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Haven't even tested the 10mm T2.1 yet but here's some shots from the 25mm wide open at T0.95 with HAAAAZE

Yeah I used it on a three day shoot last week. Battery life wasn't that big a deal. Worked great with a monopod and minimal rigging. For handheld a monitor is necessary, we used the small HD and one of these little swivel mounts. Worked great.

Beginning to get the feel of this camera. It's a beast. Something I am going to avoid doing moving forward, is watching alot of these cameras reviews from these so called experts. Nothing beats your experience with a cam. For me, this camera is the best bang for £. I hate rigging cameras , unless necessary. I have kept my setup light. LP batteries and Lens with a hot shoe handle. The images below are from a shoot I dod recently. Set up: 1080p pro res Hq 24, 60 and 120 Tamron 24-75mm 2.8 Iso: 800 and 1000 Shot in film Graded in fcp x No lighting setup, just the fluorescent bulbs from the gym. When with the green tint for the look. I am a canon fan boy so, I want my colours to be rich and pop. This camera is shockingly better than I expected

@Matt Kieley nice images and cool story.. Glad it turned out well and you have a cool set of lenses. I still have a 13mm D-mount lens that is waiting to get Frankensteined onto an action camera.. I'm really looking forward to seeing the results. @Cinegain cool stuff. VLFV is a cool acronym, I like it. I've just taken delivery of a 1000W halogen light so am almost setup to do some lens tests with the various Russian lenses I have. I think people will be surprised at how well they perform, assuming they're not already familiar with them.

After the HELIOS 44-2, now as well the MIR-1B 37mm f/2.8 & JUPITER-9 85mm f/2 as VLFV (Vintage Lenses for Video/Alan Besedin) are available to pre-order at IronGlassAdapters. Individual or as complete set: https://ironglassadapters.com/cine-edition-lens-set/ They've also made some adjustments to the 58mm setting back the timeline slightly: 'improvements to the original design, including an upgrade of the front ring O.D. to 95mm for easier clip-on matte box compatibility. We’ve also improved the lens markings and added a “glow in the dark” paint. Finding & shipping the best quality paint and making new parts to for the updated design delayed the production by 3-4 weeks'.

A setup that might work is where you have three bags: a smaller carry-on that houses the equipment in its dismantled form a large checked bag (maybe hardcover) that can house the rigs when they're built out a largish softer bag for all your clothes and non-camera stuff and you would put the larger soft(ish) bag into the large hardcover case when flying and then you can remove it at the accommodation for days on set and keep the rig built-out. Just wait until you're on the "downhill" side of 40 ???

I don't know where you're based but CEX in the UK currently have one for £125. https://uk.webuy.com/product-detail?id=9338716001488a&categoryName=tv-media-players&superCatName=electronics&title=blackmagic-design-hyperdeck-shuttle-2-a MPB are always a good source of used Atomos monitor/recorders. They don't currently have a Ninja 2 but they have quite a few of the later Ninja Blades for a fair price, which will give you a slightly bigger screen and a bump in resolution over the Ninja 2. https://www.mpb.com/en-uk/used-equipment/used-accessories/used-photo-and-video-accessories/used-other-photo-and-video-accessories/atomos-ninja-blade/sku-901933/ The NDI add on is another Atomos product announcement that is still on the missing list unfortunately, which pisses me off because it was a contributory factor for me buying the Ninja V. As was the ProResRAW function of it for the Z6, although I was at least cautious enough on that one not to have have held off buying the Z6 until the update actually landed. The only one of the three AtomX modules that has made it out into the wild thus far is the SDI one, although I suspect the Timecode one might be appearing sooner rather than later now they've acquired the Timecode Systems company. File transfer with the NDI module isn't currently listed as an option.

Man, those shots at 1:50 - who needs a gimbal. Probably going to sell my GH5 and go back to Olympus. Even though the original EM5 had blocky video, I loved shooting photos and video with it and always had it with me due to size-weight. I heavily used the GX80, but the IBIS and viewfinder let it down. Was originally thinking of a used E-M1ii and E-M10iii combo, but now might just get a new EM5ii as it is small enough and does all I need... That and the 12-100/4 would be perfect for the event stuff I do.

I don't think you can go far wrong with the Ninja V in terms of what it offers you now and for future expansion. If its just for what you need right now, records on SSD and is cheap then a used Hyperdeck Shuttle V2 would fit the bill and will usually run you between £120-£150. No screen of course and whilst its predominantly a studio device it does have an internal battery that can run it for about an hour and a half so it can be pressed into service as a field recorder. A halfway house between the Shuttle V2 and the Ninja V, again for what you need now of doing 720p50, would be a used Atomos Ninja 2.

Really impressed by the colour from this camera. To me it's at least on a par with Canon and Blackmagic. Has anyone had a decent amount of experience with the S1 and S1H? The image looks to be quite similar but the S1 is so much cheaper!

Mea culpa. The RED.com RAW patents was filed in 2007/2008, so will basically expire in 2028. 8 more years to go and we can give RED.com the finger.

YES!! but Director of Finance says no... Basically decided on Voigtlander 42.5mm f0.95, and likely the Laowa 7.5mm F2. The Voigtlander because it is a very good performer stopped down, opens up as wide as they come, and matches my existing 17.5mm lens. The Laowa probably wouldn't match so well but is a good performer too and can be degraded in post to look similar when required. I was tempted by the completely amazing performance of the Veydras and the potential that Meike will be similar but for less money, however they're not as fast and the lens tests I did with the 17.5mm Voigt at smaller apertures combined with the 4K mode on the GH5 were too sharp / sharpened and so I'll need to soften the whole image anyway, so the pursuit of higher resolution isn't really something I'm pulled in the direction of. Although, the purpose of this thread was mostly to use my lens purchase as an excuse and motivator to do a deep dive and learn about lenses. I still haven't worked out if there's a difference with larger sensors, or if a 55mm + SB is somehow nicer than a 40mm, but in my tests I couldn't see any difference, so in that sense it doesn't factor into my understanding of the whole situation and I've kind of relegated it to an academic question for me that isn't that high up the priority list. I'm intending to shoot a bunch of lens tests with the lenses I have to kind of compare them to the database of lenses that others have tested above, so that might be interesting to compare what is readily and (in some cases) cheaply available.

Who are the judges? Can we ask them take an IQ test? Or maybe its too late for IQ test and we should consider MRI scan. I think some parts of their brain have serious issues.

i second the motion, apart from maybe using a chain for the driveline of a rather robust motorized slider i cant see any reason for chain advertising in a camera forum

all of them ?

Of course! Sounds ridiculous right? Just swap “car” with “camera” and “engine cylinders” with “resolution” and “speed” with “frames per second” and you have essential what the RED patent is. Bayer sensors existed before RED Bayer data existed before RED. The jpeg2000 Compression existed before RED. Hence adding “two more cylinders” is the same as RED adding “Bayer compression” to existing technology and then essentially getting a patent for “cars with certain sized engine going faster than X speed (a camera recording at 4K Bayer resolution at least 23 fps). All that shit existed before except the jpeg2000 compression to Bayer data. I have no problem with that part. Putting OBVIOUS things like FPS and resolution gives RED a blanket patent on compressed BAYER data 4K and up at 23 FPS and up. Which is absolutely ridiculous. If the patent instead said 4K and up at least 23FPS using X unique algorithm implementation then that’s fine. REDs patent is a blanket patent on ANY implementation. What if I have a better algorithm that improves on jpeg2000. Nope, RED by defaults owns that space from 4K to infinity and 23 FPS to infinity. It’s complete bullshit. Ans what about stills cameras? That have been shooting compressed RAW for years before RED was even a twinkle in Jim’s eye? Suddenly they can’t shoot more than 23 FPS because they will be infringing on REDs patent NOT because they are using the same compression technology as RED but simply because they hit a arbitrary number that RED claims an patent over. It’s moronic.

Here's a little video that I put together for those green chair shots.

So a couple years ago I posted a couple of videos I shot with the Canon TV-16 25mm 1.4 c-mount lens and the BMPCC. I loved the lens, but had to sell it (and some other gear) for financial reasons. I didn't want to sell it, but since I had a full set of Fujinon-TV lenses and only one Canon, and there seemed to be few Canon TV-16 lenses on ebay, I ended up selling it. I'm working full time again and more financially stable so I decided to try and track down the Canon TV-16 lenses. I set up an alert with eBay, not expecting anything, but just hoping. As luck would have it, some lenses popped up. The 25mm 1.4, like the one I had before. I looked at the listing and thought "wait a minute, this one has a follow focus gear attached to it like what I had done to mine. Wait, the seller's username is familiar. Holy shit, this IS my old lens." So I made an offer and won He was also selling the 13mm 1.5 for a fair price. And there were a couple 50mm 1.8 lenses available from other sellers. So, I not only put together a set very quickly, I got my old lens back. I shot some BTS (with the BMMCC) for a friend's short film recently, using the lenses. The first two shots are the 50mm, last two are 25mm, everything in between is the 13mm. Mostly shot at f/2.8-4. The 13mm and 50mm flare like crazy, but I like it. These definitely have a ton of character and are probably my favorite vintage c-mount primes now.

Well I received it 2 days ago (3 days before the estimate) ? Years ago my main casual camera was the Panasonic GX7 + Olympus 17mm f1.8. This camera actually achieves everything that I wanted in an upgrade to it. Maintains the same body size but has a better grip. Better sensor. Better colour out of camera. An even smaller 35mm equivalent lens. And has video stabilisation, I've been comparing the Canon to my Fuji XT30 ? Something that surprised me is that there's actually a setting called "Highlight Tone Priority" that's not too dissimilar to Fuji's DR setting. Disabled: Enabled: And so the result is that you can actually get quite similar dynamic range to the Fuji with Eterna on DR400. Fuji: Canon: Fuji: Canon: One thing that disappoints me is that bokeh of the 22mm is noticeably smaller than the Fuji's 23mm. Fuji 23mm f1.4 @ f2.2: Canon 22mm @ f2: Another thing I noticed is that Canon's whitebalance usually does a better job than Fuji. Prior to the X-T30 I've also owned the X-t2, which also struggled with finding the right WB.

The biggest surprise for me with this camera is the outstanding color reproduction. Skin tones are spot on. This matches up much better with my Red Dragon than the BMPCC4k. Would love to see some kind of 12 bit raw implemented. 5.8K - 4000 ISO - 24p frame grab:

It’s odd - I get fanboy will be fanboys - but why is everyone on Facebook and reduser saying this is such great news? I mean even if you own a red, why wouldn’t you want to see compressed RAW in other products? Competition is a good thing and it gives consumers more choice. It’s like me celebrating that my S1H won a case that will allow them to be the only camera that can record to an SD card. Why would I celebrate that?

Keep the topic alive! I this camera is actually still years ahead of most cameras! For the price of $500 on eBay you can have a camera near the quality of an FS7 or a RED! From what I have read on this post it seems having 3 customer picture wizard profiles makes it appropriate to switch as needed. I have found that moving the Hue to -6 also improves the tone of the image and so I set all 3 Custom Profiles to the same settings (-10 Sharpness, -3 Saturation, -5 Contrast, -6 Hue) except for the RGB sliders. So in bright contrasty light, I may use Custom 1 with the settings of R: .88 , G: .86 , B: .87 to bring down the gain on the sensor (to my basic understanding) and in Higher Dynamic Range Situations, May go to Custom 2 with the boosted settings of R: 1.88, G: 1.86, B:1.87 and Finally I have a Custom 3 profile with R: 1.44 , G: 1.43, B: 1.44. This is a bit more contrasty but still with a wide DR. All of these Settings also are running on 16-235 and Black Level at +15. The results are pretty amazing just from playing around. Makes me want to find all the NX1s out there and hoard them!