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lol no offense taken. I understand. I’ve texted this myself and statistically I get higher click through rate when my face is on the thumbnail as well as when there is a more intense expression. It doesnt translate well here because the image is so large... but on a youtube home feed it can help make your video stand out. Correct it works. I’m sorry you hate it. YouTube is filled with a bunch of adhd tweens who just click on the first shiny thing they see. Ya it really is. It gives you a lot of extra flexibility for a marginal difference in price.

Nikon 16-35 F4, 24-70 2.8, 70-200 2.8G (First Version) These lenses offer a great range and color with a matched look. For used prices they are a great way to cover a huge zoom range with full frame coverage. Do NOT go for the 17-35 2.8, overpriced with ugly distortion and bokeh. Nikon 24-70 2.8G on Sony F3

We’re not worthy!

It would be amazing if Metabones did a speedbooster to compete with the Kipon ones, but ideally made it 0.64x or 0.58x to make better use of the 645 imaging circle. The current price of the SL to Mamiya 645 version isn't that bad in Amazon UK, compared to the prices on ebay at least (where you have to order from China). Here it is: https://amzn.to/3dOKTUK The test I did with the Kipon on the S1H is in the thread below. I mentioned the speedbooster was a bit soft with the Mamiya 80mm wide open at f1.9, but have since discovered that it's actually the lens that is soft, not the speedbooster:

Don't want to sound like a dick but what's with the picture covers on youtube? Everybody does the same thing. Funny face and the product smashed in front of it. Is there an agreement on this or just an established trend?

Metabones recently announced the long-awaited Canon EF mount Speed Booster Ultra for Fuji X, which will be one of the must-have accessories for X-T4 owners. This will have support for phase-detect AF and incorporates Caldwell Optics advanced 5-element ultra-high index tantalum optics. The Caldwell Optics focal reducer remains the best you can get. In this New blog post: https://www.eoshd.com/news/the-big-eoshd-interview-metabones-lens-adapters/

Couple more with the Nikon 24-70 2.8G and Sony F3 Combo

Yeah, we're not worthy : -D

I actually helped develop this mic over a year ago when I had a meeting with Andrew from Deity. I was sharing how I really hated how muffled audio sounded when talking behind camera for vlogs. I wanted a solution and they delivered. Not only does the mic have two mics on it... but you get an input that allows for a lav or other audio source to feed into your camera or recorder. The Rode Wireless GO is perfect for it and can clip right onto the Rycote mount. Just wanted to share these vids with you guys. Jeven and I are the only people who have posted hands on reviews so far... IDK if we are the only ones who got them or what... but this $89 mic is well worth the $$ in my opinion.

And here is my entry for most ridiculous Micro rig, the competition that no-one asked for and no-one will find useful. Micro, FD-MFT adapter, Canon 2x TC, Canon FD 70-210 f4. Might be one of the cheapest ways to get 1210mm 60p RAW that exists. Beyond that, not so useful!

Cinelux front glass/ Moller 32 rear glass 1.6X with Lomo block 75mm on FF sensor.

I haven't, but this guy did

I haven't used the S1 myself; I believe that @austinchimp and @Parker use it with the S1 specifically. I 'd like to support the S1 directly eventually, though there are some hefty items I'm working on at the present moment. With V4 specifically, the standard is now to project 'edge' behavior of a color space infinitely into theoretical values beyond 0-1 (resulting in clean theoretical values beyond the target color space). This means that if a V4 conversion is used on unintended display formats, they will be handled as if they were an extension of that core transform at center, free of artifacts (unlike V3). The entirety of S1 gamut and DR are addressed by the conversion, albeit not directly measured.

Godox is rolling out the mk II of their SL series of lights that update the build quality, add features, and has an even quieter fan, though the fan on the SL60w, at least the ones I have, weren't as bad as people say. I'm glad they didn't abandon this line once they announced their higher end VL series. The SL lights are an incredible bargain.

Cool product. It would be good if the dual-mono mode just using the front mic could also be used where one of the channels attenuated so it was a safety track, but I guess for the average user it makes sense this way so it's plug and play for fast delivery. It certainly fixes a number of issues with existing offerings. Also, @Dave Maze is hilarious! Nice work on the review

Great video Dave. I like the review format with examples of using its features for real world stuff. Never stop doing your quirky humor. I want a Deity Stereo mic that competes with the RODE Stereo Videomic X with an adjustable gain knob, internal long lasting battery, and some of that excellent Deity innovation. Especially if it matches the Videomic X’s surprisingly good isolation and wind capsule. Stereo audio is a sleeper technology in a mono vlogger mic world.

I've got quite a few Metabones products and don't disagree necessarily but its difficult to be definitive in this particular case when they don't make a comparable medium format reducer product for any format. It would be good if Metabones did provide Baveyes with some competition for these products as the price is pretty steep in Europe at least, though whether this price reflects it being a thus far niche product or Kipon having a monopoly is up for debate. I've seen quite a few reviews of the Baveyes MF reducers on Sony A series cameras but not on the SL but I think someone on here has done some stuff with one on an S1 or S1H but I can't remember what thread its in. The one Andrew has is actually mine (long story!) so I'm looking forward to seeing how it fares once this COVID-19 travel situation eases and we can meet up on a bridge somewhere in Berlin and do the hostage exchange for the Contax Zeiss lens of his that I'm holding Ah, OK Apologies.

You rascal, I introduced the Kipon Baveyes to this forum. Bow your head to the king of this very post. I am also king of this sentence! @Andrew Reid, thank you for asking about the L-mount Speedbooster. Would love one for the 4K crop. Like androidlad stated, would be best to have one with stronger focal reduction thant the 0.71 version. That way speedboosted APSC would perfectly fit the full sensor FOV. Would also be interested to see the maximum image circle of FF lenses.

IMHO, nothing beats the Godox SL60W if you want a cheap light with good light quality/color rendition, and one that works like a proper film light (with optional fresnel lens, beauty dish, soft box) which can be used as both a hard and a soft light. So far, it has completely been in a budget-vs-quality league of its own, like only few other pieces of video gear. (Others would, for example, be the Canon EOS-M with MagicLantern RAW, the Rode Video Micro and the Sigma 17-50mm/2.8 zoom lens).

Actually, this one is available on YT: Just only snaps and not video... : ( Seems the right job for you, Andrew... I believe we cannot ignore how valuable the results all these combination tests can lead. Maybe with Brian's bless? I think everyone has everything to benefit from this sort of initiatives left by your forum members... Pure thumbs up ; ) finally in a much more (co-)productive way in the good old tradition of this forum : ) Let's obviously second the plea : -)

Exactly for the same reason the user up there is wondering about. Horses for courses. One doesn't exclude any other. This works to people posting, the same way to gear. We can mimic any look out there, of course. RAW and/or a robust codec will allow it but each camera has its own intrinsic trace and this can be explored in a very plural creative way. I don't think all cameras produce the same results. When I recommend some device or workflow for a production of mine or to others, it is because of that singularity you can only expect from a diverse range of combinations as much as possible you'll enrich your content. - E.

Emanuel, you are a Blackmagic supporter. Do you see it any useful some other better option? Why your curiosity?

Andrew, mate, and I am even abstaining of any comment in that struggle in those threads out there, go figure! LOL No likes, nothing. More fuel to the thing, why? I believe these boards must chill out. I personally don't like to read any personal attacks, let alone to you or anyone else. I humbly think you're not in the best of your moods tonight : ) and no matter the divergence we can all have to each other (I don't mean you and me but any of us), we are all different people, we cannot expect to see from someone else's keyboard what we'd like to read or write instead. You're the only webmaster, we are all here for fun, after all, no other pay off : -) That my post in this thread is about the topic I believe the majority of us appreciate to read from you: cameras related. No secondary (mis)interpretation(s). So, you open this thread. My wonder: why and what single advantage you're willing to show us with that combo? Sincerely interested to hear/read/spot your finds. Hence my comment before. Is it really worthy? Nothing against photos of more gear as further add-ons to our rigs. But you should be blamed for your incentive to more purchases, you know? : D BTW any plans to post some footage of that GFX 100 Ninja V you decide now to tease your guests? Be careful with that mouth watering : P Hard to be indifferent to your posts, provocative publisher... hehe Please keep this beloved forum (so yours, I consider it a bit mine or ours as well) as friendly as ever. Keep up the best of your good word, thanks man and enough deep pockets, shame on that ; -) Let's be positive and avoid private yadda yadda, especially when ends bitter and nonsense then. Life is too precious to be wasted. - E.

I have the Mamiya 645 Kipon focal reducer for the S1H and the 80mm at f1.9 it's a bit soft and the image seems to glow a bit. I think that might possibly be an issue with the speedbooster not being able to handle fast apertures, rather than the lens. I heard someone else who had the same issue with this combination. You can very briefly see this in the video I shot below, at the 1:20 mins mark, when I open up the aperture to max for a second. It's more noticeable in bright conditions than in low light. f2.8 it's fine though - even around f2.4 it's ok. Can't find the Pentax 67 one, but with the Mamiya and Contax ones, linked below, you can add an additional adapter to mount Pentax 67 lenses (and also have the option to use 645 lenses) so it's probably a more versatile option? GFX to Mamiya 645: https://www.ebay.co.uk/itm/Kipon-Adapter-Focal-Reducer-Speedbooster-for-Mamiya-645-Lens-to-Fuji-GFX-Camera-/122599541498 GFX to Contax 645: https://www.ebay.co.uk/itm/Kipon-Adapter-Focal-Reducer-Speedbooster-for-Contax-645-Lens-to-Fuji-GFX-Camera/333350155153 You may get vignetting on some lenses if using this with the GFX due to speedbooster limitations, however I may be wrong. Alternatively Metabones make a speedbooster for the GFX which definitely won't vignette, but it only takes Hasselblad lenses: https://www.metabones.com/products/details/MB_SPHV-FG-BM1

Don't you like HDR SOC, Andrew? It's not log, OK, but I don't even think such kind of DR resources is that much for every single case because there are other stuff to consider more than that. Flight capability for example. We can't surely know what Mavic 3 will bring yet, even though DJI devices are the best aerial tools out there for sure, Skydio 2 is also one of my favorite ones. Its outcome has been underrated as far as I or we can understand. I don't have any one of those so I am not the best person to judge, neither to misjudge though : D Their non-foldable design is there because of their obstacle avoidance performance. Calibration is key. So they've created a unique bird and their 4K 60p HDR pack seems to meet the whole purpose IMO. SOC has an interesting scope strictly under a producing perspective. Time, staff to hire for color correcting can be crucial. We ain't speaking of narrative filmmaking now, of course : ) Without mention as I and you assuredly concur each camera sensor has a trace, a characteristic by their own. A bad or careless grading work (and budget can be critical over here as for instance) can completely ruin it. Reason why SOC is something to appraise before to buy a capture device, I assume : -)

Skydio 2 combines groundbreaking artificial intelligence with a best-in-class 4k60HDR camera, 3.5 kilometers of wireless range, and 23 minutes of flight time in a drone that fits anywhere you can carry a 13” laptop.

The new firmware (v0.95) enables ProRes RAW over HDMI to Atomos recorders on all E2 models. This includes the $800 E2c. This means that the E2 series now has not one, but two different Raw formats. I'm sort of surprised the Z Cam is still barely talked about here. It checks a lot of boxes that people complain about with the P4K. The entire series now has H.264, H.265, ProRes, ZRAW, and ProRes RAW recording capabilities, plus incredible frame rate options at full sensor width on the E2, multiple crop options and aspect ratios, low rolling shutter, long battery life, and incredible build quality. I recently got one, though probably won't have any projects to use it on for a few months.

Still a king:

It does 60p, you just need the 7Q recorder. The 444 model does 60p to the black magic video assist tho.

$750 for an F3 isn't an exceptional price for an F3 in 2020, but then again you'd struggle to find one substantially cheaper either without a lot of patience / hunting. And the inclusion of the viewfinder, charger/battery, & Nikon-FZ mount adapter are nice bonuses which makes this overall package lean into "a good deal" territory. As for the lack of the RGB upgrade, you've still got 10bit 422 and I don't think 422 vs 444 has to be a deal breaker. Perhaps the biggest negative for you might be not having 1080 60fps output, which needs the RGB upgrade. (you also can't use LUTs for on-set video monitoring without that paid upgrade as another one of the small differences) The number of hours on a digital camera these days is fairly meaningless, other than being perhaps maaaybe a hint at how much usage the camera has got. (but I'd rather take a camera which has seen 5yrs of usage in a photo studio, never going outside, vs 5 harsh months documenting the Syrian Civil War!) None of this has yet answered the question "should you get this F3?" Because only you can answer that. Does 4K matter to you? Do you care about how big and bulky a camera is? etc etc etc etc, countless questions like this which don't really have a "right" or "wrong" answer so much as they're subjective personal preference questions. However, I feel that for most people an alternative camera choice like a Panasonic G9/GH5, Fujifilm X-T3/X-T4, Nikon Z6, BMPCC4K (as any of these could be a similar ish price as a F3 / recorder setup will be in total) will instead be better buy for them unless they really really want a Sony PMW-F3 and are committed to it.

Very similar to actual V-Log (not the L variant), that's why you can basically use Luts made for F-Log on V-Log footage and vice versa

The V4 email should be out to everyone; if you haven't received it please let me know. A month ago, my father was diagnosed with advanced colon cancer at the same time that the virus situation was taking off, and life was thrown into disarray. March is colon cancer awareness month, and we are aware now (get screened every 10 years, starting at 50) The GH5S is, at last, supported. V4: Emotive Color Component ('EC709') - Remade in 'HDR', preserving intense values (exceeding 0.0-1.0), that are incorporated into final Rec709 envelope - Using the new engine, Arri Rec709 primaries are recreated at lower saturation, while 'projecting' this primary behavior to HDR gamut extents (beyond Arri Rec709 gamut clipping) - Raised highlight ceiling for Main (average between Soft and Linear) - Significantly refined saturation envelope for Main and Linear (& Soft, to a lesser extent) Core LogC - Remade with new engine (Incorporates initial baseline HSL conform) - Fixed chart scan error that added 1/18th incorrect neighboring sample value to each sample average (hidden mistake in my very earliest code) (Corrects for persistent slight inaccuracies despite multipass, such as magenta bias of shadow skin tone in Tungsten) - Fully linearized highlight rolloff (true to LogC) with maximal detail retention (effective highlight DR increase) - New smoothing algorithm (incorporated into engine) - 12 passes, combining two hue-aware algorithms for new smoothness standard while preserving hue lines - Most extreme gamut is now directly measured and preserved (i.e. colored Leds in night environments) Misc. - Added Exposure Compensation [PRE]s - actual exposure color conversions for use ahead of the conversion (interpolated from sample data, incorporating rolloff) - Added Auto Black Level POSTs - for use following the conversion; quickly conform black level in any NLE (No accompanying relative hue/saturation distortion whatsoever, unlike standard luma tools) - Remade all PREs with new engine, taking new NLE measurements to accommodate NLE profile rendition shifts since original release - Direct monitoring variations included for HLG and Cine-D, and VLog external monitoring variation (includes levels fix) - Rewrite of Pdf (for Gen.4) - Direct FCPX support added (with distinct PREs and Pdf) - Significantly more efficient file sizes - 16 bit Gradient Chart included to test smoothness of theoretical & far gamut, and reveal pipeline banding issues - Each file is now unique to its owner at coordinate level

So... here it is: V-Coptr Falcon by Zero Zero

We have just bought it at office, no idea if worthy atm. https://viddyoze.com https://www.bazaarofmarketing.com/viddyoze-3-0-review/ They have also tried to sell their Premium offers with that 7 magic digit ending the deal. I don't start testing it yet. Any other alternatives you have tried as end users?