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I have spoken to people that owned them at this point so I know they actually did release them. No word from metabones themselves after several emails so I wonder about the state of the company at this point. As for L mount, Besides Metabones, Laowa has one for their probe lens and Kipon now has a Canon EF one with autofocus. The main issue is the optics hitting the mechanical shutter from what I understand so maybe that’s part of it. I also have the Kipon M645 to L for my Mamiya glass so that’s been fun. Because I’m also looking at the Fuji XH2s I’ve been rethinking the options for Super 35 and my various lenses. At this point most likely I’ll just continue to deal with the 1.5x crop on LUMIX stuff and focus my attention elsewhere. Thanks for the feedback.

For narrative shots I use a lot the 12-35mm in a 6" dome port. For ambient wide angle shots I use the 7-14mm or 8-18mm on the wide end. Rule #1 underwater is to reduce water/distance. The most useful combo is the (vintage) Pana 14-42mm with a special wet lens which converts the lens FOV from 75°-29° to 130°-50° and it focus basically on the lens. With this extra crop everything becomes too narrow.

If you want to shoot raw, yes. If there's a non-windowed ProRes or H.265 mode, though, they should be about like a 16mm FOV on ff.

So my 8-18m @ 8mm become 22.3mm. Hummm this is a deal breaker for wide angle underwater use...

news and events can be at this level. you still can break the bank account too. lol

have you tested em1 series and gh6 and g 9 2 in terms of ibis at focal length greater than 100mm, at least greater than 50 mm? I guess Olympus ibis still beats penny by a mile at long focal length, which is critical for manual focus lenses adapted to m43 bodies.

To be clear, lenses don't have a crop factor. Lenses project an image circle of a certain size. When the image circle is smaller than is needed to cover a full camera sensor, you will get dark corners or in some extreme cases, the outline of a circle. As long as the sensor is smaller than the image circle, though, you will get an image that covers the entire sensor. If the sensor is 24x36mm (full frame), this would be referred to as a "1x" crop factor in modern terminology. If you put a smaller sensor with the same lens or only capture a portion of the above sensor, the crop factor will increase. We usually calculate this by calculating the diagonal lengths of the sensors and dividing them (or the areas of the sensors and dividing them). So a sensor of around 22.3 x 14.9mm ends up with a diagonal about 1.5x that of 24x36 and Micro 4/3 is about 2x. If you then choose to use only a portion of the Micro 4/3 sensor, the crop factor would increase again. So in raw, going to 4k from 6k is usually an additional 1.5x crop and going to 2k from 6k will be closer to a 2x crop.

Highlights look awful in this video imho @kye I really like some very subtle hues in the footage and the rendering of textures. Some shots look 100% like Aja Cion, in a good way and in a bad one as well, some look akwardly and unpurposefully dark, some look promising. Mixed bag with interesting things to come hopefully.

Exactly

And for sure he could write anything in the video description...

If Panasonic paid him $1 Million, he would. Also, I may be wrong, but its difficult to really judge the image unless one sees it on a much bigger screen, that had great HDR. On a smartphone screen it's pretty useless. On smaller monitors too, it's pretty difficult to judge.

No but I don't criticize it. I think it is impossible to judge cameras by videos. This is a bias that was born on social media and will never die. I have never heard about a film that it would have come out differently if they had used one camera or another and yet this BS on social never dies. The videos say more about the skill of the author than the camera. I would like to see Roger Deakins with a GH2.... 😉

Guys forgive me for insisting on this raw thing. Tell me where I am wrong. I am here to learn. In M43 I have a crop of about 2x due to the ratio of the FF sensor to the M43 sensor. When I shoot in Prores or H265, the camera uses the whole horizontal part of the sensor and then scales the image to C4K or UHD resolution. When I shoot in Raw the camera uses exactly the pixels needed to get the desired resolution otherwise it would not be raw. I did not understand if in the two options the camera changes the crop factor of the lens. Thank you in advance

Not a clue. Seems odd to criticise a video if it doesn't answer every question you ever had about something! 😂😂😂 But, it's ok, comparisons are coming.

Panasonic must be pretty confident about the LogC implementation. They got this guy to shoot a film with ARRI as A-cam (Mini LF) and GH7 as B-cam, and also specifically told him to try and break it (which he failed at, despite it being kicked into a brick wall and falling onto a concrete floor from shoulder height - twice - as well as taking other knocks). and the short film itself:

I liked but what's in there can't be obtained with the GH5? I see a nice but pretty heavy color grading.

Some stunning footage at the start of this one...

It's not a question of quality, but purpose. Is a car better than a truck? Is a TV better than a tablet? Are headphones better than loudspeakers?

Thanks I couldn’t find a video showing shotgun vs. the smaller mics which would show the quality difference.

https://www.youtube.com/watch?v=kRRJ-Ilo1HM

I’d say that they are rare enough to suggest that they might not have actually been released at all! Plenty of online retailers list them but none in stock and suspiciously not a single review. I had exactly the same issue when looking for their Leica R to L mount speedbooster. Bear in mind though that when you look at the detail both adapters were reasonably restrictive - particularly the Nikon version - in terms of the lenses that you could put on them so this may have contributed to them not selling in sufficient numbers to make it worthwhile continuing beyond the initial batch. I do actually have an L mount speedbooster but it is the Kipon BavEyes for 645 lenses and they also do them for Hasselblad V mount lenses, so medium format down to full frame is the whole extent of what’s available. The only real options for faster than your 18-35 is to pick up the Sigma f1.4 APS-C primes which are excellent but a marginal gain for the additional outlay. I have the Metabones C/Y to E mount speedbooster which works well so the other option is to change bodies to a Sony APS-C to use your Contax selection. The only APS-C bodies in L mount were the Leica T/TL/CL (I wanted the R to L speedbooster for my Leica T) but these are now discontinued so it doesn’t look promising in terms of Metabones or anyone else looking to develop speedboosters for L Mount. It could change if Panasonic or Sigma release an APS-C body but I wouldn’t hold my breath on that. Of the two, Sigma are more likely to as they already have the lenses to support it and that full frame Foveon looks to be so problematic for them to achieve that an interim APS-C version may be a possibility.

I would have apprecied a comparison between Open Gate and 4K with everything higher than a 8mm lens (like he did in his previous video), because saying the stabilization is the same while testing the IBIS only at this focal lenght is not serious. In my tests, both the GH6 and G9II have worse stabilization in Open Gate with lenses > at 15mm, more jumps. I understand he likes Panasonic a lot but owning all the recent Panasonic cameras, I can say it's a very oriented comparison to makes people believe the camera has no flaws. In the same way, all these youtubers almost never compare the video IQ (details rendering) between 4K/6K/Open Gate or between the recent and the "old" gen Panasonic cameras, and yet there is a lot to be said. Each time we need to compare the cameras ourselves or wait the impression of people who bought the camera themselve.

You're watching a video with a single person in an otherwise-quiet room. Unless listening on high-quality speakers/headphones, the differences will be negligible. Here's a more useful YouTube search for you to be able to understand why a cardioid or supercardioid mic is different from an omnidirectional mic and when you might choose to use one vs the other. https://www.youtube.com/results?search_query=omnidirectional+microphone+vs+cardioid

I doubt anybody here can actually answer that, but if I'm guessing I'd say that the difficulty in finding them used relates to the reason they're unavailable new. They probably sold barely any of them in the first place which is why they aren't making more.

news and events. I shoot for my YouTube channel. I waste too much. I think go pro 12 is enough for my needs. but I always say to me that if I have of a hobby of collecting luxury cars or sailing boats, I will be totally broke. then I am happy. lol.