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R5 user here. For video: EF ND adapter + EF 24-70 2.8 II, EF 24 1.4 II, EF 50 1.2 (Gimbal, handled) EF ND adapter + EF 200-400 F4 (tripod plus electric zoom motor) RF 70-200 2.8 (tripod plus electric zoom motor, handheld) + ND For sports EF 200-400 4 RF 70-200 2.8 Remote: EF 16-35 2.8 or EF 24-70 2.8 For travel/photo/family some combination of the following: RF 16 2.8 RF 35 1.8 RF 24-105 7.1 RF 70-200 2.8 I just got the RF 16 I will do some test against the EF 16-35 II if it is ok (not expecting that is on pair but I don't need to be) I will sell the 16-35 as I have many options from >= 24. The RF 70-200 2.8 is best lens I ever had only missing thing is the ND and the ridiculous hood that stays at home most of the time as it is so big. Lens is small, light for a 2.8 and super sharp. With IBIS and IS I can do a lot handheld videos too. If I would start from zero with your use cases I would take normal adapter + ND adapter + used EF 24-70 2.8 II + used EF 70-200 2.8 II (not the III they are the same and you save money). As an alternative but more expensive. RF 24-70 2.8 and RF 70-200 2.8 plus NDs

I think that is a perfect strategy, for portraits just punch in to 105mm, for groups open up to 24mm, for talking heads punch in to around 50mm or 85mm, landscapes 24mm, gimbal work 24mm...etc. I shoot literally everything (real estate, promo videos, hype videos, music videos, sports, branding shoots, commercial work, fashion, models, events, drone work, underwater, etc.) and I can tell you after years of shooting photography + video 50/50 below are the only lenses I use (all EF): Photography Landscape - 16-35mm F4.0 (Canon) Real Estate - 16-35mm F4.0 (Canon) Portraits - 70-200mm F2.8 (Canon) Detail Shots - 50mm F1.4 (Sigma) Weddings - 24-70mm F2.8 + 70-200mm F2.8 (Canon) Travel/Car Shows/Everything Else - 24-105mm F4.0 (Canon) Videography Gimbal Work - 24mm F2.8 (Canon) Handheld - 50mm F1.4 (Sigma) Monopod - 24-105mm F4.0 (Canon) Tripod - 24-105mm F4.0 (Canon) or 50mm F1.4 (Sigma) Talking Head - 50mm F1.4 (Sigma) or 24-105mm F4.0 (Canon) Travel/Everything Else - 24-105mm F4.0 (Canon) My lenses are all pretty much middle of the road, nothing exotic about them, but they deliver on every job I get hired to do. For those rare occasions I need more I just rent the lens for the project. Here and there I will need 400mm or 600mm and I just rent those. Oh and in case you are wondering....yes the 24-105mm F4.0 Canon EF lens will balance on the Ronin S gimbal at least for the Panasonic S5 camera body with EF adapter that I use but the 24mm F2.8 prime is the only gimbal lens I use if I have it with me. The most expensive lens that I regret is the 24-70mm F2.8. I don't shoot many weddings and that is really the only time I find that lens useful. Also the EF mount 24-70mm F2.8 has a different outer diameter so I cannot use any of the ND filters that work for my other lenses so its a PITA all around.

I had the EF 24-105 for a long time and I did not like it at all, the EF II is a bit better and the RF version is good but the 2.8 both EF II and RF are sharper. At the end the main point for me is that I do action/sport a lot and 2.8 vs 4 is iso 4000 vs iso 8000. Just shooting 2h ago a CSI Horse Showjumping event indoor and that was the condition. You don’t loose quality with adapter nor AF speed. RF lenses are new design so in some cases are a bit better is some other much better but cost/performance used EF are a good deal, I would not buy new EF at this point. Should check which on supports mechanical 12 fps some old one do not support and camera go lower fps. 3party is a hit and miss they tend to loose value quicker, so you may save at buy but loose at sell. Some have AF quirks. I’m sure there are good ones…

If I was starting with a clean sheet, for my specific needs, Sony would still only be my 5th choice behind: Canon (never thought I’d say that) Fuji (I miss Fuji, especially for stills) L Mount (where I currently am and no regrets as such) Nikon (I could easily shoot the 6/7 system) Sony (doesn’t tick as many boxes as the others above) But for some, many even, I’m sure the IV and Sony in general is good for them.

I look at those images and I think: what on earth did this individual do with the export settings and what settings were used on both devices?

If you are wanting to capture from a firewire port you'll need 3 cables/adapters From the camera you will need a 4pin to 9 pin Firewire adapter cable. (~ €8 ) That cable then plugs into an Apple Firewire 800 to Thunderbolt 2 adapter. (~ €35 ) You then plug that into an Apple Thundebolt 2 to Thunderbolt 3 adapter and finally into the Mac. ( ~ €50 ) If you are wanting to capture from an analogue output from a deck then you could use a BM Analogue To SDI Mini Converter ( ~ €180 ) and then the SDI into the BM UltraStudio Recorder 3G ( ~ €100) which will convert it into Thunderbolt 3 to the Mac. The software that BM provide for the UltraStudio Recorder 3G captures into a range of fornats including 12bit ProRes and the unit also has an HDMI Input so may find a use for you beyond the initial job of transferring your old material.

I'm sold! Thanks all - I can use the 24-105 to see how often i use different focal lengths and then get primes that meet those goals with faster speeds. looks like amazon has the best inventory.

I suggest getting the same fan I used, it's easier to slow a fan down than speed it up (in this context). It's not that much louder, especially for location work it's a non issue unless you're in a quiet house (and even then it's very acceptable). If you want to slow it down just get a bunch of fan slow down cables or one with a pot.

Official announcement date November 5

I’ve been asking a few range finder manufacturers for this very feature and DJI have implemented it very well! Camera/Gimbal looks kinda weird but DJI have done an amazing job. Without using it, I can’t think of a single thing DJI have left out of it that I need. I do a lot of B Camera gimbal work and if that 4th axis works as well as advertised, then the biggest issues with gimbals have been solved with this . Firstly, rigging and balancing them up with different bodies and lens combos can be tedious and getting them as smooth as a Steadicam on the 4th axis still requires some kind of vest/Steadicam type setup. This looks to have solved these issues for the most part. Interchangeable lens mounts, internal ND, great codecs, and a clean menu system that looks to rival Blackmagics……this thing has it all! ….now if it can make me an espresso on set l…..