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There is a tendency here to equate “I can’t afford it” or “it’s not what I need” or “I don’t like it” to “it’s too expensive” or “it’s useless” or “why?”. These are very different. This camera will sell - to those who can afford it and for whom it does what is wanted and who are attracted to the form factor, build and features. Notice how it is already being mentioned in the same sentence as the Q. That is already a win for Sony. Maybe not for “us” but I suspect that buyers are certainly out there. Including potential Q buyers. I’d have been a bit tempted but I’ve recently streamlined into a non-Sony system (more on this later when the rest of the new kit arrives!).

Canon's quietly building a full spectrum system: RF hybrids, Cinema EOS, bridging bodies like the R5C, and now smart hybrid lenses + the V line. Less hype, more ecosystem thinking. Nikon is I indeed in the strongest position since acquiring RED to really blow our socks off with whatever is coming. The one brand I’d like to see step up in video is Fuji. The XH2S was a strong start, would love to see that concept pushed further. I know they’ve got that Eterna GFX high end cine cam, but something in between would hit a sweet spot.

I quite like the FX2 myself and but for a couple of things, came close to buildings system around it, but when it came down to it, for my needs, L Mount just had more for me at this time. I’m pretty sure that by the end of the year they (Sony) will have redeemed themselves plus if Nikon make some of the rumored moves with RED as some expect, the momentum will shift once again, as it always does. Canon seem to be the quiet one right now…

I don't think neither this RX or FX2 is aimed at consumer mass. RX has always been compact premium even if you can now find the ageing models at bargain pricing. I think the negative reception is actually from seeing things in a vacuum of saturated camera releases. Not trying to defend Sony here, they are clearly stagnating with incremental releases and recycled tech.. and the pricing doesn't match the expectations. That said I think the online reception has been bit unfair with FX2 dismissing it completely because it crops 4K60p etc. Also strangely to me, the tilt EVF has been redeemed by some as useless! Oddly videographers and even photographers (including yourself I believe) have abandoned EVF shooting in favour of display shooting. To each their own and clearly that's become the norm maybe thanks to smartphone habits, but for me, and I guess I'm a minority, that tilt EVF is brilliant and something unique and missing in the mirrorless world. So for that alone I give Sony a round of applause. Now if they could gives us open gate, internal RAW etc across the FX line, now that would be serious game changer..

Like I said, that video won’t help you hit the celluloid film look you’re after. But it does help with visual language. The cinema refs aren’t about lenses or LUTs.. they’re about framing, rhythm, tone, and storytelling. For me, it’s not just about tricking the eye into thinking it’s film. It’s about intent behind the image and everything working together. Too many people today slap on a grain layer and think that’s the sauce. You can shoot dreamy bokeh with a vintage anamorphic and add film emulation, but without a clear perspective or thread, it can still feel hollow. The Gawx stuff works because it’s curated. A lot of it incorporates visual language of cinema. Now all that said, if you are only chasing the look, I saw he uses Film Vision Pro which many consider it the best current film emulation pipeline: Exactly, it works only because it’s a full on tribute to Fallen Angels. He’s borrowing the whole visual language: ultra wide handheld, pacing, colors, even the music. Sure, it’s a watered down version, but that’s kind of the point. You have to know the reference to really appreciate what’s going on otherwise it just looks like “cinematic” vibes.

Speaking of Q3's, there are 5x 28mm and 11x 43mm for sale on MPB.eu, so obviously a lot of folks have bought and off-loaded them. I *might* be tempted myself with a used 43 next season... I will have been in the industry 26 years and only owned one Leica, a crop TL and it stopped working so I sent it back for a refund, but the 43 ticks pretty much every box for me other than what it costs. I might just treat myself if I can make the business case for it stick...

Without being too flippant, tariffs etc aside, I wouldn't buy this new Sony at above 2.5k and even then, I'd rather have the older 'middle' one. Is anybody actually seriously interested in this camera? I know there are people out there, (about 3 of them), stating, "I don't want no stinking floppy screen or IBIS, just give me a photo camera", but surely even they, and dentists, will baulk at 5k for one of these? It's a tiny bit bigger and a little heavier, but a used Leica Q3 can be had for the same money. 8k, flip screen, IBIS, wider and faster lens, is a Leica not a Sony...

Yeah, I have a bunch of M42, but none wider than 28mm as it's all FF vintage. I'll grab some shots.

I thought you had a bunch of old tat like the rest of us with M42, Y/C etc mounts but yeah if you have non electronic MFT lenses then thats fine. The 17mm f1.4 would be fine if you get a chance.

Worth a look. Part I. And now Part II... Imagine it now coupled to a new tool like this one:

I've played with diffusion before and not really liked it, but diffusion is a difficult topic because (the way I see it) it has four broad effects depending on the size of the diffusion. The largest size of diffusion spreads light across the whole frame, reducing contrast. I'm not really a fan of this one. The smallest size spreads light into neighbouring pixels and essentially is the same as blurring the image. The medium-large size spreads light between objects in the frame, creating halos and a strange appearance I'm not fond of. The medium-small size spreads light far enough that it softens texture in the image. This is why all the Hollywood actresses wanted diffusion because it hid any skin imperfections. Apparently Cooke lenses all have this kind of diffusion in them but only for the frequencies of light around skin-tones - potentially a key part of the "Cooke Look". Going back to your previous comment: This has stuck in my head and after re-watching the Gawx videos I suspect this might be contributing to it. I might have to do some investigation on this. Also, now I have the anamorphic adapter and my new wide angle adapter, I'll step things up in terms of making things look a lot dirtier. Anything in particular you think I should test? (apart from having people in the image, which I think will end up being me).

Yeah, I suspect it's one of those things that drives one person up the wall and most others don't see or don't care. There's a ton of them that other people talk about that I can't see. Which movie? I must admit I haven't seen any of the Wong Kar-wai films, but definitely should. I remember seeing some moving-camera wide-angle footage from a high-end lens announcement once and despite the equipment all being top-tier it still looked video-ish to me. My latest film is a bit pushed, but not nearly to that extent. In terms of pushing the grade, I completely agree and feel like having a strong look (and especially a strong tint across the whole luma range) might be part of the aesthetic I'm trying to capture. Not to say that you can't get it without a tint, but I think it might help.

I'll have a look but the widest non-MFT I think I have is probably 28mm. BUT, if you mean no electronic contacts (which means the camera doesn't know the lens and wouldn't compensate for it?) then I have 7.5mm F2, 8mm F4, 15mm F8, 17mm F1.4, 17.5mm F0.95. Happy to do some quick tests - let me know what you want to see 🙂

I think that the elephant in the room at this point, at least in the US, is that camera vendors were already overcharging for the newest models - and now tariffs are pushing them to the point of just plain unaffordable. Fuji's price increases hit today - the GFX 100 II went from $7,500 to $8,300. GFX 100RF just went from $4,900 to $5,400 - making it now more expensive than the RX100 III, though still not by a lot. It seems likely that a bunch of manufacturers will boost prices all over the world to maintain some consistency and to force the rest of the world to at least partially finance the US tariffs (which is probably one of the reasons that the Sony is so expensive everywhere). If so, I wouldn't be surprised if that's a thing that reduces camera system changes and greatly decreases new camera purchases... also since the US economy is already starting to show signs of distress due to poor management from the current administration.

I’m not sure what Sony are thinking lately after the FX2 and now this, but neither have been very well received. We still seem to be in an era where camera companies are only partially listening…and then sticking two fingers up at their customers. They will probably turn it all around in a few months with their next couple of launches and all those who hopped over to Nikon or Lumix recently, will lurch back to Sony. Or maybe in our community we only see things from our relatively small bubble and the greater consumer mass couldn’t care less?

Here at a camera store in Berlin we have the 3 musketeers. 2012 vintage RX1R OG, the one without the AA filter. It's very nice and I can't understand why it only goes for $900 used. Because it's got a much better lens than the Leica Q. No red dot though. RX1R II, the one with the tilt screen, phase-detect AF and pop-up EVF. It also shoots 120p, albeit no 4K. It also has a further innovation - the AA filter can be switched on and off. This was Sony when they felt they needed to catch up with Canon and Nikon by really pushing the boat out. 2014-2015 vintage Sony. The $2000 mint condition used RX1R II is reasonably rare but when you do find one, it's still cheaper than the Leica Q OG and closer to the Leica Q2 in terms of image quality. The pop-up EVF is mechanically a thing of beauty and offers a big field of view. Although without a rubberised eye cup, it isn't the most ergonomic or comfortable. So to the new one, the one with the 10 year gap. Sony have made sure to price it so that nobody buys one, which is good because they want you all to buy E mount lenses. Just to summarise the street prices: RX1R: $800-900 used RX1R II: $2k used RX1R III: $5100 / 4900 euro The lens is identical to the previous cameras. Which is fine to be honest, but I had more issues with the AF in macro mode on the RX1R III vs II. Weird. I also dislike the finish and build quality, doesn't feel as premium. It feels a bit like the A7CR. Not great and nowhere near a Leica and the RX1R II also feels more premium. I do prefer the buttons though on the new camera, they are raised for a more tactile feel. Gone is the pop-up EVF, in place of it a smaller standard one. The resolution of the live-view feed is better, but the overall optic is worse and more pokey. Gone is the articulated screen. Which is a really weird one. In comes a fatter battery - very welcome. 4K is there with no crop in 24p/25p... However, there's no IBIS or even OIS, which is a downer. The AEL button has changed to an AF-ON... Again a welcome change, because the first two models had no back-button AF at all. Well done Sony. So if you're looking for a full frame compact, the first two models are a steal. I got the RX1R II again. I regretted selling it the first time out!

I mean he’s pretty good at framing. Nothing super spectacular here imo I mean probably because it’s a very watered down imitation of one of the most stylish movies ever and ultra wide handheld is instantly a super engaging look when done correctly. when’s the last time you dared to grade one of your videos that green or that ‘unnatural’? Good looking moving images are the result of not just having intention behind as much as possible, but also trying to stick to certain daring decisions (that might fuck you over) imo.

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Have you got a non native MFT lens at that 14-24mm range that you could have a quick test with as the taking lens ? Trying to see the wood from the trees regarding the extent of the (expected) barrel distortion of the adapter without the camera's built in correction of the native lenses adding or subtracting from the party.

Having bought the Sigma for my S9 (largely because of your enthusiasm for it 🙂) I have to 100% agree - it's a perfect companion to the S9 in size and weight, with nice smooth zoom and focus rings. As I normally shoot video in 4k50p which forces an APS-C crop anyway, it being an APS-C lens is actually a plus for me as it forces APS-C for everything so I don't have to deal with changes in viewing angle between stills and video. The 12MP APS-C stills are OK for my purposes, and I have the compact FF 18-40 f4.5-6.3 if I really feel the need for 24MP stills. So I tend to regard my S9 as an APS-C camera with a bonus FF stills mode 🙂. The adaptor is only doing what it's supposed to do with an APS-C lens on the front, same as using a native L-mount APS-C lens (e.g. the Sigma 18-50 f2.8).

Have you considered the Sigma 18-50 f2.8 even though it is a crop lens, or do you need the full frame? it’s an exceptional tiny zoom with a 27-75 FF equivalent range and I’m still considering whether when I pick up my second S1Rii if I don’t sell the S9, would this work for me in any viable way, or would I just be trying to keep hold of it?!

Lok Cheung's input (the other part by another usual suspect is here) on 360º acquisiton for traditional use -- my bet, actually: That London ride is exactly where I think the sensor size factor (the same for Osmo Pocket 3) makes all the difference (coupled to 10-bit realm, obviously, just not exactly all the way long like in that example but counts more than the usual reviewers tell)... No less. My shot too :- )

Camera is in my hands. Feels a lot more premium with the cage. Good way to beef it up as an a-cam without feeling like a huge rig. My weird plan was to rock the sigma 18-35…i already own it and it covers 24-35mm roughly on full frame. But the darn viltrox EF to l mount adapter, while great, forces the camera into an apsc crop no matter what I do. Thinking of selling it and snagging a used canon 16-35 2.8 l or 24-70 l EF.

The most reputable 360º tech/gear reviewer out there or alike : ) here is his entry:

Absolutely - it's a fantastic price for just the body and I'm envious that you found it! If it were me, I'd still at least make a request that they give a partial refund since the item wasn't as-described and then I'd just take whatever they suggest, whether it's $20 or whatever. It never hurts to have an extra $20.