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I owned the R7 for about two months and used it with my C70. Was a nice b roll camera but on a gimbal in the 7k to 4k downres the rolling shutter was too much for me. Looked like jello everywhere. Also, the footage didn't have that wow factor I've gotten used to with the C70. It was a joy to use, but not worth keeping in my opinion. Honestly, I am hoping for a proper C200 upgrade with the DGO sensor in it... prefer that more traditional Canon cine body and miss not having an EVF. May just shoot all my YouTube videos on C70's from now on though. They do look truly great when exposed properly in Clog 2

I remember @Emanuel raising the possibility of using Micro Four Thirds glass on Fuji cameras. Well I asked RAF Camera to make a prototype for EOSHD and here it is. So in past year I have been experimenting with a lot of M43 glass on the Super 35mm sensor of the Fuji X series cameras. We see beyond the usual 2x crop image circle! Here's what I found: - X-T4 has a Micro Four Thirds 2x crop mode in the menus. So you can use anything on that, basically. - The adapter doesn't have any electronics capabilities (maybe later?) so I have only been trying manual focus lenses - Voigtlander super fast F0.95 primes look lovely on a Fuji! - Some M43 lenses even cover the entire Super 35mm sensor - X-H1 is 1.7x crop in 4K so that works well, as it is closer to the 1.86x crop of the GH2 or multi-aspect sensor Panasonic bodies - The affordable Meike cinema lenses work brilliantly as these are all Super 35mm lenses just different mounts (they come in Fuji X-mount versions and Micro Four Thirds, with same optics for both) - SLR Magic stuff very tasty with it especially on the X-T4 in 2x crop mode - Focus to infinity is fine (sometimes slightly over even) So I am wondering, how much interest would there be in an EOSHD branded adapter for Fuji X cameras, that enables you to use Micro Four Thirds glass? This is the only adapter in the world of this type. I have been wondering how many of you have both Micro Four Thirds mount glass and Fuji cameras, maybe you switched but didn't sell all your GH5 lenses? Maybe you are just curious to turn your X-T4 into a GH6? Or interested to discover the unique images made from one of your exotic Micro Four Thirds mount lens on an X-H2S? Also rather than buy separate lenses for Fuji and Panasonic you can use one set on both systems (as in Meike 25mm T2.2 for instance!) If there is enough interest in the adapter I'll put RAF on notice and finally start that Indiegogo up!

S1R is like a different camera to when it came out. Here's what I like so far. The 10bit 5K does indeed have enormous mojo. Almost worth not bothering with full frame for! For anamorphic shooting it is seriously nice as it is 4:3. For normal shooting, a nice easy crop in post to whatever aspect ratio you like. It is crisp as heck. Colour is stunning. Particularly in the Neutral profile, it reminds me of the similar 5K mode on the similar Leica SL2 for 5 grand! Low light is far better than expected. Dual gain sensor. ISO 12,800 perfectly usable. ISO 3200 and 6400 very clean. I have included some sample clips shot in full frame 4K 8bit and 5K 10bit at 12,800 and 6400. https://we.tl/t-baorfLanyd Quick toggle between 4K FF / 5K S35. It can be assigned to a button, which you can press to instantly go between 8bit MP4 mode (full frame) and 10bit MOV mode (S35). Very handy for that second tighter framing in 5K or to go from 4K/60p to 5K/24p and so on. Colour science. I really like it. I put it at top. Canon move over. CFExpress slot. Was XQD. With new firmware now it is CFExpress and takes same fast card as my EOS R5 does. IBIS - seems to have the best performing IBIS I've yet seen although was to be expected coming from S1. AF in stills mode (with L-mount lenses) - it is MASSIVE improvement on S1 and earlier firmwares. Not just fast but reliable too now. In video mode yet to try it but not expecting it to be as good for movies EVF - it is larger than EOS R5 to my eye, just all round better. Back screen - Never felt so confident manually focusing without punching in or activating peaking! 65:24 mode and L.Monochrome mode = XPAN style 9K stills shooting 🙂 All in all, I think it is more unique than S1 and a total bargain for £1500. The S1 doesn't have the 5K, isn't as good in S35, cannot do full frame 4K/60p and doesn't have a pixel-to-pixel crop mode for Super 16mm c-mount lenses. On the stills side the S1R has a superior sensor, much higher resolution and better AF. The only thing I might miss is V-LOG but the S1R's Flat profile seems to have very good DR for my needs and is much easier to grade. There is also CineLikeD and Hybrid LOG Gamma. The S1R is two steps... an E-Mount and Good AF away... from being 99% of people's go to mirrorless camera. E-mount there is no denying is just far more established and AF too important to compromise on for most people's needs. But for me, in that beautiful 5K mode with a bunch of manual lenses, it is perfect and different to a whole host of identikit camera bodies. (S1 will be on eBay tomorrow if anyone wants it!) It is also a Leica SL2 killer! FOOTNOTE: I am rocking the Fotidiox Leica Killing adapter with built in variable ND. It is EF mount so quite versatile. Takes M42 stuff and Contax Zeiss for instance. The electronic side works as well although you can pretty much forget about reliable AF! And before you say "but whattabout R5" that doesn't do 5K S35 anamorphic or Super 16mm crop and costs rather a lot more!

I'm of the opinion that ProRes Raw quality is very good. Obviously it would be great if Sigma could apply lossless or lossy compression to the internal DNG recordings the same way BMD were able to pre-RED drama. It would also be great if Sigma could take a cue from Atomos about how they managed to implement log + LUT monitoring.

I must say I love this little camera. Especially since the LUTs are now workable. Have attached you a couple of pictures, am currently recreating a scene together with my wife and child. Guess some of you will recognize the movie? 🙂 Lit by candles only. Lens used DZO Vespid 50mm at T2.1 and fp set to ISO 3200. Once it is ready I will post a link here as well so that you can judge the image quality. But do not expect great acting, we are both not even bad actors, more like no actors at all. 😄

Yes, the 6K, 5.9K, and 60p modes are essentially the same format. 200mbps 4:2:0 10bit HEVC. As he mentioned, you need the Vlog upgrade installed.

Quite average look to me. Heavily baked looking skin tones with barely any definition, same with the foliage. Looks like your standard Rec709 flat profile with contrast and Lut added. I'm sure with HLG and a Log conversion (scene referred), results will be great though. Can do some tests in September. The Sensor is clearly capable, up to 8K75p! I wonder if this camera had Cinelike D2, which is the only Rec709 profile on Panasonic cameras which doesn't mess with skin.

Not sure about that one, I've never not used my tripod on a shoot. The movie business is booming in Detroit. I'd say camera equipment is a short term investment anyways, you make a bunch of money with it and the equipment itself loses value. Aside from maybe cinema lenses.

Am certain there are more than 10 people on this forum who have worked at "the level" of a NZ$100K (or even $500K) indie movie!

Yeah, doing those big sweeping gimbal shots that run for ages and ages are a lot more work for EVERYONE. Art Dept, Director, Actors, Camera Dept, Sound Dept, etc etc I did late last year a very low low budget feature film (dunno about the budget, but I'd take a wild wild guess that it is probably to likely be sub $100K, but with all the favors pulled in we were "operating at" more like the $500K-ish level? Which is still ultra low budget level for a feature film). Bulk of it was shot on either a tripod or a dana dolly. (as a dana dolly gives you that movement in the scene, but also still allowing you a lot more fine control over the camera movement than anything else would. Well, anything else that is affordable that is!) A fair bit was shot handheld / easyrig as well. Oh and of course sometimes a high hat / sandbag / saddlebag. But perhaps a couple of times a week we'd get in a Steadicam Op, for particular scenes/days when camera movement made a lot of sense for the story. We also had at least three days of car shoots, of which two of those days were done with the car on lowrider being towed by a truck (with Director / AD / AC / Grip / DoP all in the back, in the truck bed. With myself, with my mixer & monitor, and the truck driver in the cab itself). Never used a crane. Never used a gimbal. Never used a drone. (although I wouldn't be surprised if there is a splinter unit done sometime after we wrapped main production which goes out to get some drone footage. Or perhaps they just use a bit of stock footage? I dunno) 100% shot on an ARRI Mini btw. The average YouTuber with a big following is totally disconnected to the reality of how the professional world works on film sets / tv productions / reality shoots / TVCs / etc

I don't know man, tripod is honestly the way to go for most things. Most people don't have the budget to do good moving shots outside of really basic stuff. Everyone wants to be Euphoria without having any of the resources to pull it off.