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Internal 32-bit float stereo paired with lossless 120mm reach from a 20mm lens — all inside a genuinely pocket-sized 10-bit 1-inch sensor gimbal camera? 1 2 3 4
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I have experimented with the Beastgrip 1.33x and 1.55x adapters using full frame cameras and wide/normal to short telephoto lenses (35/40/50/75). I have tried with my slow Leica M lenses, which are usually pretty forgiving on coverage. These Anamorphics will cover full frame and are easy enough to attach to the M mount lenses with a 39 to 37 step down ring. the 1.33x is definitely a better fit for the 35 & 40mm lenses, as the 1.55x has a pretty wide FOV. Results are similar to the above samples, with soft edges and major distortion. But definitely plenty of character. Next time I take a stab at it, I'll post some samples. -
No, DIS is a separate feature also available with the R6V. -
Is it just a digital in-camera stabilisation though? I'm not so keen on using those. -
They cannot have NOT looked at it as the older 18-35 had a 50-100 sibling, but maybe it’s a case of the longer lens didn’t sell well or they think it’s covered somehow with the 28-105 and Samyang’s 35-150? Or it’s on the pipeline… Up until just a few weeks ago, the pairing of their 28-45 1.8 and an ‘imagined’ 45-90 f1.8, was end game for me, but since I went back to the pairing of 2 primes, mostly the 35 & 85 f1.8’s, I’m moving more towards the opinion that I already have my ‘end game’ set up because I ask myself, what would I really gain with a chunky twin zoom set up over what I have now? A bit of range; 28-45 vs 35 and 50-100 vs 85 and yes, that would be welcome, but do I really want that weight & bulk? Probably not. I’m still interested, but I think it would only be on the basis of instead of working primarily with 2x hybrid units, going back to having 1x stills dedicated and 1x video dedicated, in which case the use of zooms would be a necessity or I really would lack any kind of range. On a single body, the 28-45 would be perfect for indoor and low-light work and something like a 45-90, perfect for outdoor. I’m talking stills or video because that pairing would work dedicated to either on a single body paired with my second S1Rii paired with either the 17-40 dedicated to video or the 28-105 dedicated to stills. We’ll see. Consistency is a massive factor and on my journey of shooting gigs solo hybrid with equal parity between stills and video, I haven’t had much stability until this year, the first I have had the same system from start to finish. OK a couple of necessary workarounds as in mid season, I broke my S9 and had to use the L10 in it’s place and juggle a few other bits of kit around and then broke my 70-200, plus playing with the set up within the set up, but consistency of familiarity with the overall tool set. Ideally, I don’t want to be doing any fiddling in 2027 and run a full season with the exact set up I start it with. If Sigma pop out something akin to this 45-90 f1.8 with internal non-extending zoom over the Winter or Spring, then that game is almost certainly on. If they don’t, I think it will be the primes locked in for the season and the 28-105 f2.8 goes into the static role which is really what I intended for, replacing the slower, unnecessarily long (and broken) 70-200 f4. -
Thank you for this, I'm also wondering why they haven't released a lens to complement the 28-45, it would just make sense!
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