Cinegain

I feel like dual IMU, 32Bit has become the standard now already. Pretty cool feat to run something offa the powerpack I'll have to admit. Any word on production, shipping dates and demo footage? Will you be sending out production units to people like Dave Dugdale and Emm/MrCheesycam for testing... maybe Andrew would be interested?

Actually looks kind of nice. But how do they really differ to a clamp from Vid-Atlantic or Redstan? At first glance looks more or less the same.

Dave didn't make it look all that exciting... (but who knows how the final version turned out). Not too unfamilliar with those Wieldy guys. https://wieldy.world.tmall.com/ They sell a bunch of gear.

Tair-11(A), Jupter-11, Jupiter-8, Jupiter-3, Industar-61L/Z, Industar-50-2 and perhaps Helios 40-2 (newly produced). Pretty sure I'm missing a few. But yeah, the Mir-1 and Jupiter-9 for sure! Maybe look into Meyer-Optik Görlitz, like their soapbubble Domiplan 50mm f/2.8 (which is a cheaper way into it than the Trioplans), they have some interesting character as well.

Agreed. Fantastic lens! The focus ring itself has a certain travel between its hard stops, it makes pulling focus from subject A to subject B easy, should you need to. It's just additional information for you. Hasn't got to do with zoom. If want to zoom in on subject A, and want subject A to be in focus during the zoom, with a parfocal lens you don't need any focus pulling of course. So yes, should work exactly like you want.

It's actually rather just the grip unit. When you would've purchased a DJI Phantom you could get a Zenmuse gimbal unit, like the H3-2D to balance your GoPro. So, Zenmuse = gimbal. Now they've actually gone and combined both camera and gimbal into one unit calling it a Zenmuse X5(R). Which is the interchangeable lens mount camera. Add a grip (and throw in some added features that make it more interesting for handheld shooting) and you've got a new product to sell. Actually, months ago, we already had a peak at this!

Yeah, saw a video with DigitalRev's Lok holding it the other day, like you said: it sure looks very light and versatile! Does look great for selfie videos.

Says so right here: Apparently with a setup like so:

Ah! Well, that's partly reassuring then. Thnx for the info on that.

Yeah, Lol, whut. Then in what ways will it assist me, exactly? But... but... then where's the peaking? Where's the 'much more'?! Come on guys! You're saying that with the Video Assist I don't need extra monitors and scopes! Another deception, it's like the Olympus press release for the E-M5II all over again for me... Especially if the actual screen and usability really lets down as well. Then you really need to be appealed by its recording functionality and price... The 502 doesn't do it for me. It's not a recorder. The PIX-E5H would do it for me, but eh... ($_$) , probably worth it, but for that price it doesn't quite do it for me personally either.

I appreciate the thought and effort., but just like the Lytros I don't think you want to be an early adaptor at a premium price... Give these developments some time and I'm sure they'll be nicer implemented and actually worth considering. Just not quite yet. That's what I think.

It sure is. Has a really pleasant look to it. Such a contrast to modern lenses. True that! One of the reasons I have an E-M1 in my arsenal... though 30p only is a bit frustrating... luckily we're getting 24/25p in a month or so ('better late than never'). Kind of disappointed with Panasonic's implementation on the GX7 and GX8. There's sensor stabilization, but not when shooting video. So, it's either E-M1 or E-M5II when you can't be bothered with fullframe. Somewhere I'm secretly hoping the A6000's successor is delayed because it's the first Sony APS-C mirrorless to continue what we've been seeing from the RX100M4, RX10M2, A7SII and A7RII, keeping my fingers crossed for 4K and sensor stabilization (pretty please, Sony?). I've found M43 to Sony E-mount adapters. Curious to see how that would turn out. Other than lenses intended to be adapted to the M43 system, I don't really have any purposely bought lenses specifically to cover fullframe, so I'd roughly have to start from scratch going with the A7-series. Sure, you can shoot everything in S35 crop, but then I'd rather have something I'm hoping the A6000's successor will be to begin with. Couldn't hurt to jump to APS-C, the crop and noise levels will make all the difference. Anyways. Being able to stabilize 3rd party lenses, vintage glass, cinema primes, or otherwise is a very powerful feature and I hope we'll get to see more of it implemented. It will be interesting to see Panasonic and Sony's next move... but I'm afraid Panasonic won't do it, scared that people will refrain from buying Panasonic lenses and going straight for Olympus ones...

You mean the 12mm I mentioned getting the other day? Biggest chunk of use it will get from commercial work, just reliable and quality results time after time again. Project kind of dictates the lenses used. Being wide and resolving, first up is seeing how it handles shooting landscapes whilst travelling. It will probably end up getting married to my slider.

Exactly. And yet I love tons of lenses on different lens mounts, I won't just pick Nikon Ai-s lenses only, or the Canon FDs.. My first vintage lens was the Minolta Rokkor MD 50mm f/1.7. They send it to me with an XG-1 body. Then a 28mm f/2.8 MD as well, followed by Pentax with the Asahi (not Takumar) 50mm f/1.4 which to this day has one of my favorite looks! Then a rollercoaster ride with all the Zenit lenses in M39/M42 mount. Bunch of other stray cats wanting to get adopted. No one mount or brand in particular... to me it really is not about the mount, it's all about the glass and look.

Uh... I don't see it. Especially while you bring it like a stated fact, rather than opinion. Care to elaborate? Whether it's M39, M42, MD, PK, FD, C-mount etc... there's great vintage stuff regardless of the mount. Of course, Leica mounts will get you Leica glass... or maybe you're now obsessed with everything Mitchell/BNCR mount because it has a purely cinematic history, that might well be (you'll be one of the very few going through the trouble of adapting 'em though). Doesn't mean other mounts should be regarded as the lesser mounts for providing lenses to shoot video with. I wouldn't say that a lens wins because it has a so-and-so mount. The mount doesn't give you any look, the optical formula is everything regardless of the mount behind it and good optics and especially value can be found everywhere, so it'd best to embrace it all and pick the best optics regardless of the mount, rather than prioritizing the mount itself. But hey, perhaps that's just me.

Seen this yet (07:55+)? For the price certainly seems fair enough compared to the E-M5II.

Looks quite cinematic actually, so no harsh handling of either dark tones or brights. It's really a lens that doesn't discriminate. That's kind of where vintage lenses excel. They can be very low contrast, have crazy bokeh, flare like a spaceshuttle... you name it. Not so much with these. Just very tame and smooth. Much lower in contrast than most of my modern lenses. Sure enough not as Tokina RMC-like flat either. Maybe I can get around comparing those two in particular on friday. Have to head out anyways. The Veydra wasn't the only special guest to show up...

Yeah. They don't seem to get much attention over here, not sure what's up with that, but they're quite brilliant. I mean, they're not converted still lenses like the Rokinon/Samyang/Walimex VDSLRs, they're proper cinema primes. So close to no focus breathing. Incredible focus throw to nail that focus and being able to smoothly transition small changes. Gears are on the same spots for all of these Mini Primes; their physical dimensions are roughly identical. For me its brightness at T2.2 is close enough to the 'Hollywood f/2'. They're incredible at resolving detail, though more so if you squeeze the aperture just a smidge. Very little distortion. Other than that very neutral and controlled, bokeh is calmly pleasant and specular highlights are nice and evenly round. Get 'em all, swap one out for a different focal length and keep the same look throughout. So it's not a lens you'd throw in front to get a really artistic effect, but it is if you need to replicate results and/or just need to deliver the best optical results with the stuff you can afford. I'd say there's a time and place for everything. I still adore my vintage glass too. The problem with modern lenses I often find it to be that it actually looks 'cheap'. Very sharp, very contrasty, very vivid poppy rendering, saturated. Like the folks that live in these residential park homes, lots of white tones, lots of gold/silver accents, chandeliers, usually wearing a jogging suit, women mostly have something with a tiger/leopard-print on it, chihuahua most of the times included as well. Yeah, that's a little too screamish for me. It's supposed to appear posh, but in doing so actually looking quite cheap! But this doesn't come across anywhere near cheap. It's like James Bond. Sophisticated, classy, charming and up for a challenge... Working with the crop of 4K on the GH4 or just the BMPCC gets difficult sometimes, or should I say: challenging? So I'm glad there's a real 12mm contender now. So I'm excited to see how that will pan out. Obviously a big plus is the size of these lenses. In terms of size and weight it's about the same weight as the Olympus 7-14mm f/2.8 PRO and even comes in a bit smaller than that. But we're not talking about the power of a fun M43 lens, it's production level stuff here. So, that's pretty crazy. If you were a visionary and saw something in the Veydras and Ryan Avery, you could have gotten all 5 Mini Primes that make the current set (12, 16, 25, 35 & 50mm) for 3199 USD. Doing the math for you, that's 3199 / 5 = 640 USD/each!!!1! That's almost (but actually really not quite) some VDSLR level sh*t, but you're getting Mini Primes. Any better ways to invest your money? The timing didn't really fit in with my skill level, just being honest here, but I do well for myself and couldn't let such an oppertunity go to waste. Haven't worked with anything high end ever, just a rookie, so can't tell you how they compare to like the Ultra Primes or something. But then again, already a bunch of folks did that... e.g. Best source on this is probably Adam Wilt: http://www.provideocoalition.com/first-look-veydra-mini-primes-for-micro-four-thirds , http://www.dvinfo.net/article/acquisition/micro-43/quick-note-veydra-mini-primes-tested-kickstarter-ending-soon.html . Noam Kroll: http://noamkroll.com/veydra-mft-cinema-lens-kit-review-rokinon-cine-lens-comparison/ . Next up for Veydra is releasing a 85mm and something even wider than the current range. Of course they're working on anamorphics as showcased at NAB. They've released a lens collar to help with follow focus issues keeping it locked down tight under action and very exciting is the user swappable lens mount, now you can install Sony E-mounts on the lenses and except the widest that will vignet, they will cover APS-C/S35! Imagine that on a A7RII with image stabilization, handheld! Though, I'm not thinking about going fullframe myself. A Mini Prime is fun because it's Mini, no intention of getting fullframe covering glass just for the A7-series, so then the fullframe body doesn't make much sense either. I'd then rather get something APS-C... and with the E-mount option I'm hoping the A6000's successor might just be everything I'm hoping for. In somewhat lower light conditions stopping down to f/2.8, f/4 and then bumping the ISO to 3200 or 6400 without as much deliberation as you would on M43. If the RX100M4, RX10M2, A7SII and A7RII are some tastes of what Sony is cooking back there, then I can't wait to see what they do with an APS-C mirrorless camera! Of course, if you're shooting APS-C Sonys, there's also the S35 only covering CineAltas. A while back I've seen a demo set (SCL-PK6/M) that went for 4850 GBP and includes the 20, 25, 35, 50, 85 and 135mm T2s to give some indication. Want more serious! That's sounds plenty serious. They've dropped way in prices. These would've set you back 20000+ USD not too long ago. The XEEN lenses shortly had some spotlight, not sure what to make of them yet. Tokina still has somewhat affordable cine zoom options. Seem a little overpriced for being based on their existing zooms for stills, although they're reworked quite drastically, so maybe I'll cut them some slack. But what I like about a Veydra Mini Prime though: it's still a manageable size/weight! I do get, that if you didn't back them with the crowdfunding to get them up and running, you're looking at a bit different prices and that might not convince you as much... but still it's crazy value. Anyways. To stay on the Sony subject. Here's a short mention on Erik Naso's facebook about him succesfully using it on the A7S: https://www.facebook.com/photo.php?fbid=897970966916637 . I think more and more people are now discovering the lurking power of the Veydra...

Well, ok, not then. This showed up on the doorstep here today... Felt that was a somewhat safer bet. Not to confuse 'em with the others, I've started labelling 'em front and back.

Do you have tracking already? When is it due to arrive?

Sam, you can use EF-S lenses on EF mounts (doesn't require a special EF-S mount). The projected image just isn't intended to cover fullframe sensors. This is a note on the Metabones site: 'Vignetting at corners may occur for certain EF-S lenses because they are designed to cover a 1.6x crop image circle but Sony NEX has a 1.5x crop sensor'.

Awesome job on that! Great sense of pulling your audience in with story, visuals and sound. All the puzzle bits just fall in place. I loved in particular the sequence at 14:13-14:19. Well implemented use of motion and composition for the shots. The look came out looking great! Nothing 'meh, M43!' about it. Well done.

Brussels, 1958 exposed some great gems! Russar MR-2, Mir 1, Tair 11, Tair 3, MTO 500 & MTO 1000. Grand prix worthy!

From what I've gathered: no peaking, zebra, no LUT support, etc, dodgy panel... so again: if it, as a recorder, fulfills all your needs: sure. As a monitor though? Probably not so much. I'd wait for some reviews before pre-ordering.

Yup. That's why 'In the end you need to be able to trust your cards, because well... you know: captured footage is king. It's the one thing that really needs to be done right. So I feel more relaxed paying a couple of bucks extra, but knowing that I've got stuff that served me and many others well for years'. And in SanDisk I trust. So it really takes me by surprise that it would corrupt on jg like that. But I do have to say that I kind of exclusively use the Extreme Pro 95MB/s-series and not any of the cheaper ones. So I was curious which exact card he was using there. Maybe it's a Sony Cybershot-thing though.