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The verdict... Mixed actually. Keeping it, but putting it into a purely static role. I have not yet edited the footage and created a finished production, but trawled through enough of the clips to get a solid idea. I think if I was purely a videographer, I'd get a matte box and go with something like this or one of the modern cine zooms such as the Laowa 28-70 or the DZO 35-80. Probably the Laowa because from what I have seen in side by side comparison, I prefer the rendering which is a slightly more contrasty modern look. The CZ40-80 is the exact opposite. Not completely softer, but much softer and less contrasty. From what I have seen, the DZO is somewhere between but more towards the Laowa. But I am a hybrid shooter and my overall conclusion is a pure manual focus lens does not have a place as my main roaming video lens. Anyway, this lens... IBIS was OK as was focusing most of the time. Focus would have been easier/better on the S1H rather than the S5ii because it's a slightly bigger and brighter screen. Even better with a 5 or 7 inch monitor, but then we're getting into videographer territory rather than hybrid shooter so a no no for me and the S1H is my primary stills unit. But the 40 + 80 mm focal lengths that I used it at were perfect for me. Close focus was terrible at well over 1 metre/3 feet so not a good lens at all for any kind of detail work. So as above, keeping it and welding it on to one of my S5ii's, (the injured one with a half press AF issue). Static duty only for ceremonies or speeches where it shines as switching on or off does not lose focus as it does with these modern fly by wire focus lenses where you have to reset it every time, even when set in manual mode. I've decided that as much as I prefer shooting 6k 30p for the quality, it's a bit of a pain in the arse being able to shoot shutter angle outdoors, but indoors, having to switch to 1/50th in order to avoid or at least massively reduce, any flickering/banding. So back to 4k 50p it is. Shooting 4k 50p means with my other S5ii, my roving video unit, I can use the tiny Sigma 18-50mm f2.8 (27-75) again, making for a nice compact unit that is not too heavy. Yes, weight has a certain quality for stability purposes, but it gets wearing, even for a fit bloke over a full day. That just leaves the S1H which is still my favourite camera (that I have owned or used) in a primarily stills role, but hybrid during ceremony & speeches when both the S5ii's are pulling static duty. Still toying what to do with this as there are pros and cons to keeping separate stills and video units or having them all hybrid. It's the lenses that are causing me the biggest issue as they have done since embarking on this hybrid journey over a decade ago. Right now, my top 3/4 bodies are; R3, Z9/Z8 and S1H. The lenses I would like are all Sony fit however, though can be adapted or coming to Nikon. L Mount/the S1H has only one lens that I'm really a fan of/suits my needs and that is the Sigma 28-70mm f2.8 It's a dilemma because there are 3 principle options: A. Flip to Canon R3 for stills/hybrid, but it's 10k to do so, or 7k including trade in of S1H and a couple of lenses. For a single, not sideways, but marginal improvement, unit. The main appeal would be weight saving which is considerable. I could then explore shooting 6k 50p and pulling stills however which is a big future potential thing for me... B. Flip to Nikon Z9 or Z8 for stills/hybrid and as with the Canon, a considerable cost to trade of around 6k. I prefer the weight savings with the Canon set up, but I could explore 8k 50p now for pulling those stills... C. Stick with the S1H whose real only weaknesses are: bulk/weight (with grip and lens choices over the above options), lacks PDAF and battery grips annoy me as there is always slight movement in them. The big plus with this option though is what the S1H replacement might be... I just can't make a decision one way or the other but I'm fairly confident the pair of S5ii's will remain as dedicated video units and ideally, the stills/hybrid unit would remain in the same ecosystem, but not opposed to having a 'next gen' pro unit in the mix and arguably the R3/Z9/Z8 are the current next gen units. OK, the Sony A1 also is, but additional battery grip and it doesn't work for me. R3's, despite being more expensive new, are going for 500+ less than Z9's in equivalent condition... It's not simple. It never is.

Currently waiting for a gig to start tonight with my Pocket. Fashionably early though ! Nice to have a stabilised anamorphic camera that raises absolutely zero eyebrows from security staff either on the way in or when you are using it.

Interesting.. I thought this was a good explainer: TLDR; Nolan only mixes for the best theatres, and doesn't care about shittier ones. I guess that arrogance has run its course, since you saw it on IMAX and still couldn't hear it!

I worked on medium-sized productions and have friends who worked on high-budget shows for HBO and Netflix. They only film RAW for VFX plates and everything else is in ProRes.

Of all the high-end jobs I've worked on using Arri's, not one of them was shot in raw. And I've never shot a single raw clip on any of my ZCams. You'll get a much better end result by spending extra time focusing on production design and lighting than you will by switching in to raw mode - and bigger productions know this. Prores is good enough for 95% of professional use (or 99% if 4444 is available). The people here who complain about any new camera that does not shoot raw are out of touch with reality.

OK, reading a lot of negative reports about the Samyang 35-150. Slightly bigger and heavier than the Tamron and suffers from severe lens creep. Erm, not good. OK, if cost-saving is your thing and why would it not be, but for me it does not compare with the Tamron. But then there has been no mention of it becoming available anyway...