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A lot of us can’t help it! It’s a human tendency to want the next best thing and never be happy with what we have. To be honest I had a itch to pull out my wallet and replace my GH5S...XT-4? S1H?... Then this global pandemic hit and quarantine happened. We also decided to move and sell our house so I naturally grabbed my camera and documented it. To be honest the more I was creative with my camera the more I enjoyed using it to create something. The image with V-LogL is quite fantastic. I decided to use Buttery LUTs in an attempt to just shoot and focus my attention on exposure and white balance and not mess around too much in post (Some screenshots below). We don't think about the specs of our hammer when we use it, we think about what we are making with it. So that's the mentality I'm going remind myself to use. Some other conclusions: I am 100% convinced I prefer glidecam/shoulder strap stabilization and locked-off tripod shots over a gimbal (so I'm selling my dusty Weebill S).

Lol could literally be any camera. Are the screen grabs SOOC or graded? Lot more interested in the lens than body TBH. You seem to have quite the collection of epic vintage glass!

It's quite funny how a thread on the perils of G.A.S. has turned into another G.A.S. thread...

This is a frame pulled from the video at 1/200 (for a photo a bit on the limit as you can see on the horse legs that are a bit too blurry), I have the video with added mention blur if I have the time I can pull the frame with the blur to compare. Forget the horrible location etc. as here most of the things are still closed. Goal is to provide picture like this but also some video snippets for social media etc.. this is a photo that I took at 1/1000.... so probably something 1/400 maybe a good compromise....

I am just amazed they felt it necessary to release a 'cine' phone before they release the A7S III!

Last one for now.... Same camera... 4K frame grab from Premiere, exported as PNG. Be sure to give it a download and a good pixel peep.

A few stills from a shoot last night all on the Pocket 4K XL and CZ 35mm 2.8.

Yep we posted in another thread about adding motion back using Resolve..... I did experiment more so it depends a lot on the scene and background as just a tad of blur does not add too many artifacts in case of complex bg like a metallic fence can cause bad artifacts. My test was a show jumping horse in a parkour the goal is to pull picture at 1/250 or 1/500 and have a usable video. So to an untrained eye you can fool them but for real pro work not sure I would use it. But in case where photo has priority I will definitely use it.

Resolve offers something like this. It's quite good, actually. Did you give it a whirl?

Considering the breadth of the features on this one, the Least they could have done, is given multiple bitrate options. Also, I wonder if this is also 10-bit like some of the other flagship Xperias. Interestingly does seem to have HDR (though the A Series has it in 8-bit 100mbps).

CORRECT!! I have made EOSHD Pro Color for it.

Yeah exactly have tried a bunch of them some years back, some worked way better then others, but I prefer the black pro mist filters.

Ah I was thinking of the 16-D! Yes 16-H and 8z are the same. Actually I now prefer the Bolex Moller for the smaller size to my old Kowa... but the Kowa 2x glass is right up there with the Iscorama.

In many ways you’ve got more creative control with an EOSM and Magic Lantern, or an iPhone with FilmicPro, than you have with most ‘professional’ cameras. Hurry up with the EOS App Store!

This + It's a low dynamic range image with no skin tones/sky/plant life in the shot. We don't even have the motion of the image to aid in telling what camera it is. It could be shot with anything.

Canon EOS 250D Nikon D7500

By the way, sorry for the clickbait title but perhaps a sign towards what is to come in the next Alpha instalment? First time in a while (or ever period?) that Sony is placing pro CineAlta features in a consumer product!

16-H, 8z, Elmoii, B&H are all the same, there is no one in this world that could pick them apart in a blind test. IQ differences are more sample variation and age than anything else (also all can come with different colour coatings).

The other thing I thought was strange in the video is when he says that people put stockings over the end of the lens, but I thought they put the mesh filters between the lens and the sensor, so at the inner end of the lens. I wonder if that has an impact on the effect. He also put a stocking and then complained that the effect was too strong, but there are many meshes available that wouldn't have so much coverage and therefore wouldn't be as strong. Lots of stuff online about different meshes and their effects.

Indeed. Promising to say the least ; ) https://www.phonearena.com/news/learn-how-to-shoot-movies-with-the-xperia-1-11-5g_id124828

Speaking of Lomos, there's a guy who did a group buy on Reduser for newly manufactured front elements for the 35mm Squarefront. Once he got enough people to commit, he got a Russian lens factory to do a run. He was quoting around $2000 a piece. Now let's say that you wanted to mass produce Lomos again. The squarefront has four cylindrical elements in 2 groups. Let's figure $1,500 per element since the higher the number, the lower the piece. That's $6K just in anamorphic glass. Add another grand for a simple spherical group in the back. The original was a copy of a Zeiss Distagon. Plus a rugged housing with synchronized dual focus mechanics in PL mount. Van Diemen Optics quotes 6300 pounds for a squarefront housing. Let's just call it $4K which is the lowest conceivable sum for a sturdy lens barrel with two different focus movements. That's $11,000 for a brand new Lomo Squarefront, and I'm being extremely conservative here. And you're still getting a lens with poor close focus, severe breathing, mumping and considerable falloff on the sides. Multiply by three for a complete set of 35mm, 50mm and 80mm lenses and that's $33,000. Now how much is a set of used Squarefronts these days? The economics of anamorphic at work.

We can leave off crap from the list, no point adding some of the lame ones.

Yes. The irony. The time has come to face up to it. We're addicts!

Sensor tech is cool but I'm more excited about the overall package which Sony seems to be in a lead position with Alpha series team & Alta Cine pro line features trickling down into their new: Xperia 1 II 4K60p. Venice CS. H265. 23.98FPS. Manual focus. Shutter Angle etc.. Alongside triple lens Zeiss DPAF system.

Oh and from what I have seen and unless I have said this before, the OIS on the 16-80 seems as good as the IBIS in the XT4. I’d go with the XT4 if I could for all the other benefits but can’t get past the screen. Still planning on getting one though, but it will be purely for stills as for video for me, the XT3 is a better option.

I can’t find a better combo. I would rather the 16-80 was f2.8 but it isn’t. I would rather the 16-55 had OIS, but it doesn’t. I wish the Sigma 18-35 had OIS, but that doesn’t either. I wish the Tamron 45 was a bit smaller and lighter... Compromise everywhere as there is with all kit, but for my wedding video needs, paired with XT3 (not 4) these I feel are my best options. I am going to (when work starts back up in 2025) replace my current cheap Gobe variable ND with the Polar Pro, but otherwise the only interesting bit of kit on the radar is Fuji’s own 50mm f1.0. I hope it’s not too big or heavy compared with the Tamron 45, but even if it is, still might consider it if it’s the dogs wotsits for video. Generally though, I think other than the MK’s (too unwieldy and no AF so not for me) Fuji’s lens options for video is not the best but other stuff with the Fringer works really well.

Hi, it is an realy interesting look in the medium format anamorphic images. I am looking forward to see it in motion. But I think using the Panasonic S1 in ~6K Photo Mode and 4:3 ratio is a big competitor and not so expensiv. Ok, you can only record 10 minutes, but I dont want to make interview movies. Here an example image and here the final How-To-Corona-Clip: Used: S1 + VLog, 58mm Helios, Isco Ultrastar Red and the great FVD-16A from Rapido Technology. Best regards Ingo

Hmm, this is one of the coolest threads about gear this year so far imho. Minolta AF 35mm 2.0- thank you for this great info, Andrew! I would keep my newly acquired Sony F3. I was amazed about the internal SLOG in 8bit 420. I don´t think its internal image is worse than from the C100 mk1+2 nor from the old C300. Need to hook up my Shogun if I can find it- talking about GAS and not using stuff:) Would keep the S1 and get the VLOG update and would love to buy the 28-50 Canon FD. I´m a sucker for 28mm on S35 or at least speedboosted MFT format. Last piece of gear this year, of course! Would keep my GX85. Inspires me like the G6 before.

If I only had to keep one camera at the moment... Let's see. I like grading LOG but don't like monitoring with it. Needs a good view assist. Or a really good standard picture profile. I am addicted to Classic Negative at the moment on the X-T4 and the Teal & Orange on Fp for something even more stylised. But doesn't suite everything like Classic Negative. Let's say X-T4 makes a good case for itself here and the Pana S1 with it's in-camera LUT support. Next, only having one lens is a challenge, because I've jettisoned the rest into the skip and can only keep one. If it's the X-T4, it'll have to be the Sigma 17-70mm F2.8-4 C (newest one) or Fuji 18-135mm. These do everything. Think I'd choose the Sigma for the macro and faster aperture. If it's the Panasonic S1, I'd go with a prime and forget about the terrible AF. A good 35mm F2 so at least you have wide angle and 50mm in Super 35mm mode. F2 to keep the size down. Let's call it Voigtlander 35mm F1.8 Ultron or Zeiss ZM 35mm F2. Unless close focus is needed, then it'd have to be the small Minolta AF 35mm F2.0, lovely rendering and simple to manually focus. If I am truly going to box myself in, I'd have to choose between S1 with the prime and X-T4 now. Tricky one. Don't think I'd pick either actually. Sigma Fp with Canon 28-70mm F2.8 EF (old version). It's parfocal. Good manual focus. Full frame. S35 crop gives you more reach. Can shoot RAW internal. No IBIS stops you being lazy and getting nicer shots on a tripod instead. Great colour and codec options. Just no EVF or articulated screen, which could be tricky sometimes. Nope having just one camera is impossible. I'd keep all 3 and then turn the internet off and use the GFX 100 instead.

I found the hairspray trick to work quite well

I would like simpler lens designs to make a comeback in the cinema world. The large size and complex mechanics of most cinema glass is mainly to prevent breathing and chromatic aberration. Breathing correction accounts for half the size of the Master Primes for example. I find that unless you're shooting for a massive cinema screen, breathing isn't really too much of a problem unless you rack from infinity to close focus on a static shot. If you're shooting with a lot of camera movement, it's barely noticeable at all. And hell, considering how much is shot on older anamorphics these days, even big-budget blockbusters, breathing is clearly not the issue it used to be. Also, I disagree with the tact many manufacturers have taken with adding "character" to their lenses after the fact. They build hyper-modern, ultra-sharp lenses and tweak the coatings for more flare and ghosting. The result doesn't look "vintage" to me at all. It's looks like a modern lens with flare superimposed on the image as if it was done in After Effects. Sigma is especially guilty of this. Their "Classics" are duds in my opinion. The Cooke Classic Panchros are much more successful in this aspect. They actually replicate the small dimensions and steeply curved surfaces of lenses past and the result is much more pleasing. Hell, even their Cooke S4s are practically vintage now, even though they set the standard for cinema glass just 10-15 years ago. Compared to the new Zeiss and Leica glass, their fall-off, vignetting and flaring appear to be from a different era. I also think that the obsession with fast apertures is driving the direction of lens design towards a clinical direction. Having a lens that's usable but pleasing at T1.4 requires twice the engineering, twice the size and twice the price as one that's T2. It's actually easier to build a lens that's clinically sharp at that stop (and much much easier to build a lens that's useless at that stop) than one that maintains focus while supplying an image with character and charm. See the Leica Summiluxes, Cooke S5is, or Vantage Ones. Previous generations of high speed primes (Zeiss Super Speeds, Canon K35s) were mush wide open. Basically lens design = A. Pleasing, vintage-style character B. Crisp sharpness at WFO C. Price Pick only two. You can't have all three.

MFT is a great format indeed. When I mean dismiss any of them, I meant to ignore either of both actually. You can surely skip one of those if you have the other one, of course : ) But this camera series is a dream come true, my fav acquisition system ever designed, produced and delivered to my book : -) Mainly shot on P6K, here's a trailer of a feature film co-produced by me currently @ post production: