Tim Sewell

Gotta say I reaaaalllly don't like that Pana 20-60. I used it on this shoot for the short bits when I was on the gimbal and next to the images from my copy of the aforementioned Tokina 28-70 ATX Pro 2.6-2.8 (which I love) it was so videoish as to render some of the clips unusable due to my inability to get them even close to matching. I also used my 35mm, 85mm and 135mm Super Taks, so covered all the bases WRT this thread!

Thank God! An essential part of my work dodging bookmark list is back!

https://www.redsharknews.com/sonys-new-base-level-full-frame-a7iv-announced

PJ is clearly impressed - has even used it on a paying job.

User Attila Svideo (who seems well-established) has an Alexa Classic at £4K GBP in the Film gear For Sale facebook group: https://www.facebook.com/groups/filmgearforsale/permalink/4368035193312329/?sale_post_id=4368035193312329

This is the first time I've created a film for anything other than my own satisfaction. No money changed hands, but the 'client' professes to be very happy with the result. This is with the Lumix S1 and a variety of vintagey lenses. Colour grade is pretty much all mine.

I backed it after seeing your post. Just the 1TB version for now. If it lives up to what they promise it's a fairly irresistible price.

Personally I'm not that bothered about AF, but I can see it must be frustrating for some. To my eye, what comes off my S1 is far superior, IQ and colour-wise (and that highlight roll-off!) to any other camera I've owned. If I were someone to whom AF was important I'd be mighty pissed if a beast like that was off-limits to me because of the slightly inexplicable absence of that one key feature.

Thanks - I especially appreciate your words as I really like the stuff of yours that I've seen over the years. I have posted some film shots on Flickr, but my Canonet is the 19 (the cheap one!). I haven't tried Cafenol. It's somewhere on my list. But you mustn't feel you need loads of space to process. Even when I was doing colour as well I could pretty much fit the whole kit into the small plastic storage box I used as a tempering bath! Took up about 1/20 of the space my video kit occupies (much to my wife's chagrin).

I got quite deep into film stills a couple of years ago and have continued, albeit at a slower rate, since then. Of course, when I started photography, film was all there was! I cut my teeth working a darkroom and assisting/being second shooter for a freelance press/social/commercial photographer in the late 80s - best fun job I've ever had, TBH. In my more recent forays I've mainly used an Olympus OM-1 (once my dream camera) a Canon V, an Electro 35 and various other rangefinders. Favourite films would be Portra 160, Fuji Acros and Fujifilm Industrial 200. At one point I was processing both colour and B&W, using a polythene packing case with a sous-vide wand as a tempering tank. Nowadays I get the colour processed, but I'm rather fond of stand-processing my B&W, which is a much more relaxing method of film development than the rather demanding process of home C41 processing. I use a Nikon 35mm film scanner that was the most expensive item out of all the stuff I acquired for the 'project'. There's a selection of shots (some good, some bad, some just family snaps) on my photo website https://www.vrimage.co.uk/IShootFilm

If I've properly understood what you're looking for, Wooden Camera make lens adapter supports that screw on to their top plates, hang down and clamp to the adapter, taking all the strain off the mount and keeping the adapter firmly in place. Unfortunately, as far as I can tell, they only make these for some Sony cameras - but you might be able to bodge something together.

I wouldn't go that far.

Perhaps everything doesn't actually have to be in sharp focus all the time. I, like everyone else here, I'd guess, have watched a lot of movies and a lot of TV over the years and (although most of the time I wasn't particularly taking much notice of it) I'm pretty sure there were plenty of OOF moments when protagonists / subjects moved in and out of focus and the crew/operator reacquired it. In fact I'd go so far as to say that such an approach gives a much livelier, dare I say, cinematic sequence.

Two things may well improve supply in the near future. First is the Chinese government's recent policy changes regarding cryptocurrencies, which have apparently already caused large numbers of used cards to hit secondhand markets in locations near to crypto data centres; second is that nVidia are supposedly releasing cards that can't be used for mining. So hang tight.

It's supposedly equivalent to a 1k tungsten.

Okay, so we're one-to-one. I'd use it as a bounce for lifting ambient levels in medium size spaces, or as a main source for a cove.

There's one going for GBP182. Worth it?

It does (if you switch it on).

I'm using a Sandisk V30 170.

I'd add nothing except to say that I'm not certain the extra cost of an FSii, over the mark i, is worth it. You get an extra PP, RAW out and FHD120 continuous, if memory serves. Unfortunately the extra PP probably isn't one that you'd use unless you need a really quick turnaround, the RAW from this particular cam isn't all that great and the FHD120 is kinda soft too. Same as @kye I'm mainly a hobbyist (although watch this space!) but if I was earning my living shooting video I would go FS7 without a second thought, given the kind of budget you're looking to put in. I think it will be a long while before that camera isn't a money-earner - and if a client wants something that it can't provide there's always rental.

R5?

The only EOS-M with fully working ML is the original one. It's a nice image, to be sure, but an absolutely awful camera to work with.

Before spending the money, maybe download some sample files and see how you get on with matching them. I've heard good things about https://www.cinematch.com/.

Yes. The camera came with 1.7 installed, so quite a big jump. I'm really enjoying having 4K FF 24 / 4K APS-C 60 / 4K APS-C 24 in a row on my custom settings. On another note, I think this camera is the best I've ever had for manual focus - both the EVF and the LCD (especially the EVF) are easily sharp and bright enough to lock on really easily. I keep punching in to check and discovering that I was already spot-on without! I'll probably give the 6K a spin next weekend.

Indeed - or, like me, only ever buy cameras that are out-of-date. I haven't bought a camera new since my GH4 in 2014. Since then I've used a FS700, C100mk2, Fuji XT-3, C100mk1 and an FS5 mk1, which I'm about to sell to cover the cost of the bargain S1 I just bought (which is my most modern camera since that GH4). In acquiring those cameras the majority of the costs were each time covered by selling the previous one, so apart from the GH4 at the beginning my outlay hasn't been toooo outrageous. Also, most of the lenses I've used on all of them have been the EF lenses I had from my still photography pre-dating the days of video hybrids.