BTM_Pix

I missed this when it was announced a few months ago but Meike have released an EF>M adapter that has a drop in filter slot. It ships as a package with both the Variable ND and clear filters but also has a polariser available too and of course supports all AF and IS functionality €165, I'd say its very reasonably priced for what it will add to EOS-M rigs but of course thats all relative when it costs more than the insanely cheap prices the actual camera itself goes for these days ! I know for many people using EF lenses goes against the grain of using such a small camera but the flip side of that is that with this adapter and a compact EF-S all in one zoom like the Tamron 18-200mm or Sigma 18-250mm (both under €200 used), the EOS-M can become a stabilised, RAW shooting, pick it up and go camcorder for under €500.

I was hoping people din't miss the reference and think Waaaaffffferrrr was a brand of lens adapters.

This is the biggie from my point of view. I have that MFT Meike cine lens and use the waaaaffffferrrr thin MFT>E mount adapter to use it on my A6500 because, as you say, the lens is really an APS-C lens anyway. Giving it triple duty with this adapter would be fantastic.

Or in the shell of one of the Samsung Android based compacts ?

If it was Royal Mail then its probably worth asking them if its still there so you can do a re-shoot 😉

Ulanzi (and a few others if I remember) did an old school ground glass DOF adapter that let you put EF lenses on your phone. Bit of a unwieldy monstrosity when you put the EF lens on and the ground glass didn't spin either but it did the job in terms of providing an approximation of "the look" that had us all buying Canon NV20s and the like and mounting them upside down on even more unwieldily rigs before the 5DMarkII et al handed everyone the keys to that kingdom ! So, whilst not the same as a native mount, a C-Mount version of something like that should be feasible and obviously smaller. And usable on multiple phones as well and whilst I know the EU keep changing warranty terms in favour of the consumer, I think even they'd draw the line at not seeing ripping the camera out and fitting a new mount as "problematic" in terms of a refund so it solves that problem too 😉 I can't see how it would be beyond the bounds of possibility to make the ground glass at least vibrate or even spin considering how companies like TechArt make the MF to AF adapters with motors that are absolutely tiny. World has definitely moved on the 12 years or whatever since the DOF adapter movement in terms of doing this sort of thing DIY so a 3D printed prototype would be easy and cheap. Minimum focus distance could be an issue on some smartphones for the ground glass so there will always be a certain amount of bulkiness to it. But thats just all the more space to put the variable electronic ND in isn't it ?

Bluetooth. From the manual.

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More a case of IBS rather than IBIS as I'm sure he has been shitting himself ever since.

Always interests me how not having IBIS in a camera is seen as a red line compromise that people absolutely don't want to make and yet the unpredictable and permanent damage to the actual image itself that it can and does cause is not seen as a red line compromise. A suite of tools to assist you focusing is all thats required and most cameras have had the minimum requisite ones for years. Focus zones, focus point memories, range limiters and other elements should be being developed instead of chasing after this continuing and unrealistic expectation by users for some sort of sentient AF system. Great, your new Sony A7mark888 now has that cat's arse AF detection mode you have been demanding for five years....Are your films any the better for it and what about the ones you didn't make whilst waiting for it because you couldn't possibly make a film where you had to manually focus on the cat's arse.

It refers to the reflexive and tedious whataboutery responses on forums when someone mentions a camera that doesn't have some or all of the features listed in the original post. In most cases the dismissal of the camera in question based on these omissions is also based on zero actual direct experience with it.

But her emails ?

Leaving aside the variables of the user, the focal length and aperture of the lens, lighting conditions etc it is no more difficult than on any other camera. It has focus peaking in a range of colours and variable sized PIP so it has the tools to assist. As with most other mounts (aside from Nikon Z obviously) adapters with electronic control are very limited. When I say limited I mean there is only one to my knowledge which is the Novoflex which works with a very limited range of the newer Nikkor E-type (as opposed to E series) lenses but no third party lenses. Oh and its €600 https://www.novoflex.de/en/products-637/lens-adapters//adapterfinder-products/adapter-nikon-e-type-nikkor-lenses-to-leica-sl-cameras.html?rgerg=38 Manual focus adapters are, as with other mounts, cheap and abundant.

Panasonic 24-105 and 70-200 both have IS as do the longer Sigma zooms but thats about it. However, the very practical two in one solution for the Fp (or anyone that doesn't want to take the risk of unpredictable and uncorrectable image artefacts from an IBIS system) is the Fotodiox EF-L adapter which lets you use the plethora of EF lenses that have IS, retains the AF capability and also includes a variable ND built into the adapter. For reasons unexplained, but which come with dire warning from Fotodiox, just don't ever ever ever put it on a Leica camera.

Did you ever get that PZ E-1 servo zoom adapter for it?

Wonder if it might be worth picking up the RX100 style GC100 Android compact they did to experiment with that ? They are cheap and plentiful on eBay and it seems you can root it. https://androidmtk.com/root-samsung-galaxy-camera-ek-gc100

If you've still go it then it would definitely be worth doing a retrospective review blog post about it !

Or just drip feeding depending on your level of cynicism 😉 The mad thing is that Sony had the integration solution between real cameras and smartphone nearly 10 years ago with the QX cameras. It was possibly ahead of its time when it launched but I've no idea why they haven't resurrected the concept in the meantime.

Panasonic announcing that they are now officially exiting the sub GH6 market completely is the official end of that era. Their rationale is that anyone wanting to take high quality photos and videos will now buy a €1200 smartphone. I'd sooner have a €1000 camera and a €200 phone but I'm not the market so I can see their point. They caused this themselves by still even now having terrible integration with phones when the writing has been on the wall for years about how people would make and share imagery.

The state of the art - which still doesn't actually match the requirement of full RAW shooting at 24fps - would be the Sony A1 which in APS-C mode can shoot at 20fps in compressed RAW with an unlimited buffer. Not a small price but neither is the requirement. There is also the matter of the memory card usage and battery life restricting the practical usefulness of it. The €400 160gb CFExpress card will give you five minutes of that 20fps APS-C compressed RAW storage but the bigger issue being the battery on the A1 being rated at 430 shots which will give you about 21 seconds of footage before it gives up the ghost. It may be that interpolation improves dramatically over the next few years but it will likely still take something fairly high end (i.e. a sports camera) to make it viable because even at a reduced frame rate it will still need a big buffer so until then the closest option is paying €7.5K for a camera that shoots just above the frame rate of a Super 8 cine camera and chews memory cards and power at an alarming rate. There is, of course, a stills camera that exists that gives you a "burst rate" of up to 30fps RAW in full frame with very modest power requirements and far more affordable media where that €400 will buy you closer to five hours of footage rather than five minutes. For about 20% of the price too. To demonstrate the diminishing returns of stills RAW burst vs internal RAW on the same camera, I've just taken this comparison of an uncompressed RAW in stills mode on my Sigma Fp with the 12bit cDNG RAW frame in cine mode. For me personally, such differences that are there are definitely insufficient for me to take the ball ache of trying to make the stills mode into a cine mode.

There is nothing off the shelf but what you need to do is fabricate a simple box shroud that protects the ports from being touched in transit. Something like this very crude representation I've done here. Obviously you would have holes in it in the required positions to enable the cables to pass and make it sufficiently deep so that the ports are far enough away. To make it easily removable/re-mountable then take advantage of you having a cage and put magnets around the base of the shroud. These will provide sufficient strength to keep it in place when knocked into but make it easy to remove by hand. In terms of actually designing it, if you are comfortable with 3D design then you can do it yourself or use Fiverr to find someone who will design it to your spec. As it is a very simple design then it will cost around €10-15 for this service. In terms of it then being made from the design, there are a ton of 3D print bureaus that will handle that for you and they have a range of different materials from Nylon PA12 plastic (which will be the most appropriate one for this) up to more exotic metal replacement materials. Price is dependent on the size of the finished design and the 3D print bureau (local in person service will likely be more expensive than an online provider) but I'd guestimate at sub €40 as a one off part.

It likely won’t be for a lot of other people either. These days I wouldn’t as I don’t do that work anymore but when I did there would be a number of scenarios where it would have been an issue when I was looking for maximum coverage on a job. Press conferences for example when the team manager/player/fighter/rider etc are being asked questions I would be filming the answers and taking stills during the translation of the question. Boxing press conferences are where the fast ability to switch between modes as you never knew when it would kick off between the two fighters. So you’d be taking stills of both as some benign question was being asked and then the answer might cause a table turning chair throwing brawl. The switchover time in that instance would be a major issue with a big financial hit. Training sessions would be another one as you are only allowed in for 15 mins and have to make the most of it. Filming players half heartedly jogging about leaves you with functional but barely sellable footage so you make the revenue up with profile stills of the players which end up having a longer shelf life in the agency library. So, whilst it’s moot because I don’t do it anymore, the R5 would be the better solution for my needs. The more salient point for me, though, is how Canon made a virtue out of the cine/stills switch in their launch video showing users merrily switching between modes to no doubt push its “modern content creation requirements” whilst in no way reflecting the time it takes to switch. Not the biggest piece of dishonesty they’ve done with the R5 range of course but a shithouse trick nonetheless.

And with the R5 you don’t have to give it two days written notice if you want to switch from cine to stills mode.

Reading the leaked sensor spec sheet, it is a special mode designed for shooting cinematic B-roll of the legendary and ubiquitous Ikea bookcase.

There are some here. Can't vouch for them if they are any good but the reviews look OK https://www.aliexpress.com/item/32662428205.html