera'. Cinema cameras have never really cared for internal ND's, 4 channels of audio or great quality audio for that matter. I said it when the Pocket4k came out, but if Blackmagic released a Pocket4K Pro with internal ND's , a tilt-able screen, and a form factor more like a small FS5 or Or Canon XC line camera, they would see like hotcakes.......and maybe the should just call it the Blackmagic Pocket4k Pro. Don't use the words 'Cinema' or 'Broadcast' in the name at all. I really don't agree with this. A Cinema Camera is made very differently to a camera you would use to shoot weddings. The Arri Alexa SXT for example, has most of the camera setting controls and LCD screen for checking settings, on the opposite side of the camera to where the DP or Operator is as the 1st AC generally changes these parameters. A cinema cameras main focus is image quality. For example, the reason they generally don't have built in ND's is because a good quality ND filter set used in cinema, costs more than the Pocket4k or any other VDSLR alone. I see what you are saying, and while yes, you can use some cinema cameras like a Red (due to it's small form factor), to shoot weddings, I think people are really expecting one camera to do everything from shooting weddings to shooting feature films and to appeal to everybody which is just not going to happen any time soon, especially at the low end price point and with a form factor of a small VDSLR. While sure, you can shoot a feature film for cinema screening on pretty much any modern day video camera (the Ursa Mini Pro has internal ND's as does the FS5 and both of those cameras would look fine on the big screen), we should stop using the term 'cinema camera' when what we are looking for is a small camera that is suitable for self shooting and has all the bells and whistles of a modern DSLR. In the same way as many people who pick up a DSLR call themselves 'DP's' when really, they have never had to plan lighting set-up's, direct a team of gaffers etc. We use these terms because they sound cool but it just causes confusion. Sure, its might be cool to say to the client that the camera you are using to shoot their wedding is what they shot 'XYZ blockbuster feature film' on, but is it the right tool for the job? This! I have now told three friends with Pocket4K's to buy a monopod after they switched from VDSLR's with IBIS to the Pocket4K. These friends had never used monopods before and all three came back to me after a day of shooting saying how amazed they were with how easy it was to shoot with and that they far preferred the subtle look of motion when using the monopod compared to when they shot with VDSL's that had IBIS. Monopods are great for quick shots and super versatile. Get one with the three feet at the end like the Surui 204 series.

Aren't a lot of B4 lenses parafocal? Depending on the sensor size / crop that might be an option.

Dear Andrew, thank you for your articles and wonderful site full of enthusiastic discussions. I learned a lot from these discussions over the past years - especially on the anamorphics side of things. That said, the increasingly aggressive tone in your articles saddens me. Why is this necessary? That is not to say that I agree with Tony Northrup‘s video ... but is it really that important? I would love this forum to remain the place of positivity, creativity and artistry - something I look up to. There is no reason why it cannot remain that. Kind regards, Eric

Actually the 5D Mark ii and iii had pretty low dynamic range (lower than the Panasonic GH5 cameras at base ISO). And let's not forget the soft HD for video. Evey camera has its issues and limitations, somr way more than others.