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I have the whole set of Konica Hexanons. Just recently picked up the older F mount version of the 52mm 1.8 and 1.4 lenses. Wow, these are really good bang for the buck. Got them both for $50 total. For AR mount the 40mm f/1.8 is one of my favorites. A great pancake for the Lumix S9 even with the adapter. The 35mm f/2 and the 28mm f/1.8 are also mandatory in my opinion. The 28mm is rare in that its minimum close focus is only 7". The 21mm f/2.8 is really good but stupid expensive now so I would skip it. What's been really fun is all of the undiscovered rangefinder glass from 60's Konica's. With a little time and energy one can adapt these vintage beauties with some really stunning results. The 48mm f/2 especially. I'm working on a bunch of Leica M mount conversions for all of these old rangefinders I've been picking up in Tokyo. Konica 48mm f/2 Rangefinder modified to Sony E mount on A7RV. (Not my photos BTW)

They could make the lens faster without making the body bigger. I'd like to have a soft corner f/2.8 that jumps in sharpness at f/4, than having no f/2.8 at all.

I’d begun to believe my own bullshit in terms of no longer being afflicted with GAS. By five minutes in I was having to watch like this to stop the pre-order.

tl/dr: Made a small and simple doc film years and years ago with my first 'hybrid' camera. The process was inspiring and changed my outlook about working with motion pictures: A bit of online chatter here about cameras that are older and it got me thinking because I recently posted a doc my wife and I are currently working on. It was made with recent camera gear and fancy new computers and software. Something old. Something new. Well, as a retrospect, here's a look at the very first film we attempted. This was in 2011. My entire career at that time had been broadcasting and corporate. Didactic stuff. That was my reality and vocational training. If making a film was compared being an architect designing a building, my education was basically akin to being an electrician. Installing wires and cables I could do -- and that was kind of it, y'know? So when we set out to shoot this 'Camino' flick, our assumption was that we were going to do what was typical for us: Subject-matter-experts-interviews, b-roll, maybe even having a presenter doing stand ups and narration. That type of thing. Interestingly, this upcoming shoot was immediately preceded by a corporate assignment in southern Spain. The experience of filming some pretty incredible scenery footage only to know that it was going to be handed off to my client who would hammer it into a dry travelogue video was disheartening. Also, a year before we had also made a standard travelogue video ourselves in Japan. We were underwhelmed by the results we created there too. My wife saw my frustration with all this and started asking "why". Why were we doing things a certain way. What exactly would we be offering the world with another video that was a parade of talking heads telling the viewer what to think/feel? No acceptable answers were readily available. So, the day before this journey we decided to ditch all the audio gear, the Sachtler tripod, and the HD video camera with multiple lenses. Into the backback went a used 5DII and a nikkor 50mm prime. That was it. Felt a bit naked, tbh. But that was the first day we set off into the world as filmmakers rather than as a cameraman or a broadcast ENG person. We wanted to make something completely impressionistic and opposite of what was typical for us. We'd only use 1 small cam, 1 small lens, a walking staff as a makeshift monopod. This epiphany came about not only from the conversation with my wife, but also the realization that a really simple camera rig was not only going to give me an opportunity to run and gun cinematically; but to do it better than with the extensive gak I normally carried around. Cinematic shooting was something that I never really felt the freedom to explore --until that moment. And so we went to make a humble unassuming little film. The simplicity became it's value. Less was more we reasoned. Create a vibe rather than an info dump. Our modest film might not seem like much, and there's so many mistakes I made first time out of the gate I still cringe at, but it changed our view about our careers. From there we started to be interested in what it took to be better storytellers. Could we actually do that? Really? All of this to say that perspective really matters. And that the gear we talk about here can actually offer new perspectives. But it was the attitude first and foremost that needed a shift. Cheers.

The Zenmuse X5. Zenmuse seems to be their name for their integrated camera/gimbal systems. The current version is X9 which is used on Inspire 3 and Ronin 4D. This is my very old and not very good video about the Osmo RAW. After the initial boring part where I talk about the camera and all of its accessories at a table, the rest of the video is all me talking over actual footage. The Pocket 3 is fantastic and it has some superpowers that the other gimbals won't have. Like you can stand 30 feet away from it and control it with your phone, including choosing a person/object for it to track. Like on a recent short film, I clamped it on a gun barrel and set it to track the face of the actor who was carrying the gun around. As they moved the gun, the camera swiveled to track their face. It was a great look. I also have a cheap cable cam mount (Wiral) that, because it's cheap, can only carry a very light payload and it's a bit shaky while it does. Put on the pocket 3 and it looks smooth as heck. You will be stuck with a wide angle lens (no teleconverter, but there is an adapter to make it even wider), though, so depending on what you want to shoot, it might end up being a terrible option.

Yeah, I started collecting them too. Sometimes, you can find some great deals. So far, I have: 15mm fisheye 21mm f/2.8 28mm f/3.5 40mm f/1.8 50mm f/1.4 50mm f/1.7 (both versions) 57mm f/1.2 100mm f/2.8 135mm f/2.5 135mm f/3.2 200mm f/3.5 300mm f/4.5 I also have various zooms. For some reason I started to get really attracted to them, always looking for something a little different. With the exception of the 57mm, I got decent to amazing deals on them, often with working film bodies. The 28mm f/1.8 is one I'd also like to get. I got really lucky getting the 21mm as the person didn't know what they were selling. I told her what she had, offered her 2.5x what she was asking, and she decided to sell it to me rather some other person who was most certainly going to flip it. It's a nice sharp lens, but the build is more like a Tokina (the producer) than the 60-70's Konica-made lenses. I agree. One thing I've noticed about Konica lenses in general is that they often have grease problems. Due to the shorter flange, they missed the DSLR years, only being able to adapt to M-mount. I probably need to service most of them. Any suggestions for grease? Also, I've heard that declicking Konica lenses is a bad idea. Has anyone done that? I'm not really sure if I would, but I'd like to try on one.

Would love to see the Konica 40mm on your FP, even moreso on your 5DIII. @mercer But I think, flange of Konica is shorter than EF. I have an extra adapter for L to Konica mount besides my EF to L adapter. So I am pretty sure, flange should be shorter than EF. I still have a sleeper lens, a 50mm f2 Schneider Kreuznach in Akarette mount. I am not sure if there is an adapter out there, as there were barely any professional ones around for Mft. Akarette like Akarelle is a viewfinder camera with mountable lenses. Lenses and cameras are from the 50ies.

The mighty 35 to 100 F2.8 zoom. I got three of them in search of a perfect one. It is an exiting piece of class. It´s from around 1968 to early 1970ies afaik. Back in the day it was a very expensive and overengineered lens with the goal of being on par with primes. Happy hunting to find one in good condition.:)

@Andrew Reid you should go back and revisit some of your favorite cameras from the beginning of eoshd... GH1/GH2 15 years later... I'm sure that would be really popular on YT and direct some people to the forum.

Siblings actually and their names are SonyA7RV and NikonZf 🤪 OK, not quite for sale just yet... First of all, yes, I think I *need* this camera, but also it cannot be in addition to anything else and I need something else for the longer stuff and that also probably needs to be Fuji. Second, availability date is too close to my first job of the year and I'd need to trade a few things for it which I can't risk at such a critical time and it would involve MPB and umm, yes, MPB, let's not discuss that any further here! Third, although I think it looks FAB-U-LOUS and the size & weight are just bonkers, - it's basically the same weight WITH it's built in lens as my 24mp Zf WITHOUT a lens. Or grip. It's smaller and lighter than most of the more pro X cameras which is also a bit nuts considering that 102mp sensor. Fourth, that lens. Aesthetically looks great, but still f4 for light gathering if f3.2 for DOF wide open which...not 100% convinced at this time, especially when I can put the f2 Sigmas on a pair of A7RV's and arguably have a better set up and system with far greater focal range, greater DOF and probably better AF, but... It looks stunning though and I am 👏 Fuji.

That lens is a feat of engineering. I do think F4 might kill the look though. Love the aspect ratio dial, instant x-pan mode. In terms of spec, Leica Q3 no longer the top-end compact... But with the faster lens, it will be interesting to see the results and compare. Built in ND... but no IBIS or X100 VI hybrid finder. A few ergonomic mistakes carry over from X100 VI... The notch to flip up the screen is at the side, it is much better off under it. The EVF eye cup looks rock hard, like the X100 VI it puts a dent in your eyebrow after a few minutes. Not the biggest fan of the combined ISO / shutter speed dial. The pull up to change ISO is really awkward. If they are feeling brave they should have ONE dynamic dial with OLED screen on top which toggles between displaying and setting different settings.

This is a longer piece that shows the handoffs including the one to a drone that’s quite remarkable. These handoffs remind me of the demos of the first units such as the Moví and the original Ronin which featured them quite a lot and made some extremely inspiring examples of what could be done with these new fangled devices. Sad really that the majority of use that they now get is in “like, subscribe and buy my LUT pack” fluff of the backs of young ladies as they walk through cornfields, forests and assorted tourist streets. Adolescence reminds us of them offering so many more creative possibilities than just being stabilisers although, no doubt, it will inspire a million copycats and we will be sick of it again in a year ! With regard to the actual film itself, if you haven’t watched it then it’s a compelling but disturbing watch. Doubly so if you have teenagers.

They practiced each episode for two weeks and then filmed it twice a day for one week, so 10+ takes for each episode. They then selected the best version of each episode.

If they re-released the pocket with the same sensor but with a battery that lasts at least 90 minutes I'd buy it. That was literally the only reason I stopped using it. There were times I just wanted to go out with it and film some cool stuff without having to rig it up, but it was just a pain. I loved everything else about it, even the quirks, but battery life was such a deal breaker. To this day though that image is my absolute favorite out of any camera I've ever shot with. Using that camera made me better at my craft and I miss it.

Could be the sensor from the Nikon D60 btw. @MurtlandPhoto I used to fancy that Epson camera years ago. For photography I love a plastic fantastic Canon Autoboy, a Oly 35RC or a Ricoh 500G and other ps and fixed lens rangefinders. I had a great summer with the mju II, XA and 35RC Olys when film was still affordable. I had so much fun trying out an Oly 35 SP or a Yashica Lynx 14, which I have sold since then. I love using the og pocket for the image, for the size and the whole feeling. The quirks are fun and a great challenge to grow on, though I would not include the battery in this category but rather name it what it is, a nervewrecking flaw. I love to combine things in ways that exite in regards to handling, artistic possibilities, the right strokes with the right brushes, like the og pocket with an AF 14mm Lumix lens or a S1H with a 35mm C-mount Zeiss, making me feel an artistic rush and sensation.

Got it, I see what you’re saying about the DP shooting for the edit rather than fixing things in post. That’s a solid approach when you know exactly what you need, and I respect that. As for pros not talking about gear, I’m not saying they never do. Of course, people in the industry test and discuss new tech, but the difference is that those conversations usually focus on how the gear serves the work, not endless debates over minor details that don’t make or break a project. I don’t have an issue with people being passionate about cameras, I just think the discussion gets lost when it’s more about obsessing over specs than actually applying them to real world filmmaking.

For me it's the original Blackmagic Pocket Cinema Camera. That camera, and all the wacky c-mount lenses I used with it, was just so much fun to use and everything I got out of it looked so much better than it should have, at least to my eyes. I FELT like an artist using it, as opposed to a videographer. That was such a special sensor, and to this day I still don't understand why every camera manufacturer hasn't switched to a menu system like it (and the other BMD cameras.)

Predominantly to present the new GFX fixed lens rangefinder by all accounts but there may be other news about additional products that they don’t have the production capacity for to actually get them into shops.

On DPReview you can check all the cameras added to their database https://www.dpreview.com/products/search/cameras#! Not including the niche ones, or weird re-releases of Panasonic compacts, I came up with this... GFX100RF / S1R II / Sigma BF / Powershot V1 / OM-3 / Leica SL3-S / Sony a1 II / Nikon Z50 II / Fuji X-M5 / Leica Q3 43 / Canon Cinema EOS C80 / EOS R1 / R5 II / Sony ZV-E10 II / Z6 III / GH7 / S9 / X-T50 / GFX 100 II / GR III HDF / Leica SL3 / X100 VI / OM1 II (7000+4500+800+5900+6500+900+800+7000+5000+2000+1000+2000+3500+5000+7500+1300+1600+2000+2500+1000+6000+1600+2000=77,400) All RRPs in Euros for the notable new cameras released in the past 12 months. 77400/23=3,365.217 If you take out the crop sensor models / APS-C, we get an average price of 4350. Who do they think we are? Oligarchs?

I’m an Italian composer with background in pop-rock music and orchestra (I was keyboardist/songwriter in groups and I played tuba in marching bands.) MUSIC I WRITE: both classic orchestral (or with pop-rock instruments), and modern hybrid electronic (ambient soundscapes, synths, textures..) I personally play and record piano, guitars, bass, keyboards (this makes the music “alive” even with a vst orchestra). FAVORITE FILMS: almost everything but porn and scary horrors 😄 My favorites are drama, adventure, comedy, action, sci-fi, animation, kolossal. I’d also write for monster horrors like Tremors anyway! 🙂 MY MUSIC (& concerts/covers): https://youtube.com/playlist?list=PLqwrFAHE2GMU8jXz-ghliobGXuYHH99ht Instagram: https://www.instagram.com/danielenasuti/ If the budget is limited I can write music that gives the emotions you need anyway, maybe with a simpler arrangement. If you want something specific I can do a little Demo (the quality of my music has improved lately, now I can produce things I haven’t released yet).

It's Sirui the 5th brand to join the L-mount alliance, after all... just announced: https://www.newsshooter.com/2025/03/20/sirui-joins-the-l-mount-alliance/ And a fast lightweight tele is the 1st one to arrive... https://store.sirui.com/products/sirui-aurora-series-85mm-full-frame-autofocus-lens

Watched the whole thing in one sitting, really remarkable. Really solid acting from everyone involved and the 'one take" episodes were very well done. I almost want to watch again and just focus on the camera the whole time. There were some interesting choices with where to have the various episodes take place and to have to think about the limitations of space and time that come with this style of storytelling. It's normally easy to manipulate these elements in traditional filming and editing so here it's fun to see the creative use of transitions and blocking.

Oh yeah, sounds like you’re only missing a few. I also scored great deals by just waiting around until something reasonable came up. I refuse to spend top dollar on vintage glass when it can always be found cheap if you’re patient. I bid on a 21mm a couple of weeks ago that went for just about $500. Given that there’s a Tokina wide for much less out there I decided to let it go. The Konicas are only now starting to get some attention for video finally after the rehouse projects at Ancient Optics and Old Fast Glass. I’m working on a speedbooster project to mount on Fuji APS-C. Really tough because of the short flange distance but I found an ALPA speedbooster that works if I make a custom adapter.

I haven’t slept on it, but I’m going to have to pass at this time. Love both the concept and the execution, but I think I’d need a lens more like that on the Leica Q3 43 for my needs to make it workable. I really would like a fast(ish) fixed prime or short zoom, relatively lightweight compact but for my needs, at this time, it does not exist. I have my benchmark for my stills needs and it’s still the A7RV and as things stand, for my specific use case, it’s still unbeatable. I won’t bore you with why or try and justify it and it might not be as cool, but ultimately, this stuff is a tool first and any fun and sexiness have to come second. Sadly 😏

The B&W footage looks cool. The location probably helps a little. Thanks for sharing. Hopefully that blonde haired woman was/is a friend/girlfriend/wife and not a ghost you accidentally captured on video.

I don't know enough about them to recommend anything. I have the 40mm and I think I have a 28mm lying around too. Hmm, I never heard that. I messed up an old Yashica m42 lens years ago trying to declick it. And I've declicked a few Minolta lenses (mostly Celtics) with moderate success. The one issue with Minolta lenses is that although it's simple to do and there's a bit more friction to the aperture ring than say a Zeiss Jena, the aperture sometimes won't stay wide open and closes slightly. Now this was without any grease, so using grease may fix that. Stupid me decided to declick a 50mm Celtic Macro lens. I ruined any resale value, but it will stay open without drifting.

That's a shame. Anyway....

Yeah I meant the Osmo... I guess it got mounted to a Zenmuse? My drone and gimbal vocabulary us very limited. But I first saw footage from raw mudule camera when I was looking for ML Raw videos a while back. I believe some of this video was shot with the Osmo... probably the drone footage... the rest was with a 5D2... You know as I was replying to your last comment< I was thinking about the Pocket 3 and how it could probably work because I"ll probably only use the gimbal for some tracking shots while most of them will be fairly static... well static and slider shots from a 12" slider for very slight movements.

It really has. I love to hate that stupid thing. I wish I could just be happy with an R7 or a GH6 but there's just a texture to raw video that my paltry skills can attain much easier than with other codecs. If I could afford an R5 or something similar, I'd retire the FP and my 5D in a heartbeat. Of course, I recently turned 50 years old, so I am at that age where I care less and less about things... the way I look, what I wear (Velcro shoes are in my future) and pretty soon, what camera I have. I figure I'll either go all in with an IBIS/AF gadget or just dust off my 5D3, shoot ML Raw and complain about how spoiled kids are with their new fangled gear.

Take a look at the Scorp Minis, I have the first version. Feiyutech have a neat wireless follow focus that could be used with it.

Fucking hell, that thing has now made more comebacks than Sinatra. You can pick up a cheap used Crane M2 as that will handle the FP too as seen here The M3 is showcased here by a YouTuber who is a bit of an FP specialist. Although, like yourself, he doesn't always love it. The M3 can take more weight so it might have more longevity for you when you finally give Frank the curtain call.

Konica does not work on EF. I used it years ago with my EF-M. Seriously cool little lens, though. I understand why it has/had a bit of a cult following.

To the best of my knowledge, phone gimbals wouldn't be usable with an FP. Among other things, every one that I ever saw had a non-removable clamp for the phone. Maybe you could clamp the FP with it and secure it with bungees/straps, but I'd expect that to be a path of pain and suffering. DJI just recently released the RS4 mini. It's about $370 and supports about 4 pounds. I have no personal experience with it, but given that it's from DJI, I'd expect it to work well. For about 2/3 the price (about $250), there is also the Zhiyun Crane M3-S. Again, I have no personal experience with it, but I've had some other Zhiyun gimbals in the distant past and they worked well. Not sure what its payload is, but I'd guess it's enough for an fp + light lens.

I'm going to go on a limb and say that almost nobody needs 12K resolution for anything, ever. If working on a 4K timeline, people say there's a bit more DR with 12K footage vs 8K, but for most scenes, there's almost no way it's worth 2X the storage space to get it. 12K gives more ability to punch in too, but again, that's more of a special situation usage vs standard - being able to punch in 8x on a 4k timeline is really more parlor trick than frequently-used tool. Nearly everybody I've seen using the camera says that they consider it an 8K camera most of the time. I also poked at it a bit with my S35 Nanomorphs yesterday after realizing that the camera is also one of the best S35 cameras on the market, given that it has a 9K S35 mode that has the same DR/quality as the 12K modes and it supports 3:2, 16:9, 17:9, and 6:5 ratios in crop mode as well as in the FF modes. Now I just wish there were a way to get a Leica M mount on it - none of the mounts made for the camera (EF, PL, LPL) can take M mount with an adapter. I'm halfway tempted to just buy a cheap adapter for E mount to Leica M, measure the lens mount from the camera, and build myself an E mount to put on it. Or the same with RF. Especially if handing off the footage to someone else to edit, I find that it's very useful to frame things a little wider than I think is needed so that they have freedom to reframe in post. Plus on my most recent short film, there was a bunch of handheld footage and being able to punch in from the 6K master was huge. Camera op didn't track the actor perfectly while they moved? Punch in 20-30% and move the window within the frame, movement now looks much better. But again, 6K is plenty for that sort of post reframing. 12K is silly. Thanks! Now that I'm starting to get it rigged to a point where I think I won't be too annoyed using it, I'm antsy to get out and shoot!

Those rangefinder lens mods look great. Is anyone using the 40mm lens from the Canon QL17 for a similar mod? Love the Konica 40mm 1.8 pancake. Haven't used it in years. A crazy good lens, though. I'll have to get an adapter and try mine on the FP. I just dug out my very small collection of East German m42 lenses because I was thinking of picking up a Praktica SLR or a Spotmatic F. I've had my eye on a Canon LTM lens for the FP to try and keep the size down. I had an FD L 50mm 1.2 modded to EF a few years ago, but now I wish I hadn't done it and left it in FD mount because my favorite film camera is the Canon AT-1. I really like the look from those old Canon 50mm lenses. If I can't find the LTM for a good price, I may pick up a cheaper FL... they all seem to have a similar look. Although the extra blades on the LTM does make it a bit more appealing. Anyway, it's cool reading posts about vintage lenses on here again.

A lot of people are complaining about the lack of IBIS, but as a couple of others have pointed out here, a leaf shutter is a great compromise for that in what seems to have been designed as a photo-centric camera. For markets like high-end tourism, this camera seems like a real winner. It'll take fantastic photos all day long of the family and the sites seen on tours - and a 4-stop ND filter will be great for blurring water on waterfalls, etc. Lack of extremely shallow DOF is also alright for that sort of photography - people like to actually remember the places they visited, no need to just have their face in front of a blurry soup of indistinguishable background blur. For video, a 4-stop ND filter is a couple of stops shy of ideal - if the camera could do log in ISO 50, it'd be great for shooting wide open at f/4 in sunlight - (1/48 @ 16->11, 8, 5.6, 4). Not sure what the base ISO in log will be, but one of posts above seemed to imply that it's only 100 in log? If so, that's alright too - shooting at f/5.6 on a sunny day ain't too bad. Again, pretty great for those clips of family/friends on vacations. If there's a 4K 1:1 crop mode as well as the 4K full sensor width mode, that'd be great too - turn that 28mm equivalent lens into a 55mm equivalent. Would I have preferred that they make the lens 1 stop faster? Absolutely. On the other hand, this is also pretty similar to their film medium format cameras, many of which had slow lenses and were (and are) still beloved. The lens on my G617 is, IIRC, an f/8. My old GSW 690 III was an f/5.6. Am I a customer on launch day? Doubt it. Even if I were inclined, my wallet is already crying from buying the surprisingly not-much-more-expensive UC 12K. Though I did buy that lottery ticket yesterday so... maybe? Am I a customer in a year or two when these are common on the used market? I could see it.

The internal ND is a winner and ProRes to SSD is a bonus. Not sure whether the virtual lens stuff is active in video mode.

It's also got a 4-stop ND filter:

Stop it!

I now have a child for sale.

You cannot not include the original X100. It's basically just a point and shoot rangefinder with a 35mm F2 lens and one usable focus point in the center. Leaf shutter, incredibly advanced flash system, great skin tones. I really enjoyed using it until the TikTok fad made it a risk for me to use it for street photography. These suckers have become absurdly expensive. Now I'm having a blast with a tiny Nikon ccd point and shoot from about 20 years ago. Cheap as beans, fits everywhere, has flash, a nice wide to tele lens and the gf likes it. Of course the battery is mediocre, is very slow in operation and has glacial autofocus. BUT once you print an image created with those ccd sensors you realize the hype is real. I have NEVER seen skins tones as natural as the ones produced by these old Nikons (3300, 3400, etc).

My latest fun-factor obsession is the Epson R-D1. It's the closet thing to a film-like shooting experience you can get on digital. As far as I know, it is the only digital camera in which you must cock the shutter manually... for sure it is the only digital rangefinder in which you must do so. Seiko made the automotive inspired gauges at the top, which are very fun. To me, it's the full, unapologetic ode to film cameras that Fuji wishes it could do. It's feeling very old at the moment though at 6MP and the images themselves aren't particularly spectacular on their own SOOC.

Every time I think I may be done with the Sigma FP, and think I need AF and IBIS, I mess around with some old footage... Shot with the 50mm f/1.4 Super-Multi-Coated Takumar

At least it won't be 7 years though.

I thought at the time and still do, that the S1Rii was and is a 50:50 hybrid in every sense of the word. Not the absolute cutting edge for video and nor is it for stills, but one of the best to date for both. I will be interested of course in what this new more video-centric thing may be, plus anything/everything else and shall talk about it as so many of us do, but as there is nothing I am especially looking for...

Good to see more and more uses Ronin 4D as main cam

Interesting and will add it to my list. Thanks

In recent years I have tended to go see films mid day, and that usually means it's just me and about seven other people, politely watching silently in the dark (even when it's a comedy, there's usually no laughing -- we're British). But many years ago I remember a full house group connection I have never experienced before, when the audience was at one with itself along with the emotional world building of the film. I had seen Aliens when it was first going around London, and took the opportunity to watch it again; they were showing a 70mm print in the historic Marble Arch theatre. And in that place, the escalating tensions of the drama was somehow felt more intensely. And when it got to the part where they decide to nuke the place, but the company guy says: "Wait a minute, we're talking about a billion dollar plant here." The collective audience release (from the humour in adversity) when Ripley answers "Well...bill me" was just incredible. And later when she says to the alien queen: "Stay away from her, you bitch!" the audience just erupted. That experience always stayed with me. An example of what cinema was capable of.

Quick question: Has anyone used Konica lenses? Which one is your favorite? I already have quite a few, but I'm considering others. Namely the 28mm f/1.8 and the 85mm f/1.8. Maybe some other zooms?