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First article is on cine cameras/lenses. https://www.lensrentals.com/blog/2020/06/the-great-flange-to-sensor-distance-article-part-1-cine-cameras/

About two hours in I'd be like this

you have given me an idea for an experiment. I can do something similar with the pentax m42 gear i have already. Of course it wont be quite low light, but a bonfire should make it a bit easier for the pentax 50 1.4 to see

Interesting the spread in the Blackmagic Pocket cameras. Roger is doing great stuff at Lens Rentals. Really admirable.

The ALL-I codec on this camera is REALLY good. Maintains a LOT more in the shadows than the Long GOP IPB mode. It is 400Mbit so quite big files but a lot smaller than RAW at 1800Mbit. This is one of those occasions where 400Mbit is worth it... (Shadows pushed up approx. 3 stops in Resolve) 4K ALL-I 4K Long GOP IPB

A very personal journey... on YouTube: on Vimeo: https://vimeo.com/392683012 Produced to London Film School as Associate Producer. An Aaton Penelope camera was used to shoot on 35mm Kodak colour film stock and bring a striking vintage look to this narrative. By Paul Maziere, a young promising French filmmaker based in London. Mainly shot in the south of France. Going now to the usual film festival circuit these days.

I am having problems with the jog wheel on my 1D X Mark III popping every full 360 degree rotation, so there is a mechanical problem there and my body will be returned for a refund and so this is only a short review. This review also marks a milestone for EOSHD! After 10 years of blog posts, I am going to be doing YouTube now as well! Looking forward to doing MANY a video and growing the channel in a big way. If you'd like to be interviewed, or featured on the channel, do let me know. So the 1D X Mark III then... https://www.eoshd.com/review/canon-1d-x-mark-iii-review-filmmaking-video-and-cinema-camera-get-the-fuji-x-t4-instead/

I just saw this interview, I think it's pretty cool. They filmed the movie with glass from the 1800s to get the right feel in camera as much as possible. Lens talk starts at 1:14

I put my thoughts into a YouTube review. This is my first one, but one of MANY! Please don't expect too much The video also compares it to: Fuji X-T4 Panasonic S1H and S1 Fuji GFX 100 I won't spoil the conclusion for you. There is some Formula One bonus footage at the end from the GFX 100, and a show-stopping problem with my 1D X III.

I am doing a YouTube video for the 1D X III review. Mattias Burling style.

Yes, its the PBC that does the work driving the lens via the camera so it is exactly the same as it is now with the difference being that it translates the distance position from the AF adapter against the calibration points it has for the lenses. What could possibly go wrong

I must say the design is damn sexy. A bit different to the usual C200 type isn't it?!

I am having problems with the jog wheel on my 1DX3 popping every full rotation, so there is a mechanical problem there and so my body is going to have to be returned for a refund and the full review is off for now. Here's my brief first impressions with it - The 4K/60p full frame with DIS is a favourite mode of mine, great for handheld work. The Leica SL2 does full frame 4K/60 as well but only in 8bit Rec.709. Here, it is 10bit LOG. There are not many int. recording 5.5K RAW 60p full frame cameras for $6k around Canon LOG and colour science are as good as ever - but surprised to see no Canon LOG 2 in 10bit mode 10% crop of DIS enabled is very small and yet the stabilisation is surprisingly effective, almost IBIS like. Panning is smooth. When combined with mild slow-mo conforming 60p to 24p, it is going to look very cinematic. The approx. 1.3-1.4x crop mode (depending on UHD or DCI4K) allows you to use the 1DX3 "as advertised" without the stupid issues. You get 4K/60p and Dual Pixel AF, with 16ms rolling shutter. No RAW but at least file sizes are manageable. Downsides? With this mode not being S35 1.5x, your S35 lenses may vignette and you lose the look of those, and corner sharpness too. Using full frame lenses you reduce the look of those too. People forget that 16:9 is already a crop of a full frame sensor vertically. Add on top the 1.35x crop and you are now into a very narrow crop vertically of the full frame image circle, losing the beautiful rendering in the corners. Also, the DSLR EF mount is much less adaptable than mirrorless to lenses designed for S35. So there are no vintage Arriflex or PL beauties on this camera. In 4096 x 2160 aspect ratio 17:9 - the vertical crop is even more, although active sensor area is a bit wider. You can get the extra reach of around 2x crop with DIS on full enhanced mode and 4K in crop mode - but image is soft The DSLR form factor has pros and cons. Brilliant grip and control layout. Fantastic OVF, fantastic for stills. But I do miss articulated screen & EVF. A great shot getter and a great stills camera Here is the bad - 5.5K Canon RAW file sizes are almost unmanageable, especially in 60p. Compatibility is also less than stellar depending on the NLE. 32ms rolling shutter is appalling in the non-60P full frame 4K and 5.5K RAW Disabling Dual Pixel AF in full frame 4K and 5.5K 60p modes seems unnecessary There is a bug which messes up DIS when you switch back and forth between video and stills live-view 3.2" screen feels pokey and small in 2020 on such a big body $6k camera, and it has much more competition than Canon 1D C did back in 2012 And here is the competition people should consider - For full frame 10bit 4K and 5K there is the Leica SL2. The 5K is an anamorphic mode. So that's one over on the 1DX3 already. For 10bit 4K with very good autofocus, there is the Fuji X-T4. Far less rolling shutter and more features. Better ergonomics. IBIS. EVF. Metabones EF Speed Booster expected to have very good AF too (if Fringer EF adapter is any guide) and the camera + adapter is around $4000 cheaper than the 1DX3. The 1DX3 does have the autofocus going for it over the Panasonic cameras, but then it has terrible rolling shutter in these modes. Panasonic - The S1 has a compelling 10bit full frame 4K image, which is every bit the equal of the 1DX3 in my early impressions of it, and Canon's codec. The Canon codec does have a higher bitrate though, and ALL-I. The Panasonic S1H on the other hand, bumps everything up - higher bitrate codec, ALL-I, 6K. This, for 24p, is hard to beat. But it doesn't have the autofocus side that the 1DX3 has and to be honest the 1DX3 body design is much sexier and feels better in the hand, even though it's a DSLR! There is also no fan on the 1DX3 so it's more robust and better weather sealed. In terms of pure cinema... Fuji GFX 100. This maintains the full frame image in 16:9 and 17:9, because with the larger medium format sensor, the active vertical image sensor area is as large as the 1DX3 in 3:2 full frame stills mode. At the left and right frame edges you will get softness or vignetting with certain lenses, but it's about finding the right lenses. So as a "super full frame" 10bit 4K camera the GFX 100 takes some beating. The ergonomics for video are superior to the 1DX3. The autofocus is on-chip phase-detect but doesn't work very well, so this is a 1DX3 advantage once again. However, there is no better manual focus cinema camera in small form factor than the GFX 100. Nothing. Also, the 100MP stills are in a different league to the 1DX3. There is no 4K/60p or 120fps 1080p on the GFX 100, but it may be getting ProRes RAW and a big firmware update. You can get one for around £8300 used. Is it worth £2000 more than the 1DX3? Yes, yes and yes. In terms of just good full frame 4K/24p with good autofocus - there is the Nikon Z6, Sony A7 III and Sony A9. All are pretty cheap these days. So, a lot of competition to the 1DX3 in many aspects of the spec sheet. It is unique in certain ways. A) It is the best DSLR ever made. Nikon D6 does not touch it. It is almost as if Nikon didn't have an answer and re-badged the D5! B) It is much more a video orientated 1D C Mark II than the 1D X II was. Nothing comes closer to the classic 1D C look or handling as a highly video capable DSLR. C) It is the only full frame stills camera that does 10bit 4K/60p and 12bit 5.5K RAW internal recording. Although Panasonic S1H runs it VERY close. D) There is no other full frame 10bit camera on the market with as capable autofocus in video mode E) There is no other camera on the market with 10bit 4K in a DSLR body with OVF Do you need it? Do you need to spend that $6K? Probably not. In terms of cinematic 4K/24/25p 10bit I still believe there are better value for money crop sensor choices out there - X-T4, GH5S, GH5. There are also much cheaper 10bit full frame 4K options from Panasonic - S1 especially, but even buying an S1H is cheaper. All far less rolling shutter too.

I do mostly sports/action so not sure is helpful my experience. I use 1Dx III quite a bit on a Ronin S and if I want shallow DOF I use 50 1.2 and 24 1.4 so the mode that I pick is 5.5k 24 or 25 and on a gimbal I never notice the RS. I did track so far Parkour, MTB, Horse, rollerblades and never notice RS issue. If I don't need shallow DOF and/or need wider I use the 16-35 and f5.6 or above so I then switch to 5.5k 60 fps to have slow motion. In case I need both I use 4k 60fps crop. As you have the 1DC the weight size is about the same so you know what it means on a gimbal plus you are used to MF so using 1Dx III 5.5k 50-60 is not an issue for you. The big question is how are the 4k FF 25,60 and 120 modes of the R5... if they are very good I think the R5 is even better than the 1Dx III....... if the FF 4k modes are binned and not super quality then the 1Dx III is better especially if you need 50-60 fps.... R5 advantage over 1Dx III (mostly guesses😞 - less weight - flippy screen (not too helpful on a gimbal but is good to have) - zebra - 8k vs 5.5k - quite cheaper disadvantages: - less battery life - 60fps max out at 4k, if binned it will be less quality too - if it has a 1-1 crop it will be 2x - larger file size in RAW - no RAW > 30 fps - probably no dual card video recording (on 1Dx III the only dual recording mode is when in RAW.... as it does RAW in one card and whatever 4k mode you select on the other (from 8bit h264 to 10 bit h265 LOG). If you are not in a hurry I would wait the first reviews hopefully will be in July .... and if you are undecided maybe rent both....

For vloggers maybe... Personally, I prefer the '24-70' equivalent!

I think metabones recently released their own gfx to hasselblad speedbooster, which also boosts the gfx into an insane 6x6 0.56x crop factor, and it should be quite a bit sharper than the kipon, but for some reason not a single review or sample footage has been posted on the internet. I think that could be interesting to test out.

There are some exceptions to the free speech rule actually. Racists or apologists for them, lose their right to a voice. So just so you know why, if I do have to delete posts on this topic it'll be for those reasons. Same with the "America first" MAGA nationalists. Fuck off.

Here is a collection of shots I took the last few days with Kowa Inflight 1.75x + Voigtländer 40mm f2. + Rectilux HCDNA + Redstan and Fujinon achromatic diopters. Tokina Cinema PRO IRND. All shot at f2.8 https://www.youtube.com/watch?v=mostLsNXB8U

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

Hi All - Been a long time contributor and fan here. I had a bunch of work canceled due to Covid-19, but decided to create a web series based on the weird world of Quarantine Life. I've done 5 episodes so far and am putting out at least two a week for the foreseeable future, depending on when this all loosens up. Enjoy! If you like it, feel free to subscribe to see more every few days. Thanks!

Crying about censorship again are we? What a crybaby.