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Retail price would be a catch, haven't seen a Voigt 28mm in years... Also looking at the 11-20 that looks like its a nifty walk around lens for S35 although its a bit pricer than the 11-16. On a side note its great to see the lens topic getting some love!

Some of the cheap ones aren't great but the 20-35mm f2.8 was a premium lens in its day and according to this review it is smooth. http://cschu.redirectme.net/mirrored/bythom/www.bythom.com/2035lens.htm For the £40-50 I see them selling for they definitely are worth a go. With it being push/pull, some examples of it can be a bit too loose so you have to be careful with them when trying to focus in the mid range that you don't alter the focal length. I have a fondness for it because it was my first "long" Nikkor lens back in the mists of time when I was a kid and it was a brand new product !

I have just sent the young model a PM and am really hopeful of shooting her with the Tokina 60-120 2.8 and my old 300 2.8 and Sigma 150 2.8 APO macro and Sony Zeiss 55 1.8 in one session. MAYBE the old Canon FD 85 1.2 L but not sure since the focus throw is very loose and I am not sure what she charges yet (or if she will want to). This old Tokina was made as a portrait lens which was probably a bit unusual for a zoom at the time all those years ago (adverts from then say portraits and also sports but it is a bit short for most sports). I posted about it in the lens forum but have hardly used it since then due to lack of victims.

It's been almost a month since I placed my order, and it's still on backorder at B&H. And the sale is still going. So anyone would be silly to buy a Resolve license without the Speed Editor right now, unless they were getting a steep discount. And, don't hold your breath for getting one. If there are Speed Editors on eBay or other resellers, BTM_Pix is spot on about that being a better way to go in getting it if you don't want/need a license.

Reversing the equation, there is a Speed Editor available on eBay where the seller is not including the license and the current bidding is £125 which, against a UK price of £280 for a new one with the license will probably end up valuing the license at around £100. I think you'll see a lot of that type of purchasing, which is the inverse of what you want to do, where people buy the package and will take a view afterwards whether they like the Speed Editor or not knowing they can recoup a chunk by selling it on eBay. If you already own the Studio license then I think I'd be looking to pick up one of those used Speed Editors as it might prove cheaper and less hassle than trying to sell the license on.

With regard to the Tokina 11-16mm, I'd left it out because, whilst not massive, it's still a bit of a lump if you are looking for something compact. I've done this quick comparison shot* of it next to the Canon 10-18mm and although there doesn't look to be too much difference its significantly heavier and the 77mm thread will add to the cost of ND filters etc. What you will get back in return for that extra size and weight though is a great lens that I don't think anyone has ever regretted buying. I've got it in both Nikon and Canon mounts and I haven't found them particularly wanting against my Nikon 14-24mm f2.8 and Canon 16-35mm f2.8 lenses (albeit they can't be used on FF). On the other hand, the Canon 10-18 can't compare with it in terms of speed (or handling when it comes to manual focus) but in its favour it adds a bit more range on either end, the stabilisation and the sort of weight that makes it a negligible addition to have in your bag. The obvious answer is to buy both 🙂 * For the benefit of @mercer, the shot was taken on a Sigma Fp with a Mamiya 35mm 645 lens on the Baveyes Medium Format speedbooster 😉

They are good people too.

Aperture have one of the 20mm 3.5 that @mercer suggested. https://www.apertureuk.com/voigtlander-20mm-f35-color-skopar-sl-n-ii-ap201150.html

the moons back so i bolted up the mirror lens to the p4k and took a few shots. I do think theres a bit of atmospheric turbulence last night, it was kinda windy, confident it wasn't the tripod. I will however tie a brick to the tripod next time, just in case and hopefully with no winds i should get some nicer footage. I'll try the lens with the e-m10mark ii as well just to get some experience on both cameras

These rigs on a balcony rail are scary. I'm with @herein2020 -- use a small "safety'd" tripod gently leaned against the rail. However, in addition to weighing down down the tripod with a bag, also safety it with a tag line(s) attached to something solid (or very heavy) that is further in from the balcony. Don't even think about clamping to a glass balcony panel or putting any kind of torsion/flex stress on a balcony rail supported by a glass panel. It is probably a good idea to avoid raining shards of glass and loose camera gear/rigging onto hapless pedestrians below. If you insist on clamping to a rail in lieu of using a tripod, definitely use one or more tag lines as described above, and don't make a hi-CG nor awkwardly offset rig. Keep the rig light-weight, compact, low and well balanced above the rail. That Dedolight clamp is a more expensive and less stable version of the original Tota-Clamp, which has a shorter baby pin that tucks into the clamp for travel. That shorter pin is safer on a balcony rail and there are several compact ways to mount a tilt/ball head to that baby-pin. Tota-Clamps can scratch surfaces if you don't tape the jaws. The Camvate clamp with the ball head could likewise work, but the jaws might be to small (just like the Tota-Clamp). There are other clamps not shown that would work better. If you don't have a lot of rigging safety experience, it probably would be best to avoid complex grip solutions on the edge of a balcony. Regardless, always use a strong tag line(s) on any gear on a balcony, and don't detach the tag line until the gear/rig is moved safely away or below the balcony rail.

@JordanWright but I guess with some of these zooms you're just getting close to your Sigma. To keep it simple, you could look at the Canon 20mm 2.8, or the Tokina 17mm 3.5. I had the older RMC version and I quite liked it. I never used the newer version, but I assume they're similar. If I was in your position, I'd probably go with the Canon. But I'm a huge fan of the 28mm 1.8 and the 50mm 1.4, so I may be a bit bias.

At a half a pound heavier and half an inch longer, than the 11-16mm, you can gain a stop with the Tokina 14-20mm f/2.

Yeah, that those two APSC lenses exist says to me it SHOULD be possible since many APSC lenses do cover FF at least in part. The flip side would be that they ARE only equivalent to 24mm on FF and therefore not really ultra wide angle and i suspect it is making it from ultra wide to telephoto that might be the issue (ease to build for the price they would charge and the market need). Maybe the different elements needed and the corrections required would just make it a headache and maybe not compatible? Same thing with small sensor super zoom cameras, the lenses start at very small focal lengths but not really ultra wide (I think there were a couple of compact cameras that had zooms starting at around 19/20mm equivalent at most).

Believe it or not, I don't have any 1/4-20 sized gear on hand. This demos the versatility of a gobo head really well actually. Here's a Sony a6500 with a just a hardware store 1/4-20 machine bolt screw: There are baby pins with your selection of thread, male of female. Mine is all 3/8 unfortunately, but should give you an idea of what you can do:

No, I've fired a similar number of shots in the past 10 months as the Swiss navy have.

Haha... 'lack of victims." Have you hired a lot of models in the past? For my upcoming short films, mostly horror/thriller I was thinking about going the model route, instead of an actress, since some of the female roles don't have any lines of dialogue.

@kye so in your case, for weight and size, you're after: Matthews Mini Matthellini Clamp (B&H) Matthews MiniGrip Head (B&H) Total weight is around 210 g. If you're in Europe, not sure what the Matthews equivalent is. You'll still need to mount your camera to a 3/8" pin, or even just a threaded rod cut to size.

@kye I'd suggest investing in some industry standard grip equipment. As an example I put an overload loaded FS5MII (~10 lb) on single cardellini clamp. Wood adds rigidity and makes surface even, improving the clamping force. Note: this is a totally unsafe rig, if it pivots kiss your camera goodbye, but if all you had was just a cardellini and gobo head... 😆

Oh well, I often forget what lenses I've got squirrelled away so I struggle to remember the full extent of other fetishist's collections 😉

I love the old MF Tokina 60-120 2.8 I got last year for cheap on Ebay. The only thing about is the minimum focus distance but that is solved with a helicoid adapter. It looks and feels as if it was a day old (probably been sitting in its case for the last thirty years or so). Zoom function (push pull) is a little stiff to get moving but easy after that though since i pretty much use it at 120 nothing really. I just need portrait victims to use it still as it is a bit slow for me to use and peoples attention span has greatly reduced over the years. A lovely young model has just moved here so maybe i will see if I can hire her to use all my portrait type lenses in one sitting but this would be the first I use maybe.

Because I keep trying to sell him mine.

Call me paranoid but in your situation I'd rather just take a travel tripod. I just can't imagine trusting my camera setup to something like a clamp. Induro, Manfrotto, and other brands like that make some great travel tripods that are very light and collapse using 4 joints instead of the usual 3 so they get really small. What I do is put the two front legs against the balcony, extend the third leg until the tripod is fully braced against the balcony, then I typically hang my camera bag or some kind of weight to a hook at the bottom of the tripod center pole. I've shot quite a few time lapses like that and the nice thing is, I can also use the tripod for other things too like long exposures. Of course lugging around a tripod can take the fun out of any vacation, but travel tripods in my opinion are a reasonable compromise.

Let's find out...

Sorry - I mean FF. There's heaps of lenses starting at 24mm FF FOV, but if you want to get the 16mm FF FOV then you're stuck with 2X zooms. If you don't care about wider than 24mm FF FOV then you're covered, but the 16mm FF FOV is part of my trinity (16 / 35 / 85mm FF FOVs) and they're super common if you're a vlogger too. Even on MFT there's the 6-11, 7-14, 8-18, and 9-18... all 2X zooms. That Nikkor is so 3D compared to the Taks. I found the Taks pretty flat in their rendering too. My love goes almost exclusively to the MFT Voigtlanders now, but the Helios is a true classic that can be had for almost nothing... I've also re-discovered my Minolta 135/2.8 too, such nice rendering!!

You can use Color Space Transform to convert your footage to REC2020 color space and ST.2084 and grade it by hand after that. You will need to connect it to your OLED TV using Decklink card in order to view it properly on the screen.

I would love to see BM make a new square style camera. I ended up selling my P4K and keeping the micro. I love the Siii but the image from that little cube is so good.

Ok, ya'll convinced me to pull the trigger. I have an Resolve activation card and speed editor on the way... whenever B&H gets them in stock, anyway. Looks like 2021 will, among other huge video related changes for me, will be the year of Resolve. I don't imaging I'll entirely ditch Adobe, but it's more than time to learn a new NLE/workflow.