stephen

Tried 10bit HDR Log V3 with my Samsung Galaxy 10+. Not impressed. Maybe it's better on IPhone 12. Keeping my EOS M for a cheap small and light camera with impressive image quality. Gorgeous colors, great resolution at 2.8K crop mode. Especially after 4K up scaling. Endless fun 🙂 ML Raw at 2.8K crop mode from Zeek:

Nikon Firmware 3.2 for Nikon Z6 and Z7. Adds ISO and Color Temperature control for ProRes RAW in Final Cut + BRaw support. https://www.nikon.co.in/en_IN/about/product_news?ID=templatedata/en_IN/taggable_content/data/news/products/Nikon Z 7 and Z 6 firmware Version 3.2&Category=product_news&Section= Nikon closes in Japan Factory https://fstoppers.com/business/nikon-reported-have-closed-its-japan-factory-ending-70-years-domestic-camera-539119 But says things are getting better now for the company https://fstoppers.com/news/nikon-says-things-are-getting-better-company-538866

Initially also used BMPCC 4K back LCD screen. But it is very uncomfortable to shoot with extended hands with and combo that weights 1.7Kg (BMPCC 4K + Speedbooster + Sigma 18-35mm f1.8 + ND filter). Also as you said, almost impossible to see in a sunny day. Tried viewfinder as well. Much better but still not optimal. And ended with external monitor. For run and gun it is the best option by far. Can hold the camera at waist level close to the body, no strain on hands muscles, monitor is quite bright (1700Nits) and viewable in bright day light. Monitor is permanently attached to the camera and it weights 500g more but again will gladly hold them at waist level close to my body, rather then with extended hands at 30sm in front of me. If you shoot on a tripod or mono pod, then yes LCD screen + viewfinder (kinotechnik) is OK. So it depends how and what you shoot. From what I see on youtube most of the people use external monitor. Which is my experience and preference too.

You can find S1 second hand with some warranty left for 1500 E/$. So even you have to pay for the V-Log upgrade it is still a very good deal. Panasonic S5 vs S1. In my opinion it boils down to one or two major differences. 1. Do you want a smaller lighter camera or not. How important this is to you. How often you will use it on a gimbal ? 2. Are you planning to record most of the time internally 10bit 4:2:2 or externally to ProRes RAW. If it is externally then S1 is the better option. It has Full Size HDMI. For S5 you'll have to add a bracket and a clamp for the micro HDMI cable. Once you do this (and have HDMI cable plugged in) flip screen becomes unusable, rotation is blocked by the HDMI cable. And S5 weight and size with bracket and clamp equals S1. Looked at several clips from S1 shot at internal V-Log 10bit 4:2:2. Skin tone come always reddish after color space transform in Resolve and Red color is a little bit off in general. So it requires some work at post. Not quite as nice as BMPCC 4K BRAW. So for me plan is to use external recorder most of the time. And in this case S1 seems to be the better option. For internal recording would probably choose S5. Flip screen is useful and Micro HDMI doesn't matter. Downloadable V-Log clips at first two links. Panasonic S1H compared to Sigma FP at third link, how red color looks on both (after 2:12, compared at 3:00) https://www.youtube.com/watch?v=pGqrGCz_l-k&t=230s https://www.youtube.com/watch?v=4Al-tIFXFuY https://www.youtube.com/watch?v=MQJkcTd82Uo

Every camera has pros and cons. BRaw external for Nikon Z6, Z6 II is great. Problem for me is not the external recorder. BMPCC 4K, 6K have BRaw internal but can you use them without external monitor ? Not really. Nikon Z6, Z6 II with Blackmagic Video Assist 12G 5'' will be a smaller and lighter setup, not to mention that you get also a great photo camera, Full Frame out of the box, in body image stabilization, very good and compact EVF and much better auto focus in video. Can put the recorder in a bag on my side and have a HDMI cable hanging from the camera. No such big deal if want to be as much unnoticeable as possible. Problem is that Z6 with Ninja V line skips in ProRes RAW. And will most likely do the same with Blackmagic video assist. According to initial reviews Z6 II line skips as well. Another problem was that when recording externally you loose EVF on Z6. If Nikon solved those problems in Z6 II and with Blackmagic recorders, I am in. Agree that 10bit 4:2:2 is perfectly OK for most. But it has it price too. Usually it is x264 encoded, which is more difficult to edit in Resolve, while BRaw cuts like butter. So am willing to use a recorder anyway. It saves me time in post and it is nice to have 5 inch monitor. Prefer this setup most of the time.

For EOS M RAW video tutorials - visit Zeek's channel on youtube: https://www.youtube.com/c/ZeekEOSZ/videos It has piratically everything including how to set latest versions, etc.

Yes did tested it, works great on Canon 5D Mark III. Really happy as 2:1 is my favorite aspect ratio. If one day real time live view in crop mode is fixed it would be truly a great Super35 RAW camera. Was thinking of selling my Canon 5D Mark III but now with latest development, no way it will stays with me. As one of the greatest DSLRs and great Super35 RAW camera too. Same for EOS M -2.5K 2:1 and 2.8K at 2.35:1 ratios are now possible. Again if real time live view in crop mode is fixed it will be a great Super16 RAW camera. Much better resolution than first BMPCC at Super16. And EOS M is already a decent Super35 RAW camera According to Bilal real time live view in crop mode will work also over HDMI. So external monitoring in crop modes will be possible too. Cross my fingers this real time live view in crop mode make it to the builds soon. It will release also additional bandwidth for writing. It means stable and longer recording times in high resolution crop modes. Really impressed with what ML (mostly Bilal and Danne the last 2 years) have achieved with EOS M and Canon 5D Mark III ! No 60fps and certainly not in high res crop mode. Only 45fps at 1080p. There are better cameras now for 60p.

Don't think that latest development from Bilal is part of this release. At least don't see it when testing this release from Danne. Preview was not working before in 3.5K crop and higher crop modes. There was a mess on the screen. In my understanding they fixed this. So now we have life view with correct framing but preview is still not real time and it is even worst when recording. Or when it is real time framing is not correct. Indeed Bilal made a huge break trough with real-time live view in crop mode with correct framing but it is working so far only on EOS M and not 100% ready yet. Another great development is using SD card overclocking. With card spanning and fast SD Card + CF Card we can get total bit rate ot 130Mb/s which is enough for 3584 x 1730 resolution 24 fps at 12 bit lossless. With global draw off can get minutes in this mode. 10 bit is continuous or very close to it. 3584 x 1730 is basically 1.6 crop factor, 2:1 aspect ratio. So Canon 5D Mark III is now truly a 4K Super35 (APS-C) camera at 24 fps. Never thought they will be able to achieve this and go this high in resolution while having sustained recording. The nice thing about 1.6 Super35 crop factor is access to lenses, especially wide angles which were very limited at 2 crop factor and lower.

Thank you sam rides a mtb for sharing this information ! This HDMI capture card works very well with BMPCC 4K. Much simpler and smaller than my previous solution - Zhiyun Image Transmitter. With the transmitter can also control the camera but when monitor is on the top of the camera, can easily use camera own controls. Lag is acceptable, somebody measured it at 47ms. No worst than image transmitter or other low cost monitors. Picture quality is very good. Pinch to zoom for focus is available, false colors for exposure, LUTs, etc come from BMPCC 4K and are controlled by it. Can use a small phone, attach a LCD Viewfinder and have some sort of EVF. And it's cheap. What not to like ? Very good solution for me.

Now we're talking. 🙂 Wonder if external recorder improves the overheating problem. After all it's the internal processor which is the source of the heat. If they can just stream the sensor output to external recorder ? BRAW internal is not possible but external is. Let's hope Canon will give us BRAW external.

It doesn't exceed my expectations. But guess we are all spoiled 😀 and with unrealistically high expectations. If the pixels for photo were 24M or more, then it would be probably a different story. 12MPx means this is basically a video camera in a small mirrorless form factor. Have experience with Sony A7S and Sony A7 III. Big difference in resolution for photos. Sony wants us to buy two cameras - one for photo and one for video. FF 4K 60p with slight crop ? Use it for more than a year. It's RAW internal and compressed. Camera also has 2.7K 120fp and costs much less. It's called BMPCC 4K 🙂 0.64 XL Speedbooster gives you 1.21 full frame crop. Very close to Canon R5 crop and Sony A7S III. Was hoping that some of the new offerings this year will seduce me to upgrade. But no thanks. Both Canon R5 and Sony A7S III are great, just not for me and my budget 🙂

BMPCC 6K has EF Mount. Yes there is no mirror in it but it comes from Canon DSLR and flange distance is 44mm, it was designed and used for SLR/DSLR cameras. By mirrorless mount mean short flange distance - 18-20-22mm. Like Canon RF mount which is designed and used in mirrorless cameras. So in my understanding not all BM cameras have mirrorless mount. m43 can't cover FF. So they have to borrow / implement a mirrorless mount from another camera system and most likely pay royalties. Andrew wrote in the article what would be the best solution. Bottom line is that EF Mount which covers FF won't do it for me. They can very easily simply take BMPCC 6K body and place a FF sensor in it. Hopefully they won't just put a new version of BMCPP 4K/6K with FF sensor but have a new camera design as well.

On Blackmagic forum John Brawley wrote: Are you familiar with what some in the Southern Hemisphere call Christmas in July ? It's a major camera announcement, almost no doubt about it. BMPCC 4K and 6K still fly off the shelves, and are most likely profitable for BM. So it makes perfect sense to extend the line with a Full Frame body. If Z-Cam can do it, BM can do it as well. 3000 $ will translate to 3000 Euro and for that price expect - better body ergonomics as camera should be suitable to take photos as well. Old BMPCC4K / 6K shell/body is a no go for me. - articulating screen - some sort of modular design - mirrorless mount - better battery life It's clear that sensor is very good, dual ISO, very good low light, etc. and Blackmagic has all the ingredients to make the cinema part - BRAW, great user interface, all I/O ports. But don't think they have the engineering force to implement IBIS or good autofocus. So it's not realistic to expect those. Very unexpected but quite logical development from BM. Can't wait to see the camera. 😀

Was not able to extract more DR using Timur's workflow when compared to BMD film -> REC709 color space transform. But DR is very good and Sigma FP is still attractive to me as a travel cinema camera. Smaller form factor will let me take it with me more often than BMPCC 4K. Especially at this point when we know more or less what Canon and Sony will offer with new models. Willing to trade 4K 60P and BRAW for smaller form factor. Saw a polish review. According to the reviewer in APS-C / Super 35 4K image quality is still not optimal. But if in Full Frame 4K Sigma FP has to do pixel binning / line skipping, APS-C is perfect for 1:1 pixel reading. Why then picture quality is still not as good as it should be ? Any experience and / or ideas ?

Sigma FP caught my attention. It is more compact and has a better form factor than BMPCC 4K. You can add a small lens and put the camera on something like Feyu Tech G6 Max and have a very lightweight gimbal setup. And can take much better stills. It is tempting as a travel cinema camera. As bjohn stated in another thread will wait and see what Sony and Canon will offer, but Sigma FP suddenly climbed on the top of my cinema camera wish list. 🙂 Found a very interesting article by Timur Civan. He proposes a workflow in Davinci Resolve which can extract 1-2 stops more dynamic range from Ciname DNG and claims Sigma FP image quality is on par with Panasonic S1H. And those extra stops are in the highlights. https://timurcivan.com/2020/06/an-examination-of-sigma-fp-raw-workflow-and-how-to-get-the-most-from-the-fp/?fbclid=IwAR3ga9HcmrnVdSr1R9V4Vb18_A5_BUsjeLYIPV33MF-2lic1sdgIDoKrb1U After all both cameras share the same Sony sensor. Basis of Timur’s method is the trick Juan Melara shows in one of his videos: Insider Knowledge - A better way to grade Ursa Mini CinemaDNGs We had a discussion about it in another thread with Kye. It looks my understanding of this video is quite correct. Basic idea is to choose a larger color space and gamma when debayering RAW footage and specifically Cinema DNG in Resolve (camera settings part). For the rest Kye was absolutely right. Once in Resolve any color space transformations have no impact on dynamic range. Having in mind that with SlimRaw you can compress Cinema DNG 3:1 (lossless compression) and even more 5:1, 8:1 with lossy compression (similar to BRAW), all you need is just 1,2 more SSDs in the bag. Blackmagic Video Assist recorders would be useful in a more professional environment. For travel SSDs would be more than enough. Will play with some Sigma FP footage from the net. Would be grateful if somebody knows where can download more RAW footage from Sigma FP.

Hmmm... Am not convinced this is true. And am not sure what non-destructive means. Everything that watch and read from professional colorists including Juan Melara's video point in the opposite direction. (HLG -> rec709 -> HLG = rec709) Let's check Melara's video. He concentrates mainly on dynamic range (Gamma). Whole point of the video can be summarized like this: URSA Mini is capable of 15 stops of dynamic range. But it looks you don't get all those 15 stops because BMD gamma is able to hold only 12 stops effectively cutting some of the dynamic range of the camera. Later he proposes two methods / solutions: 1. Play with curves. (But you still play with 12 stops of dynamic range at input) 2. Choose Gamma=Linear. It looks Linear container(value for Gamma) can hold more stops of dynamic range. And you get full range of 15 stops, which yields better result at the end. At 1.25: "My theory is that BMD 4.6K film curve as a container is actually not able to hold the entire 15 stops of URSA Mini..." About color space: At 2:20: "Normally I'd recommend to output to the largest color space available and you can use P3 60... To keep things simple I'll choose REC709..." In my understanding he says: Get the widest color space you can. But here for simplicity I choose REC709 (narrower) because my main point in this video is about Gamma (dynamic range). Now if we assume what you say is true, then BMD Gamma should hold all values of URSA Mini dynamic range (15 stops). Why then go to Linear ? It would have been sufficient to choose it in color space transform and it would reveal the whole 15 stops. But that's not what Melara is saying. He's saying exactly the opposite. He is saying that BMD Gamma as container (Gamma value) is limiting dynamic range of URSA Mini sensor. And REC709 gamma has even less stops of dynamic range than BMD gamma ! Now let's go to HLG color space and gamma. As you said there are several approaches / methods to color correct and grade. Let's compare the one that plays with curves, saturation etc. with Color Space Transform. When you place a GH5 or Sony A7 III HLG or LOG clip on timeline, Davinci assumes by default that your clip is REC709 color space and gamma. If you don't tell Resolve the color space and gamma your clips were shot it doesn't know and assumes REC709 (same as is your timeline by default). But REC709 color space and gamma are much more limited than REC2020 color space and REC2010 Gamma that HLG clips are. By doing so you effectively destroy the quality of your video. No matter what you do later, curves saturation, LUTs, your starting point is much lower. Yes at the end it's always REC709 but everything so far points that you loose quality when correct conversion was not done because you don't use the full range of colors and dynamic range your camera is capable of. That's why they say that color space transform do this transformation non destructively. At least that's my understanding. But may be wrong and am curious to hear others opinion. If your scene has limited dynamic range you may not see a difference between the two methods. But in extreme scenes with wide dynamic range it does make a difference. Same for colors. Some color spaces approximate nicely to REC709, others (Sony S.Gammut) don't. There is no surprise people are complaining about banding, weird colors and so on. Most of those problems could be resolved with Color Space Transform even for 8bit codecs footage. Second problem with using curves, saturation etc. is that this method is not consistent from clip to clip, between different lighting, etc. And involves a lot more work to get good results. At least that's my experience. Have to tune white, black point for each clip individually, then saturation etc. Change one color, another one goes off. Can't apply all settings from one clip to all especially when shooting outdoor in available light and different lighting conditions. It's a lot of work. Just read how much work was put to create Leeming LUTs, how much shots had to analyzed, etc. With Color Space Transform it takes me 3 to 5 min to have a good starting point for all my clips on the time line. Apply CST on one clip, take a still grab then apply the still (and CST settings) to all clips. And almost all of them have white black points more or less correct, skin tones are OK etc. It's much faster method. It was a game changer for me With BMPCC 4K clips can get away with the first method and not spend tons of time because Davinci knows quite a lot about their own video clips, when you place them on the timeline. It's much better than GH5 or Sony HLG. It is for those 8bit compressed codecs where CST method shines the most. Again at least that's my experience. Color matching BMPCC 4K BRAW and Sony A7 III 8bit HLG is for me now easier than ever.

@Ki Rin It is in principle correct. Davinci Resolve timeline by default is REC709 color space and gamma. Same for Adobe Premiere. When you drop a clip Davinci assumes it is in REC709 color space and gamma. So without some form of transformation colors are not correct. You have to tell Davinci in what color space and gamma was your video clip shot in order to get the correct colors and gamma and use max quality of your source material. That's the principle, well explained in Russian video. As said one way is to use LUTs for transform, the other way is to user Color Space Transform or ACEs. Goal of all 3 methods is to have a good starting point with correct interpretation of colors. For me Color Space Transform gives me best results and is the easiest. Makes matching BMPCC 4K clips shot in BROW and Sony A7 III clips shot in HLG relatively easy. That's my experience. @kye Don't agree with your logic. Same as saying: Don't like apples so figured that won't like oranges as well They are different. Second, let's be clear and precise. REC2020 and REC2010 are Color Spaces values in Color Space Transform effect and in general. REC2010 HLG and REC2010 ST2084 are gamma values. Now if you transform from REC2020 which is much wider color space to REC709 which is much narrower one (than REC2020) then go back it's no surprise result will be different (and worst). You basically destroyed quality of your video source. HLG -> REC709 -> HLG = REC709 colors. There is no way to get back colors which are absent in REC709. Same is true for Gamma. HLG gamma has 12 Stops of dynamic range ( given your camera sensor has this range). REC 709 6 stops, some sources claim up to 7 Stops. Now once you converted your video to REC709 gamma with 7 Stops there is no way to get back to 12 Stops. Dynamic range has been already destroyed. True at the end your video on the timeline in only REC709 color space and gamma, but one way you start from much wider color space and gamma and the other way you start with same limited REC709. In my understanding that's exactly what color space transform workflow tries to avoid. Here is a video from Juan Melara which goes on the opposite direction. By using Color Space Transform to wider color space and wider gamma he claims is able to get more dynamic range from BM Ursa Mini cinema DNG footage: Am no expert in color grading/correction but Juan is.

PS. As video shows method 3 is usable only if you shoot with Log profile or RAW. Only is this case Davinci Resolve will know how to interpret correctly the colors. For Panasonic cameras those would be V-Log and HLG and for Sony S-Log2, S-Log3(to avoid) and HLG (best). If your Sony camera doesn't support HLG, then only option would be standard S-Log2/S.Gammut Picture Profile. Or some kind of hybrid profile where Color Mode is S.Gammut and gamma is Cine2 or Cine4. But you'll have to experiment. Have no idea how footage will look and in Resolve there is no value that corresponds to Cine2 or Cine4 gamma. You'll have to try several options for input Gamma. Not sure how this will work. For Panasonic Color Space transform for GH5 with HLG will look like these in Resolve Input Color Space: Rec2020 Input Gamma: Rec.2100 HLG Output Color Space: REC709 Output Gamma: REC709 Tone Mapping : Luminance Mapping For Sony S-Log2 picture profile it would be: Input Color Space: Sony S.Gammut Input Gamma: Sony S-Log2 Output Color Space: REC709 Output Gamma: REC709 Tone Mapping : Luminance Mapping Sometimes I play with output gamma. Can use Gamma 2.2 or Gamma 2.0 instead of REC709. Default for Resolve is Gamma 2.4 If you can use X-Rite Color Chart during the shoots you will be golden. Color matching footage from the 2 cameras will be really easy.

It's a very interesting question. There are 3 methods how to approach the task and those 3 methods are actually different ways to structure your color correcting/grading workflow in Resolve. Color matching two different cameras has 2 steps: 1. Correctly interpret colors in Resolve for each camera. 2. Color match them if there are differences. Hint. If the first step is done correctly you will have very little to no work on the second one. There are plenty of videos on youtube but all they go straight to the second one missing the crucial first step. One or more cameras most people don't know how to do correctly step one. That was my case until recently. Method 1: LUTs and more specifically Leeming LUTs PRO. If you shoot with each camera with the settings given by the author and then apply the corrective LUTs in Resolve for each camera you will get correct colors from both cameras. They should look the same. Panasonic GH5 and Sony A7 series are supported. Tried this on BMPCC 4K and Sony A7 III and it works reasonably well. But not always and setting the cameras each time correctly require some work and attention. https://www.leeminglutpro.com/ Few professional colorists publishing tutorials on youtube advise against LUTs for color correction. Method 2: ACES Used ACES method in the past to work with Sony S-Log 2 video and results were great. Method 3 - Color Space Transform effect in Resolve. This one was game changer for me and the method currently use as a first step for color grading/correction. Including when footage is from different cameras. My productivity in Resolve jumped at least two times and results are great. Wish I new this before ! The best video which explains the method and probably the most important part of color correction in Resolve is unfortunately in Russian. But you still will be able to pick up the principles and settings for both cameras. This guy is a ex professional colorist. Never seen anybody with tutorials on youtube explain the theory and practice so logically and simply. Apart of the color space transform values for input and output color space and gamma, you should also set Tone Mapping to Luminance Mapping. That's very important. Once the color space transform is done on one clip do a stills grab and then apply it on all clips from the camera with few clicks. Same process for the clips of the other camera(s) All 3 methods require to be well aware what picture profile you used during the shoot. For Sony Cameras this colorist advise to use HLG. If you don't have HLG then you should use color profiles or create your own color profiles having Color Mode setting = SGammut. Because it is not clear what color space are Sony PP with Color Mode = Cinema, Pro, Movie. Hope this helps.

In my experience 8:1 and 5:1 BRAW are OK for Sandisk Extreme Pro. My clips are short 10 sec to 2 min but so far never had a problem recording 5:1 4K DCI 24 fps on a fast Sandisk SD card.

220 ms latency, measured. It's there but can live with it. Don't have AccSoon Cineye, so can't compare.

Bought Zhiyun weebill s image transmission module for 150E. In can be purchased and used separately from the gimbal. Works with any camera having HDMI out. Nice monitoring solution for BMPCC 4K. For 150E + my Samsung Galaxy phone or an older Samsung Note 4 that don't use got very nice OLED monitor with great colors, 800-900 nits of luminance and touch screen interface. All major tools, like peaking, histograms, zebras, false color are available. Even more interestingly, it communicates with the camera and you can set all major parameter like white balance, ISO etc. from the touch screen. So it is a monitor but also a controller. A separate USB cable is used for the controlling functionality. Quite a nice alternative to much more expensive specialized monitors. And you can change easily the screen size too

Samsung T5 use TLC V-NAND memory/technology so problems related to SSD drives with QLC are not relevant. Small rig holders for Samsung T5: https://www.amazon.com/SMALLRIG-Bracket-Holder-Samsung-Compatible/dp/B07KW2B5C1/ref=pd_cp_147_1/147-3534738-4745748?_encoding=UTF8&pd_rd_i=B07KW2B5C1&pd_rd_r=4ba7f659-830e-45de-ba28-1fd2420d925b&pd_rd_w=k7mbp&pd_rd_wg=en7fQ&pf_rd_p=0e5324e1-c848-4872-bbd5-5be6baedf80e&pf_rd_r=5BBN4SQPTYQWJG8XN8HP&psc=1&refRID=5BBN4SQPTYQWJG8XN8HP https://www.amazon.com/SMALLRIG-Bracket-Samsung-SanDisk-Compatible/dp/B07X2PHMCF?SubscriptionId=AKIAILSHYYTFIVPWUY6Q&tag=duckduckgo-ffab-20&linkCode=xm2&camp=2025&creative=165953&creativeASIN=B07X2PHMCF Tilta has focus side handle with battery and Samsung T5 holders. Quite convenient if you are OK with second handle. https://tilta.com/shop/bmpcc-4k-side-focus-handle-with-r-s-sony-f970-battery/

A guy told you. Samsung T5 portable SSDs which are among the approved ones are 90$ for 500Gb and 137$ for 1Tb on Amazon. And that's cheap for me, cheaper even than SD cards per GB. https://www.amazon.com/Samsung-T5-Portable-SSD-MU-PA1T0B/dp/B073H552FJ/ref=sr_1_3?crid=1HC73MBGQQW2C&keywords=samsung+t5+portable+ssd&qid=1575587372&smid=ATVPDKIKX0DER&sprefix=samsung+t5%2Caps%2C252&sr=8-3 And on approved media BMPCC 4K has no limitations By the way tried a Micron M2 SSD in an enclosure just because of the smaller dimensions. And BMPCC 4K didn't recognize the drive. But read other people were successful using non approved SSDs. So it's up to you. I use Samsung T5 and SD cards. BMPCC 4K can record BRAW 5:1 on a SD card and that's good enough for 90% of what I shoot. For the rest there is Samsung T5 SSD.

1. You can't use EOS EF-S (APS-C) Canon lenses on any speedbooster or Canon full frame camera. They have plastic part that protrudes deeper then normal full frame EOS EF lenses. Some people modify - cut the protruding part or simply pop up the plastic part in the back of the lens in order to mount them on full frame camera. I've done it on cheap EF-S 18-55mm f3.5-5.6 but won't do it on expensive EF-S 17-55mm f2.8. https://en.wikipedia.org/wiki/Canon_EF-S_lens_mount Solution is to use third party lenses, like Sigma or Tamron, they have standard EF mount and fit without problem. 2. Viltrox speedboosters are cheap but often problematic. That's my conclusion. Have exactly the same combination as The ghost of squig - Sigma 17-50mm f2.8 + Viltrox EF-M2 II and it doesn't work. Tried BMPCC 4K firmware 6.2 and 6.6 and Viltrox firmware 2.3 , 3.3. Neither stabilization nor aperture work in any combination of firmware. So maybe my Viltrox is defective because it can't even change aperture of any other Canon lens I have (24-105mm, 50mm, Tokina 11-16mm) except Canon EF 35mm f2 (old version). By the way there is new Viltrox firmaware 3.4 but can't test it now. Solution for me is unfortunately to buy the much more expensive Metabones speedbooster. Otherwise BMPCC 4K is great for me. It has it quirks, they are well known but there are ways to get around them. Like and use the camera a lot.