Emanuel

Sure, contact them or the creator here through private message : ) You'll realize what service is or a meaning to ;- )

LOL : ) Funny and interesting reflection on their dilemma ; ) I guess they have their business model, yup, but they are also testing and getting their basis from experiment step by step such as their price policies seem to prove to me at least :- )

Well, media convergence of today has brought that dual world to this industry. Hence the hybrid reality of nowadays. I'd just not be sure their business model to separate waters is prone to fail for their uniqueness on their film world from their offer and a much strong one throughout the broadcast segment.

I (obviously) agree with both of you as user but I'd say it is because of their segmentation coming from their business model :- )

Production design is not less than framing or lighting, hence the notice. All for the sake of art, something higher to the creator: the output. The work :- )

Expect no more vignetting* than this here: source 24mm f/1.8 source * which bothers me zero when under (crop &) control

LOL ; ) I wish... Good to know there are still dreamers either be Coppola or creators like Tonino Guerra who adopted the trend from day one. I try to imagine Michelangelo Antonioni today : ) This brand has accomplished such route more than any other one ever, so far. Love their cameras and the industry concept behind their business model. They try to satisfy both sides of the equation, those who are here more prone for the sake of their art. And those who have to make a living from. Without any silly miniaturization complex as their Pocket 6K Pro launch easily proves it. I contact everyday with youngsters, well, not exactly from 10 to 16 : D but at their early age and course of life and career, trying to get their place in the sun over this difficult craft. And I see this manufacturer as one of the few to seriously think, focus and implement a solid path where a business plan towards so hard target is viable beyond the project phasis per se as well. The first manufacturer to put the art in front of it. I just have to salute their commitment, then kudos to them! My respect and love, - EAG :- )

I believe it's because they separate both markets quite well from my experience with them :- )

LOL :- )

Indeed, to whom you're saying it ; ) especially between who has made this craft for a living for decades and mere curious or pure enthusiast champs : 3 probably not used to ever extract a large format print from any piece of footage ; )) Just to not call the usual fanboyism, easy to find on Internet boards here or to each wishful list or paper specs higher rez camera announcement : D

@mercer Inspiring work, Glenn, hats off! Loved the choice of the black shirt BTW : ) - EAG

Kit lenses are always good for second hand markets, here's just one case: https://www.mpb.com/en-eu/used-equipment/used-photo-and-video/used-lenses/used-panasonic-lenses/panasonic-lumix-s-20-60mm-f-3-5-5-6/sku-1250119/

In fact, they realize it pretty well : ) For their camera features, friendly user interface, IQ and price-wise, they are unbeatable today :- )

Bryan (where you can also find a few bargains from his used inventory too when he has something in 2nd hand from his glass reviews and tests : ) has a fair informative resource for the subject matter: https://www.the-digital-picture.com/Comparisons/Sigma-18-35mm-f-1.8-DC-HSM-Lens.aspx So, for some reason (especially stills) Sigma has introduced their Art series 24-35mm f2 too and not for extra significant weight, less than 20% more, even though for a higher cost usually to double such gap... Go figure how much we're able to safe with that proper wide aspect ratio, not really for stills but to motion picture use ;- ) As far as Tokinas offer concerns, the eldest 11-16mm f2.8 @ 16:9 you practically only reach it on 16mm end which is much more handy going along the younger sister 11-20mm f2.8 today from there to 20mm. Wide open included. Let alone a wider aspect ratio then (through a 2.39:1 crop as inferred above ; ) That is, filters and hood aside :- )

You mean 35mm equivalent : ) Those Tokinas we know don't cover other than wide end but are much affordable these days and you still can use them in their cine-like version as you wish and on full frame for a good fraction of the range. Without mention the Sigma either on FF coverage or its S35 18-35mm F1.8 counterpart you can assure a low light use as well, even though at a heavier cost of course :- )

Indeed : ) I guess to infer Internet has to be a nasty location from people placing their invectives and frustrations is simply to add a reducer on something always welcome as an open and healthy discussion is. They haven't ever watched Citizen Kane, very likely ; ) BTW in behalf of this lovely thread, came to my mind now that vintage Nikkor 35-70mm f/3.5 AI... Paseo nocturno (Pamplona by) © Ángel Sagardoy Here's more on Flickr (and here's a second part for more samples). Ah and @kye allow me to stand corrected "to this new thread of yours" for better English understanding as well a vivid "as much as possible" I forgot to include in the same paragraph up there :- )

LOL : ) Jokes aside, I can actually agree with you not exactly as a contradiction but complexity on our "truths" or beliefs as you wish, you see we can agree on anything too (or almost ; ) Ah and being a poet coupled to these tools with "lots of character" (ain't we talk about camera + lens combos?) can make a novice (or not necessarily only just a novice) filmmaker a better one, no matter the rest for the sake of the point now ;- ) So thank you for bringing me to this new thread of you, you should know I am always trying to follow your posts I sincerely appreciate when focused on the same joy we both share topic related :- ) Paul Cezanne, a poet with pictures once said: "Time and reflection change the sight little by little 'til we come to understand."

On the other hand, you've produced some distinguished superior outcome from there, kudos to the shooter as well :- )

8.6K 2.39:1 up to 120fps? It's such a jump! :- )

In the last James Bond, at a certain point of the dialogue, he and M nod to each other: "Just the usual" ; ) LOL :- )

One of the reasons I immediately embraced Jim's vision on his Red endeavour from day one ; ) Blackmagic Design is what RED didn't succeed to be : ) And today, I come here to the pioneering effort put by our webmaster to respond @kye or @mercer when they wonder themselves why I relegate to a second place the traditional manufacturers ;- ) Even though I always salute their progress (half dozen of Canons and more than a dozen of Panasonic cameras over my inventory yet nowadays :- )

I doubt this camera output won't be much superior... : ) I guess you mean high-end and prosumer in general is narrowing, that one I buy : ) Three decades ago when I was still starting my path someone who came later to VP of Sony Europe told me very straightforward: "Don't think you'll ever see the same IQ from one to another end because business will never allow it..." I still believe he was pretty honest in those words addressed to me :- ) BTW, I met him at the Lisbon Sony's showroom then when he came there to take a look on some new slides device from their photography consumer range. He was the responsible for Portuguese Sony Broadcast & Industry division in the beginning of 90s.

I guess so but that's the fact they're only focused on flooding us with paper specs other than real world features instead :- )

What puzzles me is the way a cine specs list could ignore 120fps nowadays... it's beyond me :- )

And here's another James' presentation (in my native country BTW but) where the director simply forgot there is public to assist the show... : X (and all of that) despite the resources! (Let alone when in the previous example up there, Tim Booth at a certain point of his performance orients the cameraman to the main focus of the live concert: the people there! : )