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I missed this when it was announced a few months ago but Meike have released an EF>M adapter that has a drop in filter slot. It ships as a package with both the Variable ND and clear filters but also has a polariser available too and of course supports all AF and IS functionality €165, I'd say its very reasonably priced for what it will add to EOS-M rigs but of course thats all relative when it costs more than the insanely cheap prices the actual camera itself goes for these days ! I know for many people using EF lenses goes against the grain of using such a small camera but the flip side of that is that with this adapter and a compact EF-S all in one zoom like the Tamron 18-200mm or Sigma 18-250mm (both under €200 used), the EOS-M can become a stabilised, RAW shooting, pick it up and go camcorder for under €500.

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!

As I mentioned above, the R7 is no C70, and the DGO sensor is THE THING in Canonland right now. I also said that with a similar sensor,the R7C (let's call it that), would be a 2.990-3.190$/€/£ machine, and that's that. The rolling shutter has been measured to something around 29ms if I remember right, which is almost double the GH6 number. It doesn't surprise me that a hybrid 1.650€ camera is not as good at video as a 5.950€ specialized video tool. @herein2020 maybe the RF 16mm would be a suitable gimbal lens? Small/super light/cheap/no need for an adapter and a good focal length (25.6mm equiv.) for gimbal work (at least for me, you maybe want more wide).

Ok, I got it now! They were only a couple left in Canon Greece (I doubt they will be more on shops as I searched on the usual suspects in the local market and they were none on stock), and it seems that it is discontinued, or something. I am sure Canon has a different priorities right now, than to spend valuable resources on such a specialized item. Well, the thing really works, it is a bit expensive at 159€ (don't remember the original price), it is very small and light, it does the obvious thing, power zooming, different speeds to the touch (depending the pressure you apply), 2 main speeds to start off (Slow/Fast) and that's it.. (Manual/Power zooming switch also). One additional plus is that I can hold the combo (camera/lens) a lot better now, it offers a base for my left arm and everything has improved. I am quite happy about this unexpected benefit, as it matches my holding style perfectly. The 18-135 nano is a bit front heavy (plus the adapter, that extends the center of weight of the lens further from the camera body) and I wasn't 100% happy with it. One of the reasons I do not like to use adapters in generala; But as I consider the RF-S 18-150mm I downgrade, from the ultra fast focusing EF-S lens, plus the ability to use vND adapters (and have a usable and dead cheap run n gun kit) made me keep the EF-S lens instead of the RF. Plus I have the PZ-E1 thingy now! The sound of the motor is not that prominent, but it is definitely audible from microphones on the camera (even external ones, but on the camera). The slower it goes, the more silent it is, and I guess it won't be an issue on a busy market in Bangkok, but obviously there is a little motor in there, there is no question about it! All in all, not a life-changing experience, but a nice thingy to have for the purposes I mentioned above, also, I can imitate various genres fast zoom-ins now, without any guilt!

Try DXO PhotoLab 5 (free to try). The ISO 1600 shot will be indistinguishable from ISO 200. ISO 6400 gets "acceptable" all of the sudden. I ditched Adobe 2 years ago and couldn't be happier.

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

Interesting technique https://ymcinema.com/2022/08/17/shooting-anamorphic-on-vertical-sensor/ Get that "Passing" look on your 3:4 S1R 5K or S1H without cropping.

Thanks! I haven't updated my Vimeo in a good few years. There certainly was a point where I was doing corporate work in 5D3 raw, but that video might have been h264 with the VisionColor picture style.

Wow, you have some nice work on your Vimeo channel! Did you shoot this with a 5d III in ML RAW? https://vimeo.com/81609980

I had a go at this, complete with fake grain and narrow DOF but without such a photogenic subject, back in the mists of time. It was a 2x anamorphic on a 16:9 5D2 to give a square format. Would be perfect for Insta now!

The reason they work well on the Z6 is it has one of the thinnest filter stack on a full frame digital camera. The thinner that glass, the better for old lenses.

I'm holding out for an M2 Mini, which seems like it should be on the not-to-distant horizon, either later this year or sometime next. I'm still using a 2013 trashcan Mac Pro for Resolve, which still works fine, but it won't be compatible with future versions of Mac OS. I love the Mini form factor (I have a 2014 i5 Mini as well) and since I'm only editing HD footage I think the Studio would be overkill.

My user experience. The above frame grabs are from this video, shot in harsh sunlight all the way. Just a simple 8bit REC709 transform from 10bit Clog3. Plenty of headroom to play with for what one might like the final look to be. And suitable for an HDR version. Sorry there are no beauty queens, but then there are no ugly highlights either. Did I do something wrong?

I'm sorry, but the harsh highlight conclusion is wrong to me (overblown!). I have shot with the R7 for more than a week - two months. I have found the dynamic range to be quite good, and the handling of highlights on par with the R5 and the S5 - which I have also shot with. And the fx3. In the posted video it is clear that many clips have blown highlights - in the the very first clip the crown is blown. The highlights are harsh and ugly indeed. Blown highlights, however, are from overexposure - from clipping highlights when shot. Clipped highlights are not recoverable from any camera. They are caused by the videographer not watching the highlights and thus overexposing. There are blown highlights all over the video (including in faces). Yes, the video shows "harsh" highlights, but blown highlights - clipping - is never a fault of a camera. Let me show you two frames from a video I shot today in Clog3 on the R7 with the kit lens. They are from the worst possible scene - a man with dark skin wearing a bright white shirt facing a bright afternoon sun. There are no blown highlights on either the face or the shirt or any other bright white part of the clips. The clips are not underexposed. My "grade' was simply using the IDT transform in Resolve, from Clog3 to REC709. In all my experience I have not noticed any difference in the handling of highlights from the R5 or my Panasonic S5. And, yes, I could push up the luminance more with plenty of room - nothing is clipped in these shots. Skin tone is right on. Bright spots on the face are not blown spots. I'll post the full video when it is ready on YouTube, so you can see I am not cherry picking. The video was shot in harsh, bright sunlight and has plenty of highlights.. It does not look anything like the posted video from the OP.

Canon is to the cinema world what computers are to the elderly. Both just don’t make sense… I mean, having such horrendous highlight rolloff is unacceptable in 2022. When it’s equivalent to the lowest quality 4k from the freaking 5 year old GH5, that’s just sad. I don’t hear anyone talking about it, they probably want to keep getting their free review units haha. And then we have the whole fiasco with the R5, they just magically fixed overheating conveniently after the release of the R5C. This weirdness goes so far back, like Canon disabling DPAF in 4k, requiring a hardware upgrade just to add CLOG to the 5d iv, giving the EOS R free CLOG but not any form whatsoever on the top of the line 1dx mark ii, and flat out removing 24p from several cameras