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    • That X-factor that some cameras have is equally baffling and also completely compelling..... I understand / sympathise! Wider than 15mm in a manual lens is definitely a struggle.  What is the crop factor of the EOS-M 1:1 mode you're using?  There are a plethora of vintage and new c-mount lenses all over eBay but the trick is to understand the size of the image circle they project and the size you need.  The OG BM cameras had a crop factor of 2.88, which was quite large in the world of c-mount compared to the CCTV applications, I have spent many an hour searching eBay item-by-item googling each one to find the size of the image circle - normally to reject every lens I could afford and then just spiralling off to search in reverse-price-order and watch videos of the Angenieux lenses that are sitting there for sale for the price of a newish car. Meteor made a few lenses, some starting at 17mm and others at 22mm IIRC, but I'm no expert on their history.  They were made in quantity so are accessible and I don't think people really knew about them when S16 was in-demand so they're priced reasonably.  Also, most of the lens tests I've seen show that they're super-soft and vintage, but there are a few on YT where the images are super-sharp and clean, so I'm not sure if some copies are bad, or if most of the people testing them don't know what they're doing, or if most testers wanted that heavy vintage look, or if they simply uploaded them in 720p at pathetic bitrates because no-one knew how YT compression worked back then.  TBH, most of the videos with these vintage lenses are either by people that don't know anything about anything, or they're by people who want the vintage look and so are pushing the quality to be as crap as possible and not showing the capabilities of the equipment.  It shits me that most of the OG BMPCC tests are like this - people don't take the time to show the potential.
    • I took my GF3 around Europe and into the US and shot using only the kit lens and the 14/2.5, mostly on full-auto, and with RAW images I was basically never disappointed.  The only thing that I missed was the look of Canon colour science, so I bought a 700D after that and really liked the images from it, but the additional size would have made me question if I would take it travelling. The best images I took were enabled almost exclusively because I was shooting fast, thinking creatively, and going mostly un-noticed - which are all direct results of having a small automatic camera. When I was first learning video I was absolutely stunned by how fragile and, frankly, crap the video from mega-dollar prosumer cameras was in comparison to the RAW still images from an ultra-budget pocket camera.  If I was still shooting stills I would have on from discussing equipment probably a decade ago.
    • Yeah, phones are getting really good now, with RAW and Prores and Apple Log and recording to SSDs.  The thing I think is missing is a wide-angle selfie camera.  Trying to film yourself using an ultra-wide but without being able to see yourself is possible but hitting record, then turning the phone around, and shooting while presenting a bright image of the frame to everyone around you is strange and awkward on almost all levels! I don't know if the diopters for action cameras also have NDs.  They might, considering that a diopter is as technical/geeky as an ND would be, but action cameras are practically designed inside and out to have a short shutter, so it kind of goes against the whole ethos in a way.
    • Haha. The line! I know. It's so hard to stay on the right side. I'll admit that I've slipped a little and in a moment of weakness, I purchased a $50 point-and-shoot as an every day carry (big mistake; I was quickly reminded that I just can't get excited about cameras without a substantial grip). But other than that, I've been very disciplined these past four months. My interest in c-mount lenses revolves around the EOS-M. I enjoy the combination of 16mm glass with this little camera in 1:1 crop. There is an aesthetic there that is more interesting to me than anything I've been able to get from my S35 and FF cameras. My theory is that sampling from a smaller piece of the sensor in combination with tiny glass throws out enough detail and in turn, brings some mystery/intrigue/engagement to the footage that is missing from most digital S35+ footage. And this is coming from someone who ignored c-mount lenses until 3-4 years ago; I didn't see the point. Before my self-imposed embargo, I decided to put together the most economical raw-shooting camera package that I could possibly think of. I got there with the M and three Cosmicar c-mount lenses (I also have a set of three Kern Switars, but they were significantly more expensive). Working with such a lightweight, low-cost kit and yet fully functional kit is freeing. What I'm missing (though, not really) is an inexpensive zoom lens that can go wider than 15mm, but most have that ugly track that I can't get past. However, the Meteor is an intriguing lens. And they are still quite affordable. I think I can say that rigged up, the EOS-M/c-mount combo makes me want to get out there and shoot more than any of the other 30+ cameras I've owned (other than maybe my beloved FZ47). It's way more fun than any other cine cameras that I can think of. If I get a couple of nice shots with it, or I am able to crop in a little further in-camera to eliminate some vignetting on an otherwise overlooked lens, I feel like I'm breaking the rules. It offers just the right amount of limitation, which I find to be inspiring.
    • Or ANY camera you will just either pick up more or even have with you at all times ie, ‘EDC’. Which is why something like the Fuji X100 series or Ricoh GR are just so popular, - big quality out of a small package, but perhaps more importantly, fun to have and use. On that note, the Ricoh GR3x is ticking the most boxes for me right now based on only really interested in stills only, pocket-ability and love the 40mm focal length.
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