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This is how we get our ‘facts’ these days… Some fella with his clickbait YouTube channel talks a load of shite and some folks instantly believe and report it to others like it’s the gospel. I saw some other fella on his channel the other day, reporting the spec of the S1Hii as fact based on spec lifted off this guys channel which he got from where exactly? I shouldn’t comment, it makes me slightly cross all the utter BS ‘info’ out there 🤪

CineD does a much better job by shooting a mini doc with it, ProAV just makes the camera look bad. For rigging ideas, I would just take a look at some rigging ideas for the C70. Below is how I rigged my C70, I know the thread says S5, but my C70 setup is identical. When I create rigging setups I want to be able to swap in any future camera body without having to buy anything new (except the camera cage and a few small parts) and it worked perfectly for me. I only have 7 setups and with those I can shoot anything that I typically shoot and use any camera body. With my setup I can swap in the R5, R5II, R7, or C70 without buying anything new for everything from handheld to gimbal to tripod long form content.

A few years back, I hoped they might do something like this with the X100 series as 35mm on an APSC sensor was always just a little too tight for my needs. And when I say 'little', I mean 150mm. And this is the thing I especially like about my A7RV with the Tamron 28-75 and that is if I treat it like a pair of primes, which is effectively what I do with all my zooms so they are respectively: 20, 40, 28, 75, 70 and 180, I have 6 focal lengths from 3 lenses. If I set and use in camera APSC crop, discounting the wide end of each of the 3 zooms, I now have 9 focal lengths by adding in; 60, 112.5 and 270. I actually DON'T use the APSC crop mode on any of them except the 28-75 and treat that lens/camera combo as a; 28/75/112.5 and that covers me for over 90% of my needs. I could even use it for 100% at a push, but being the consummate professional that I am, will switch out to a wider or longer lens if the situation demands. It gets even more appealing with a 100mp body like the Fuji or Hasselblads because you can then effectively have 3 focal lengths from a prime. I love the purity of a single focal length and as I have mentioned before, shot an entire year's worth of work on just a 35mm lens...but then decided I was being a bit of a pretentious prick at such times as say being stuck at the back of a cathedral, so went back to being less of an arse. But for personal stuff, I have always always always favoured a fixed single prime approach. I have just 'enhanced' that capability by using the extreme ends of any zoom lens on a single body. Last year I did it with a 24-90 lens, but I've always found 24 a but too wide for general purpose and prefer 28 and 90 is a bit too long, especially indoors. The 28-75 is faster, (f2.8 throughout rather than f2.8-4), smaller, lighter and this year I have 61mp and not 24mp to play with. The difference has been quite eye-opening. Expected, but still eye-opening. When the 28mm Q3 came out, I considered it, but I think we're down to something like 10mp (might be less?) at '75mm' and it's still 'just' a 28mm, but this 43 makes things a lot more interesting...except I'd need the 28mm model also. Now if they brought out a 70/75mm model, I'd skip the 43 and go for the book ends. But having said that, £€'s... Even on my vast salary...

I think there is a lot of merit in that. Whats interesting with this new Q is that Leica are actually mirroring (or mirroringless) what Sigma did with the DP1m and DP2m cameras and have actually chosen the same focal lengths. It might suggest that they will go the whole way pretty soon and bring out a third one, this time with a 75mm lens like the Sigma DP3m. A real bargain at $21K for the Leica set, of course. For anyone looking to have that choice of no choice on a smaller budget then the DPm cameras are worth looking at. They take the shooting experience back in time by having basically a choice of ISO100, ISO400 at a real push and ISO1600 in Black&White. In camera writing time and battery life is so bad that its the equivalent of only having two rolls of 36 exposure film. To add that final touch of retro, the files are so slow to process in Sigma's software that it more or less mimics sending your slide film back to Kodak for processing. If you can past those limitations- and of course we should never forget how many incredible images were taken in the past under those restrictions - then the image quality is your reward. Having said all that.... Never, under any circumstances, go and try a Leica Q3 in a shop as all logic goes out of the window when you pick one up.

@eatstoomuchjam Nice to know more about you and your insights, much appreciated indeed : ) and thanks for your findings :- ) Still wondering about it, though then: https://www.amazon.in/Cooling-Adjustable-Universal-Streaming-Outdoor No idea why that silly light anyway : D

Everytime i come here, i learn something new. While the e-m5ii is supported on the dragonframe site. The e-m5iii is not, i thought it was because, it was newer perhaps, turns out olympus sort of down rated the e-m5 iii from "professional status" and quietly dropped the tethering and a couple of other things... There's a lot of things to like about the e-m5 iii but the fact its doesn't tether any more is a dealbreaker for me. I did find a site that suggested the olympus protocols has been reverse engineered, so you could have your cake and eat it too, however installing the libraries and getting it set up and running robustly with an e-m5iii is not a course i want to pursue. I'm of two minds at the moment, considering its 2024. I'd like a later model sensor. Buying an e-m5 ii is a step backwards with its 16mp and ordinary video. it does however tether, the e-m5 iii doesn't. So i am looking at an E-M1 Mark II, new in box been used as a shop display, very low shutter count and new warranty at a price i can afford. The e-m1 iii jumps up a little to steeply for me. Couple of people have mentioned om-log to be a bit iffy. Thats potentially a problem but since i haven't done much with video. Is it likely to be worse or horribly much worse than what's already on youtube ? I think i would be just another sheeple amongst the herd 🙄 i was liking the g9 for a while as well until mercer pointed out an issue with refresh rates and live view which would be a problem when integrated with dragon frame. I'm kinda liking the gh5 for the video side of things i can also find a gh5 at a price i like, the gh6 prices goes up pretty steeply. Unless more info comes to light in the next week or so i'll probably watch a few more vids and toss a coin.

when I built my set of leica r lenses, I thought I would stop there. guess what, I start cas on medium format lenses. you move into high level cas. it is always reaching the limit of your wallet. truth hurts, so does the wallet. lol.

Hey, yes, the guy will post a tutorial video on how to mod the phone to place c mount lens, thanks for asking. I am also trying it, waiting for some parts to arrive.

Perhaps film is growing faster (from a very low starting point) than digital cameras. Doesn't mean there are more of them being sold though! This video merely refers to one brand (Fujfilm, who dominate the film niche of new sales with their Instax subbrand). And it's including not just the sales of the cameras, but the film too (which can easily stack up to being even more than the camera itself!). So the headline of the video ("😱 Film is BACK and Outselling Mirrorless Cameras!") is totally misleading and false, as this isn't at all true for the wider camera industry once you add in Sony/Nikon/Panasonic/Pentax/Leica/etc sales.

Leica have always walked a fine line between the money you pay being for the engineering and design, and the money being for the branding. They've got to be more transparent about when they are using software correction on a very basic cheap optic made in China.

They're all pretty bad/cringeworthy now, but sure - here's one where you can see me confused by the Osmo Raw. Apparently airflow matters a lot. While it ran for about 13 minutes the other day and merely felt warm to the touch, I set it up by the window of my house today. The house is about 25C inside, but there's no breeze like there was by the river aside from it being a bit warmer. After 12:10 of recording ProRes 120p, the BlackMagic app stopped recording due to high temperature. When I picked up the phone, it was uncomfortably hot and so was the CF adapter. So rolling long takes at indoor concerts doesn't seem like it'll be a thing!

Reviving a super old thread here. Came across a recent review of a Sony RX10 ii. Still an awesome camera.

Here's my first cut at the "souvenir" video for the dance weekend I filmed last month on the BMMCC (with a few small bits shot on the OG BMPCC as well). Much of this was at or over the limit of what these cameras can handle in terms of low light, and I had to do quite a bit of denoising (and still need to denoise one clip of dancers near the end). The denoising added some undesirable sharpness, which I'll fix in the next round, but overall I'm fairly happy with how this turned out, at least for the musicians and for the dancers who were in the light. The ones of dancers in the darker part of the hall were a lot less successful (I couldn't even see if I was in focus for some of those, it was very dim and focus peaking didn't even work). Mostly shot with Sigma 18-35 on a speedbooster plus a few shots with the new Laowa T1 cine 18mm lens; some of the outdoor shots were with the SLR Magic 18mm T2.1 cine.