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Just FYI, if anyone on here is looking for one. This one is 5000 Euro. https://cinematography.com/index.php?/forums/topic/104495-for-sale-digital-bolex-d16/

There are actually good answers to the 10x question for each FF mount. Sigma 20-200mm is an answer for E mount and L mount. Sony has their own 24-240mm too. Nikon have a 10x near miss with their 24-200mm and an over the top 14.2x 28-400mm. Canon has their 24-240mm too and if you don’t mind mimicking trombone playing while zooming then their old 35-350mm EF is a great bargain. I actually have one of the latter and the range is great.

As you aren’t bothered about the AF aspect then Nikon F mount lenses adapt easily to EF so you could open up that path. The issue is that with the f1.4 requirement you’re looking at fairly pricey options in both vintage and more modern versions. Similarly, M42 and C/Y to EF adapters open up other paths for you. To be honest though, in my view, the path of least resistance to get fast manual focus glass on to MFT cameras economically probably lies in native MFT lenses from 7Artisans and TTArtisans. More size appropriate for what you have in mind for them too.

To my eye this seems like the right amount. The shot of the coffee maker seems to have noticeable vertical gate weave that I don't see in the other shots and it was distracting. Are there adjustments for vertical separate than horizontal gate weave? If so then maybe only use horizontal. But other than that one shot it just seemed "natural" for the grainy look. By "natural" it's of course what I've come to associate with grainy film from a certain era. Later cameras were so stable that they didn't have any really.

For years now, the EF 35-350 has been near the top of my "will I or won't I" pile. So far, still "won't I," but one of these days, i'm gonna get a wild hair to search and find a great deal..

It absolutely feels like a modern Super 8! Especially when you pair it with Magic Lantern to shoot raw video, slap on a vintage C-mount lens, and add some heavy grain in post. The workflow is quirky and slow, but that’s honestly half the charm - it forces you to shoot more intentionally, just like actual film. One random but massive headache with this setup is sorting out custom aspect ratios and cropping thumbnails or cover art for projects if you're trying to match that classic 4:3 or square retro look perfectly. If you don't want to mess around with heavy Photoshop templates just to resize a quick reference image or profile shot for a project, a simple online tool like Visaphoto works surprisingly well. It’s technically an automatic passport photo cropper, but it's great for instantly forcing any image into exact dimensions and pixel constraints with clean compression without having to open an editor. Definitely keep shooting with the M. For the price, nothing else gives you that organic, textured aesthetic quite like it.

I worded my response badly! I meant that the $700 US price tag was "already there" in terms of 'exorbitant, ridiculous, and "this is just an action camera - WTF"' which Kye had just said in anticipation of the AU pricing. I should have chosen phrasing that made it more clear that I wasn't simply repeating US pricing that is already known. 😅