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Hang on, let me just check my collection of 35mms ....

Yeah, after reading and re-reading the advice here and after seeing things head into the M4/3 conversation, it only makes me feel more like moving towards a c100 mkii. Since everyone's shooting situation is different and people hear have thoughtfully commented on mine, it seems the big signs point that way. c100 mkii offers me; - 60p for my slow mo - Native lens support and DPAF - ND's Built in (which helps a guy running around outside at a school, weddings sometimes, etc.) - No Time Limit recording - I also believe that current USED price point (around $2500-2800) is going to be my best bet for a Cinima camera. mk3 would be out of my price range if one came out and who knows what the future holds. I actually almost pulled the trigger on one for $2480 2 weeks ago, but ended up being too scared, and now I'm kinda kicking myself, that was a good price I believe. Once again, thanks everyone for your thoughts and advice. I think I am going to wait for a good price and start worrying about my shooting, not my gear. Cheers, Chris

And still no Cinelike D I'm going to wait for the Leica version of it so I can feel as let down but with a slightly more elitist glow.

And thats just the Houses Of Parliament.

Actually, I did forget one other 35mm option I have which is the Canon 35-350mm f3.5-5.6 L that I picked up for £350 last year after a bit of haggling. I've never used it on the Sony A6500 as I'd bought it for the LS300 but I've just put it on to take a few shots for you outside to show its range and it AFs very well with the Sigma MC-11 converter. If you want the flexibility of 10x zoom range then look no further than this one!

One for sale cheap as heck at Adorama. $89.00. https://www.adorama.com/us 1032240.html?gclid=Cj0KCQjwk_TbBRDsARIsAALJSOaH08pSJpuy4R0KbibgtUTHOWRcSQ1OBFg_v78oqSQJ5xJtJhjfcQwaAlbcEALw_wcB

Steady on, I think you'll find that its you lot that drive on the wrong side of the road.

I'm just going to chime in from the perspective of someone who uses Nikon pro bodies for work and would be looking to swap out his D810 against the Z7 versus perhaps going for a D850. Its not going to be some moan about wanting to hammer nails in with it or tow it in the water behind a speedboat or some such but it is about the ergonomic differences between the pro bodies and those that use the PASM locking dial. This will also hold true for anyone who uses a D850 in anger and was looking to swap over. I'm not sure why they've gone to a locking PASM dial when the mode selection keys at the top of the dial of the other cameras (like the D850 for example) offers fast access to WB and Meter Modes as well as the PASM selection. Not to mention being able to switch Quality modes without having to go into a menu. And it looks confirmed as per the post the other day that they've removed the dedicated lock file button which is absolutely nuts considering how vital it is. Strange choices to be honest. Quite surprising as well when you'd have thought that they would want to tap into their existing user base and offer them a seamless transition in to this brave new world of mirrorless. This is not me just being an old fart and complaining about not wanting anything to be changed by the way but their existing ergonomics weren't broken so I don't get why they've tried to 'fix' them in this way. The beauty of that top dial in their existing cameras is that you can change everything about the mode, the metering and the white balance with one finger of your left hand and scrolling with your right thumb without ever having to take your eye from the viewfinder. I've no idea why the fps mode suddenly becomes important enough to have its own dedicated button either. There are also a few other omissions (such as the multi pin front remote connector) that are surprising but the AF/MF switch seemingly disappearing is quite baffling, even for users of Nikon's lower range DSLRs. For the benefit of people who don't use Nikon bodies at the moment, the AF/MF switch also has a centre button which enables you to switch between AF modes really quickly using the thumbwheel when you hold it down and, again, all without taking your eye off the viewfinder. Its really puzzling what's happened here and as exciting as the new aspects of it may be, I'm not convinced they've done what everyone has expected them to do which is to make a mirrorless D850, irrespective of how close the specs are because it isn't comparable in one of the most important aspects of all. If this thing is significantly cheaper than the D850 then those compromises might be acceptable but if its anything like the same price - and I've not seen anything to suggest otherwise - then I, for one long time Nikon user, won't be jumping on the merry go round this time round. I'd completely accepted that a D5 style version will be somewhere further down the line but I'd definitely thought that this would be closer to a like for like D850 which suggests that there is likely a Z8 to come which will be even more expensive. For someone coming late to the party - and having seen the lens lineup from Sony improve dramatically in the interim - I don't think they've gone big enough at all here with the Z7 especially when they are trying to push a new mount as well. None of those choices have been governed by the body size either. Puzzling and a little bit troubling to me but probably less so to the intended market.

Yeah first time for me to hear the sensor actually get burned, unfortunately I did encounter Sony A7sII overheat and shut down on me. This is the combo I use for event, unlimited recording time, full size HDMI out, long battery (well C100mKII battery is much longer with bigger battery), and never overheat whatsoever.

@webrunner5 I am a fan of competition. I want every company to try and beat the best. But in the end what is best for you isn’t best for me. I love Nikon colors. Their Flat Profile is a simple joy to work with. If I was forced to only have a D5500, I would happily shoot with it. If I was forced to have an a6000, I would do the best I can do with it. If I was forced to have a GH5, I’d be ecstatic to tell a story with it. We are so lucky to have a plethora of cameras to choose from. And the only thing stopping any of us from telling the next great story is ourselves and our innate desire for the next best option to tell the story with. So hopefully Nikon releases an amazing mirrorless with 10bit ProRes Raw and IBIS and Canon level DPAF. I’ll preorder it.

Nikon doesn’t have the technological prowess for an exposure compensation dial... they aren’t Sony...

https://nikonrumors.com/2018/08/21/breaking-the-first-leaked-press-photo-of-the-nikon-z6-and-z7-mirrorless-cameras.aspx/ First pics of the new cameras Z6 and Z7

The Chinese translation supposedly says its going to fill a void in the photo market. A left handed camera would certainly do just that.

FYI comments like this tend to make other not want to help rather than encourage them to take time away from their lives to help out... I have owned a dozen anamorphic lenses from the gold isco's to cineovisions but I guess the two day time limit is up for advice.

A before and after screen grabs of a test HLG3 clip overexposed in camera by +1.7 stops Original clip: https://www.dropbox.com/s/mmpb9iux6s713ac/C0002.MP4?dl=0

The Gh5 is an excellent stills camera.

The dynamic range difference between the 1inch Sony sensors and the top M43s (except perhaps the GH5s), is about 0.5 stops. Also, Sony uses the Slog brilliantly in its video codec implementation, pushing dynamic range very close to stills territory (for their A Series). If this sensor can be pushed by the HDR or DLog + 10-bit codec (actually even the 8-bit handled well TBO), then it could reach or come close to 12 stops in video. That would be better a lot of ILCs for video out there (even the GH5 does under 11.5 stops in video). Like you mentioned, the 100mbps even in H.265 may be the weak link.

@BTM_Pix thanks for the suggestion but I am kinda Sony’d out right now and if I did decide to go with a Sony, the a6000 for the sheer, next to nothing, cost would be top of my list... but then I wouldn’t get IBIS. Being a video shooter first, the video specs are a little more important but I’d like to know that whatever camera I choose will be viable for stills as well. But that TechArt adapter does sound pretty awesome and may force me to buy an a6000 used just try it out.

Sharing a few pics

Sounds like a modern day drive around some parts of London in the past couple of years.

I'm just wondering whether by the point at which you're talking about making the purchase that the increasing downward pressure on the price of the Sony A7Rii might have it down in a range where you might consider it a contender? From a pure stills photography point of view, you're not going to find it wanting to say the least. From a video point of view, its got a lot of flexibility particularly with the APS-C mode when it comes to low light. In point of fact if you just kept it in APS-C mode you'd then be looking at accessing the small cheap Sigma stuff which is actually far better than it has a right to be. With the A7Rii you've always got the option of going full frame whereas with the other two what you've got is what you've got. I know you don't want to do adapters and you know I am legally obliged to mention the TechArt Pro adapter in every post I make but I think its particularly relevant to the sort of vintage primes that you're in to. I've got most of Fuji's fast primes and zooms and they are excellent but I'm not going to say that my 90mm and 50mm Summicrons don't fart in their general direction. And of course, these lenses will cover full frame as well. To put this in perspective, I hate my Sony A6500 with a passion as its all spec and no camera but I can't deny that its utility is winning me round as with the small Sigmas its a good compact system in its own right, with the TechArt Pro its a poor man's Leica CL and with the Sigma EF adapter it is the viable Canon 4K mirrorless that Canon don't make The only drawback aside from the ergonomics is that it isn't full frame. Which is where the A7Rii would come in, for me at least.

I don't think you are going to find any earthshaking news about these Nikon cameras on the video front. Unless it is 10 bit, what are they going to bring to the table. It sure isn't 4K 60p...

I believe the movement from the left hand side of the road to the right, was the movement from swords to pistols, and which side should prepare you for a possible attack. I could obviously be wrong.

Yes, and it is strange to me that seriously video oriented shooters so rarely consider that fact "from the field". This fact and personal experiences drove me even to conclusion that m43 sensor (with high end rendition capable lens) is actually some sort of sweet spot for shooting guerilla art-movies that very rarely, from narrative reasons, need DoF more shallow than provide by aperture value of 4 (in FF terms)!

Gonna be a big day tomorrow

To harmonise with the rest of Europe would be my guess. The drive on the right thing was a by product of Paris having a keep right rule for horse traffic and then Napoleon spreading this custom through his conquests, hence why the resistants to being conquered (i.e. us and a few others) didn't adopt it. Of course we then passed that defiance on to our colonies and it stuck. Japan had an entirely different reason to do with Samurai swords and the scabbard being on the left (as most people are right handed) so you could pass another rider without the swords clashing and causing any accidental "hey did you just knock my sword" fuelled duels kicking off inadvertently. It also meant that you could get on and off the horse easier without stabbing yourself in the Jerry Hall's. The good news for us is that Japan have kept this up which means we can import lovely little vehicles like this Toyota Prixis Mega and revel in its devil may care squareness without having to worry about the steering wheel being on the wrong side.

Ahhhhh! That makes way more sense now. Thanks.

It has a 5" screen and does ProRes, Raw internal. What would a recorder bring? Now yeah a high nit one would be nice.

Personal preference i guess but when shooting photography especially i absolutely hate having to tilt the lcd or raise cameras evf to do basic settings like set aperture, shutter speed, iso or WB. especially true on cameras with no dedicated controls for those functions, it becomes goofy. especially in dark event situations where a big bright back LCD would disturb the audience/performers etc.. i also like having the EVF clear of a gazillion overlapping text info cluttering up and distracting my composition..

Yep.I will definitely take 2.7k/60p 10 bit over 4k/60p 8 bit any day.Hopefully the codec is much improved over the way that the Mavic pro handles sharpening/NR. I have done hyperlapse with the Mavic Pro before but it is somewhat limited by the flight time and the need to do a prerun in waypoint mode before. Also the app on my Crystalsky limits photos to once every 10secs as opposed to once every 2secs on the smartphone. At once every 2 secs you are looking at a 1 second hyperlapse for every one minute of flight time. The rumored price tag for the Mavic 2 Pro is US$1499 for the basic kit. That is a 50% price increase over the Mavic. While this sounds a lot I think it is pretty 'fair' based on the rumored specs.

These specs. Video af? from where?

Finally got myself a Pentax S82 Achromatic +1.22 Here is a a quick test I did with the SLR Magic Anamorphot

Boy you can say that again. 50 years behind. You are sort of a Fan for them aren't you? ?

A Red user complaining that cameras don't have as much DR as they claim! Christ Red is the biggest Bull Shitter in the business for what DR they have. Get real. All that guy does from the videos I have seen from him is try to justify all the money he spent on a Red camera.

Hmm never heard of that happening. Maybe he was doing Sun Spots? ?

Basically, lots of color fringing, bad skin tones, bad highlight rolloff, and noise. He said that the best way to salvage the footage was to crush the blacks (helps with color fringing and shifts), but that reduces the DR. Is it just because he is using a blue light in the background and we know the issues that Sony cameras have with blue light??? I will say in the samples he posted the hihglight rollofff looks a lot better than it does on my a6500. Yeah, I don't know who expected 15 stops of DR. And he is comparing the a7 III to a $20K Red Helium (as well as a $6K 1 DX II)

Seems to me Panasonic are treading increasingly precariously on shaky ground. A lot of their decision making seems to be dubious to me. One example is their tepid follow up to the LX100 (described by DPR has 'possibly the best compact camera ever made'). Another would be the GH5s which took away Panasonic's class leadiing ibis and didnt resolve their video af problems. Once you take away ibis and admit that Panasonic's cant really video af you might as well buy a BMPCC 4k with its fatter codecs and bitrates at a lower price. So Panasonic ends up being squeezed by Sony at the 'techy' end of video that the likes of Black Magic at the 'Cinema' end of video.

Nikon rumors had it up. It says the box will come with a hdmi cable.

Could this thread on here help you??

https://www.anandtech.com/show/13249/nvidia-announces-geforce-rtx-20-series-rtx-2080-ti-2080-2070 Way back in the early 2000's I remember doing basic ray tracing with my personal PC, it was very very very very very slooooow. Is cool there are now mainstream consumer cards which are specifically targeted to doing this, & in real time! Astonishing. https://thenextweb.com/artificial-intelligence/2018/08/20/nvidia-reveals-its-rtx-graphics-cards-with-game-changing-ray-tracing-tech/ https://venturebeat.com/2018/08/20/nvidia-unveils-geforce-rtx-graphics-chips-for-real-time-ray-tracing-games/ But will it play Crysis?

I am surprised also. I don't know nuttin about them. Maybe Nobody here can Afford that lens LoL. I can't. ? I don't know if Tito lurks here anymore or not. But He Would know. Might try leaving him a message? He is a Wiz at that stuff.@Tito Ferradans

I always think that when M43 users see the need for extremely fast, large, heavy and expensive lenses, they are missing the point. BTW, the Zuiko 35-100 f2 weighs 1.65kg which is more than the Sony 70-200 2.8 GM. You see what you are really asking for is a bigger sensor.... https://camerasize.com/compact/#482.460,777.639,ha,t

Seems curious they are including a hdmi cable with the camera. Intriguing as to what this might mean for output specs for video and video IQ in general. Maybe they will be able to pull the proverbial rabbit out of the hat!

No and yes, I guess. By the specs and pics, it really looks like an GX9 inside in a LX100 body with no modifications.

I've done a quick test for you of a prime ART against a zoom ART at the same focal length along with a couple of other 35mm lenses for comparison. I shot it on the X-T2 as it was the most universal mount as the lenses are EF, Nikon F, Fuji and Leica M mount. Lenses are : (L-R) Sigma 18-35mm f1.8 ART, Sigma 35mm f1.4 ART, Fuji 35mm f1.4 and the wildcard 7Artisans 35mm f2 M Mount. Everything was shot at f1.8 to match the 18-35mm at the same exposure with the exception of the 7Artisans which was f2 and exposure adjusted. All of them are jpeg out of the camera using the ProNeg Standard profile. The camera was locked off on a tripod so the FOV variance is due to the lens (and/or internal corrections in the case of the native Fuji lens) rather than a change of shooting position. And, yes, the backlight on the light meter did stay on longer during the Fuji and 7Artisan shots hence the reflection in the table. OK, here they are then. First up is the Sigma 18-35mm f1.8 ART Next is the Sigma 35mm f1.4 ART Next is the Fuji 35mm f1.4 And finally here is the 7Artisans 35mm f2 For reference, the current price of these lenses on Amazon in the UK is: Sigma 18-35mm f1.8 ART - £641 Sigma 35mm f1.4 ART - £649 Fuji 35mm f1.4 - £499 7Artisans 35mm f2 M Mount - £249

Agreed with the above. With +4 hours of battery life, unlimited record time, dual SD slots, ND filters, internal stereo shotgun mic (and XLRs if needed), Dual Pixel AF, a 4K downscaled to 1080p sensor, uncompressed 4:2:2 recording via HDMI, top handle and pivotable side grip ergonomics allowing steady shots without IBIS, Super35 sensor from the C300, peaking/zebras/waveform assist.. and it's current price tag, the camera still easily surpasses most current cameras in quite few departments..

There's no comparison between the C100 and Canon DSLRs; the IQ is far superior. It provides some of the best 1080p video I've ever seen, which is remarkable considering the codec. The ergonomics, the pro features, no recording limit, etc. all fit what he's looking for. It's still a great camera and, in my opinion, a good deal. Crazy to see people arguing against it.

I suspect the same thing. Still sounds interesting though, if this pans out and they really step their game up. Fuji, Olympus and Nikon can be the most disruptive since the others cap capabilities to protect their respective cine lines. None have shown any inclination to push the envelope thus far, but things could be changing. First up is Nikon. Chris

Foreplay. It's almost the best part. You know, bit of teasing here and there, but nothing's coming out yet.

I thought it was that rich people were called "eccentric" but for the same behaviour not-rich people were "crazy"