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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.

Put a lady's stocking on the mount of the lens to soften the image, maybe?

Might be worth a shot though what I land is still an amazing deal for just the body. Might give it a go though.

This guy knows how to sell the 'thing'... I bite : ) Sold. Just posted less than a single hour ago. 8K50p confirmed. Simply WOW. No match.

Can you contact the seller and ask for a partial refund since it's missing the lens? Seems worth a shot, at least!

I used it for approx 90% of everything I shot in these last 3 jobs with just the 50mm f1.8 and my own baked in LUT. The latter still needs a few tweaks, but that is a work in progress... https://firehorsephotographyfrance.com/journal

This is a fascinating video because to me, the whiplash shots looked like cinema and the rest of the shots looked like video. High-quality video for sure, with interesting things happening, but it had a video look to it. It's becoming obvious to me that I'm chasing something that others either aren't seeing or don't really care about that much. I can absolutely see the difference between my random plant shots and the Gawx videos I posted... My random plant shots without the blurring or film emulation applied look like video, the same footage with the film emulation applied look like film (but not like cinema), and the Gawx videos I posted look like cinema (which happens to also look like film). Perhaps the most interesting thing about that comparison is that making things look like film (at least to me - I'm likely to be pretty easily fooled into thinking something looks like real film) doesn't make them look like cinema. I don't think it's about composition or camera movement either, because the video above (The Pursuit of Art) have that and still look like video to me. I don't think it's about careful lighting, because Gawx managed to get the look on external scenes in full sun in the middle of the day. His other videos are very carefully lit, but if this was required then he wouldn't be able to do it with the Museum one. I don't think it's the camera, because as you say, Gawx did it with two different cameras, and one was a phone - hardly the pinnacle of equipment for getting a cinematic result! Of course, all the above things matter. Pretending they don't matter is silly, but that video is super-interesting because it proves that they're not enough. Also, the Whiplash footage shows that it's not anything to do with the pipeline either, because the Whiplash footage went through the entire same editing and export and upload processes. I am simultaneously heartened that Gawx could do it with a phone, outside on a sunny day, but also disheartened because I'm running out of things to test! I found a few interviews with Gawx that I'll try and watch in the hopes he gives some kind of insight into it. Perhaps the best way I can describe it is that cinema looks larger than life, and video doesn't. Watching the above started with footage that made me think some camera bros were on a beach with an A7S3 and then pulled out the drone, then the Whiplash footage made me feel like I was in a cinema looking up at a huge screen with a box of popcorn on my lap and the speakers shaking the room, and then suddenly I was back to looking at Gap Year footage with some FF bros again. It's like the scale of the image just collapses.

I think this S9 will fit my needs perfectly. Electronic shutter doesn’t bother me, as I do video 99.99% of the time. I still have my old Nikon Z6 I can whip out for the very few times I get asked to do photo work.

Liquidation auction are overstock, b-stock, Amazon returns etc so there’s always a chance for something to just be missing lol.

Typical liquidation auction weirdness, the S9 body is in great shape other than a small scuff on the lcd, but the 20-60mm lens is entirely missing from the packaging lol…still a good deal as is still around $400 less than the body only S9s sometimes sell for on eBay. My EF lens adapter comes tomorrow then I can do some proper tests and first impressions. Will share those.

Yes. The imaging capability of the S5ii in a tiny lightweight package. By far and away, the best run & gun set up I have used to date with the Rode Micro. However, I will be trading mine as soon as I can afford to do so, along with one more lens (bringing me down from 5 bodies + 9 lenses to 4 bodies and 5 lenses) despite absolutely loving it and for a single reason, - that electronic shutter. Having down-sized my kit, I need this unit to work as a hybrid and shoot stills also, but low-light + LED’s = banding. It’s not excessive or super-heavy, but it’s noticeable and what put me off the Sigma FP and FPL when I tested them a few years back. I think the Nikon Z8/9 is the only current camera that doesn’t really suffer from this but it is a photo issue only. Well it can be a video issue also as I rediscovered a few weeks back when shooting 30fps subjects with an LED tree behind them and had not noticed I had knocked the shutter speed from 1/100 to 1/125 😏 Need to fix that now in post, if I can… But S9, whether you keep or sell it, I think it’s fantastic for video. Tempted to keep it as a backup, but it’s overkill with 4 main units and it would just gather dust, plus as a business, I love it for what it can do, but not simply as an object to own.

LOL : ) Clearly, it was opened under the wrong setting…

Both types of credits on imdb won't be a problem. In fact it could show that you have experience on set so you possibly could have a greater understanding of a film project than just your one area. It won't matter if there were some big names in the film.

In the meantime, that video got changed to private. Must have accidentally jumped the gun on making it public. Dang, DJI have a lot of leakers on this one.

In the meantime, here's another one: crazy reviewer, he doesn't give a damn for NDAs... No idea for you but to me it is a clear win-win, so bye-bye to my One X2... Let's not forget these guys are the same who have produced the Osmo Pocket 3. I agree with the guy. You risk to no lose anything when going with these people. Hard to beat them and their products IMO : ) Seems the time you can easily match these small capture devices to any other camera of your arsenal has finally arrived.

Looks like that was the same NDA footage from Benett Graezer that leaked on YouTube before July 31, not an official publisher review. The title didn’t really reflect the actual results, so it’s more of an apples-to-oranges comparison. DJI’s 10‑bit footage never showed those kinds of artifacts when handling heavily processed input on the X5. Either way, both sources have since disappeared from the web.

Context matters in film production. You have more context. What you possess through experience is an asset. --Might be a minor asset that doesn't really matter much, but it's certainly not a liability.

Sure, on the opposite. Right on the spot as @PPNS said :- )

There’s a whole language baked into those Hollywood classics frames: actors, wardrobe, blocking, lighting, set design… every element supports the tone. Even a single still says so much because it’s built around subject, not just color and grain. Also checked the Mexico & Tokyo Gawx videos. What’s cool there is how different the tools are (one shot on Fuji, one literally on an iPhone), yet both look super filmic. That’s not just the grade in DaVinci, it’s how he shoots. The variety of angles, the rhythm of edits, the way shots alternate between wide/symmetrical and close/intimate. There’s a real visual language there, and the music choices help carry the mood. Kinda Wes Anderson meets lo-fi travel doc. All of which kind of reinforces the point that gear and grading matters, but what you point it at and how you frame/cut it matters a whole lot more. Vintage lenses and power grades are dope, but the film look really comes alive when there’s composition, movement, and some intention behind the shots. As someone else mentioned above, it’s hard to judge when youre shooting plants or the kitchen. Nothing wrong with testing gear but cinema’s called motion pictures for a reason. If nothing’s moving, not the subject or the camera, it starts to feel more like still photography with a film LUT on top. You don’t need actors either, just find something with a bit of energy or make the camera do the work. For further inspiration, there’s a young travel filmmaker on YouTube whose shorts are very cinematic (albeit clean digital, not in any retro lofi aesthetic). I found him as I was looking for Canon R5ii 4K SRAW footage. This probably won't help you in the chased 35mm film anamorphic look aesthetic but in the end what really stood out is how mature his visual language and storytelling is, and his last video breaks down his inspirations and techniques: