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Cue all those who recently made, ‘Why I moved to Lumix’ pieces on YouRube gushing over the S1II, scrabbling for a piece of the Canon pie. Or Nikon pie. There’s 24 hours between the two so plenty of time to choose which ship to jump to next.

Sony rumors claim from a "rock-solid" source it's the C50, a full frame FX3 killer with R5ii sensor. If true that would basically be the R5C mk2 in an FX type body. Also Nikon is supposed to drop Nikon ZR the following day. What a time to be alive!

Had a fun time trying out my X-M5 micro cinema rig on a low budget, 3 day music video shoot last week. No overheating or issues of any kind shooting 6.2k prores raw in open gate mode to an Ninja V+. Insane what this little guy can do for an $800 purchase (body).

I love this thread. Keep em coming. If only the Canon FD 35 105 was not prone to gnarly focussing after several years of use due to ball bearings covered with desolving rubber. There is a very compact 38 to 100mm F3.5 under the Hanimex label, which I really like using for personal filming. Mine has a FD mount. I used to have a video uploaded showing this lens in action, which I shared here before. Vimeo deleted it along with 60 other videos when I canceled my plus account, because they deleted all groups and destroyed the whole community. I really need to read into Nikon glass. All these different versions leave me puzzled.:) @mercer

Although it's not exactly what you're looking for, I'd have to second the Nikon Series E lenses. They truly are remarkable little lenses. I haven't been able to find a good copy of the 35mm 2.5 but the 36-72, 50mm and 100mm are nice little lenses, especially the size of the 100mm. Also the older non-ai lenses are pretty spectacular as well. One lens I hate to mention because it does get such bad reviews is the 35-70 3.3-4.5 ai-s lens. It's tiny and a lot better than the bad reviews give it. I mean, it isn't great, but there's something very Nikon in its not greatness. Another zoom lens I love, which I assume you're familiar with is the Canon FD 35-105mm 3.5. This lens is ALMOST parfocal. Obviously constant aperture. Internal zoom. Fairly compact. I've had a few copies over the years, then end up selling it because I didn't use it too often, regret it and seek another one. My most recent copy I put on the Sigma FP and here's a sample of it at 105mm wide open... No mind-blowing image by any means, but fairly sharp wide open and I like the way it handles the highlights. Of course it's a mess in direct light... as I found out last week during a shoot. However, there are rumors that Canon considered putting the L badge onto it because they were so happy with the lens. As far as primes, other than the Nikons, the Takumar lenses are a personal favorite of mine. I've heard people argue that the 28mm 3.5 is one of the best 28mm lenses they've used. I haven't used that one but the 35mm 3.5 is excellent. I've used a couple of the wide angle Tokina lenses from the late 70s, early 80s and they were decent, but I think they were f/2.8 lenses. Obviously you could get a cheap Neewer fixed ND to pop on the lens and leave there to give you that slower stop and to protect the front of the lens. Also check out the old Vivitar lenses, I have a set of mostly Tokina made ones in the m42 mount and I have always been very fond of them. The image instantly feels like an old 70s made for TV movie. I'm probably going to sell them though, not because I don't like them, I just have too much stuff and really need to scale back. I guess you could also look at some of the older Zeiss Jena lenses... even the MF ones would give you the slower apertures you were looking for wide open. Great thread! Wish there were more threads like this on here like it.

Sept 9th premiere launch date. https://www.instagram.com/reel/DOD3vIsDRuK/?igsh=MW1xc2cxcTMyanM3bw==

Today might be an interesting day as apparently in a few hours time Viltrox will be announcing that they have now officially joined the L Mount Alliance. Good news for L mount owners in general but particularly so for those with an S9 as some more size appropriate (and low price) primes should become available.

They are also really, really cheap. I think I paid $35 for the 135mm and $45 for the 35mm. The 85mm 1.8 is a rare one that is fast for a 60’s era lens and i use it to match with other similar era lens sets that never got a fast 85mm. Got that one for $150 so it was a score. There’s even a super rare 135mm f/1.5 “Vivitar Professional” In the set but pretty soft and overpriced, ($2,500) these days. The 135mm f/3.5 is super tiny. (pic 2)

Yeah, i did ok without it on the shoot but was worried the whole time. There’s no off the shelf solution but I took a chance on the smallrig clamp designed for Sony Cameras and got that one the other day. Worked out and it fits perfectly. Blocks the USB-C but i use a dummy battery anyway.

Still no video mode on the X2D II. The DPReview preview doesn't even mention it. https://www.dpreview.com/reviews/hasselblad-x2d-ii-100c-initial-review?utm_source=self-desktop&utm_medium=marquee&utm_campaign=traffic_source Yet they added IBIS and an articulated screen, like the GFX 100 II... it has the same sensor as the Fuji... yet doesn't even do 1080p, let alone 8K! This is odd behaviour from DJI! Also still no curtain shutter, so no adaptable lenses (electronic shutter speed is too slow). DJI are not handling the Hasselblad brand very well in my view. And X2D II sounds more like a star wars robot than a camera. X Two D... Two... Why the two twos? Why isn't it called the X1D Mark 3?

Yes, this is how HSS works. I'm not sure why you're describing it to me. I already acknowledged that some people are opposed to it. I also have some not-especially-expensive Godox/Flashpoint strobes that I've used to HSS in direct sunlight before with relatively wide apertures. They're about the size of an extended soda can. It seems like you read about 30% of what I write and and then respond to that instead of reading and understanding fully. I will repeat for you that the 100MP sensor that is used in this camera and the GFX is simply incapable of reading out 100 megapixels 24 times per second. It doesn't matter of Hasselblad want to try cooling it for that or not. It's just not an option. Otherwise, arguments against rolling shutter or alternative sensor readouts are silly. Many vendors do it and many people use their cameras successfully without complaint. And Hasselblad haven't had a reputation for the highest image quality in a long time. That crown went to companies like Phase One years ago. Once again, try reading every word that I say before responding. I am aware that Hasselblad have a small number of lenses that are price-competitive with the Fujinons. My statement was "Do prepare to break out the wallet, though, since many of the lenses cost 20-50% more than the equivalent Fujinon lens" - that's because if I go to B&H right now and search for Hasselblad lenses, I find that many of them are in the $4,000-5,000 range. The most expensive Fujinons are in the $3,000-3,500 range. You can also adapt a bunch of less expensive lenses to Fuji thanks to the focal plane shutter, where the Hasselblad will require the use of the slowest possible rolling shutter for any lens without a leaf shutter.` Are you talking about the fact that some lenses change focus slightly when stopping down the aperture? Because that's easily solved by just focusing at the aperture you plan to use (I also do this with some Canon camera/lens combos because the plane of sharpest focus seems to shift a little bit when stopping down). Otherwise, that sounds like absolute nonsense. I've done a number of timelapses with my GFX 100 and 100 II and the focus stays right where it should. And when using autofocus with GF lenses, when the autofocus hits right (less than people accustomed to Canon or Sony would expect), it's ridiculously razor sharp. This all really sounds like the usual toxic internet crap where somehow one of the best camera systems in existence is deemed "insufficient" by some troll whose only exposure to the camera comes from YouTube.

That could be something a bit special for the hybrid shooter like me with a GFX100something on the left hip for stills and the Eterna on the right. But not next year for me...if ever, as I'm all in on what I have now...but maybe a couple of years down the road. It would depend for me just what it might bring to the table I didn't already have and as Hassie is the dream (for stills anyway), I will never again shoot on cross-platform brands other than for stuff like drone. Pretty sure that is the case and probably won't hurt their sales as most likely 99.9% who criticise the lack of video features would not buy the camera even if it did (have video capability).

Resolve works great on Linux. The "Studio" edition is required for some codecs. Major graphics cards all have native Linux drivers available for download. First time Linux-Resolve set-ups will likely require some self-teaching regarding the Linux OS, but once the rush kicks in, there's no retreating from an opensource operating-system. Basically: if you know your way around a 35mm analog SLR, you're already in the prerequisite-intelligence demographic: Other migration tips for anyone who wants to taste the Linux "rich stuff" (The Goonies - 1985): Instead of Photoshop -> Use: Krita / Darktable / RawTherapee /Blender Instead of Microsoft Office -> Use: Libreoffice Instead of InDesign -> Use: Scribus Instead of Illustrator -> Use Inkscape Instead of Ableton Live / ProTools -> Use Bitwig Studio (not opensource) / Ardour / etc. I use all of this Linux software, in a professional context, and haven't touched a non-Linux system for over six years (yep, I don't carry a 'smart'phone). The most effective protest against fascism / late-stage phoney-capitalism is to stop using the products of that system. Protest without action is just noise. The greatest trick these legacy-corporations have pulled is convincing the public that there is no alternative to their slop. Even if you start simply by running Linux in parallel with your existing legacy-surveillance-OS, at least you have an exit strategy from the subscription-crackhouse that Adobe and others are running. Don't be another node on their networked fear-grid. Good luck! Volkswagen / Enshittification On the topic of VW cars (earlier in this thread): If you think VW's new subscription policy is offensive, take a look at what Volkswagen did throughout World War II. Volkswagen built and ran Nazi concentration camps Volkswagen routinely murdered the children of their slave-laborers. Volkswagen didn't merely collaborate with the Nazis. Volkswagen are the Nazis. VW are still genociding humanity, to this day, via faked-emissions tests (SOURCE: Scientific American). I'm not sure if any present-day Volkswagen customer is buying these vehicles with informed consent. This photograph should, by law, be placed on the door of every VW dealership. Then customers can make an informed choice: LEGAL: Our right to reproduce this image for critique is legally protected under the terms of 'Fair Use' enshrined in United States law (17 U.S.C. § 107). Fair Use permits the reproduction of a copyrighted work in order to criticize or comment upon it.

Awesome! I like mines and love the fact that I can record on Open Gate 6.2K. I can’t wait to get a monitor for that as well.

Serious landscape shooters don't need IBIS, but they improved it to 10 stop! Landscape shooters always shoot raw, but they added HDR Jpeg! Studio shooters shoot in controlled lighting environment, but they added LIDAR that helps in a random dark street! All the improvements, and even pricing, are in the direction of making MF mainstream, not serving the niche, yet it doesn't video, which is the key to become mainstream.

After reading the posts in this thread again I realised I have the C70 "System Frequency" set to 50.00 Hz. This also sets the HDMI output to 50FPS. When choosing 59.94 Hz and "Frame Rate" to 59.94P the flickering on the EVF (when connected through the FeelWorld monitor) goes away. Canon C70 -> FeelWorld -> EVF = working, no flickering only at 59.94P. A bit limiting only being able to use this on a C70 for 59.94P... especially in a PAL region.

Received the V780H EVF today to try with my Canon C70 (and Feelworld F5PROX monitor) but unfortunately I can't get it working properly with these devices. I've tried powerin the EVF via the included HDMI voltage injector (5V via USB, using several USB power supplies) but this didn't make a difference. Canon C70 HDMI out is set to 1080p and "Linked to HDMI Monitor" is set to "Off". Canon C70 -> EVF = not working Canon C70 -> HDMI voltage injector -> EVF = not working Canon C70 -> FeelWorld -> EVF = working, but EVF image is strobing/flickering The EVF itself does work when connected to my MacBook (but I wasn't able to make it work with the FeelWorld monitor in between. MacBook HDMI -> EVF = working (1920x1080@60fps) MacBook HDMI -> FeelWorld -> EVF = not working (resolution 960x540@60fps, 1920x1080@60fps, 1920x1080@60fps (low resolution))

The Z6 III likely has a similar optical low-pass filter as the other models of the Z6 series which is reported as one axis only, so if there are high spatial frequencies on the other axis, these can cause moire or other forms of aliasing. Stopping down the lens to smaller apertures (such as f/11, f/16 etc. or using other means to soften the lens, such as a front filter) should eliminate the aliasing (including moire) if it does occur. The cause of this phenomenon is that the adjacent color filter array pixels can get different light (including different color of light), causing an interference pattern to form. Attenuating the high spatial frequencies optically should resolve the issue (and is the normal way to solve the issue). A thicker (two layers) optical low-pass filter on the sensor has the issue that the blurring is always there even though for some subjects (that are random enough not to cause problems) you might prefer the higher sharpness of the weaker, one-axis OLPF that the camera probably has at the moment. In video, moire can (in some cameras) be caused by line-skipping, e.g., when going for a high frame rate mode, this is common with some cameras to achieve 4K120, but on the Z6III 4K120 is achieved by cropping to DX so there is no line-skipping and there should not be any additional aliasing or moire happening due to the use of that mode.

How can it be luck? That's approx 100,000 frames of photography and approx 15,000 5-15 second clips of video (plus another 60 hours of static capture). For the photo side, that has been with; Sony A7RV, Nikon Zf, Lumix S1H and Lumix S1RII. Video, Lumix S5II, S1H, S9 shooting Vlog with LUT baked in. (Except S1H which has OLPF but no facility to bake in LUT). It's just my experience, - what can I say? You have experienced something else, but that doesn't make my experience invalid. What are these cameras of yours that are moire prone?

With the new firmware update released today, view assist now uses RED Technical lut.

You probably didn't waste time reading the various links in the article, but I understand if you hate the person. By the way, the accusations are so serious that if they were false, they could take him to court in an instant, but let's not get into that; it's not my place to defend Cory Doctorow here. Indeed, this statement is a bit strong and, said like that, seems absolutely false. But, following the various links to his previous articles, I believe he was referring to his old article: Tesla sells both 60kWh and 75kWh versions of its Model S and Model X cars; but these cars have identical batteries — the 60kWh version runs software that simply misreports the capacity of the battery to the charging apparatus and the car’s owner. https://memex.craphound.com/2017/09/10/teslas-demon-haunted-cars-in-irmas-path-get-a-temporary-battery-life-boost/ BTW, you were complaining that all of this has nothing to do with my initial post. It absolutely does. In both cases, there's a distortion of the concept of property. In the first case, the major music labels do you the favor of letting you listen to "their" music. In the case Andrew cited, Bloomberg claims to have the copyright even on a POTUS speech. In the magical world of subscription, you don't own a f*** thing and they can revoke everything at any moment. In all cases, you are only enabled to consume. Maybe it's too left-wing? And yet the strong concept of private property and possession of a good doesn't come from there. Ciao

As with the fair use copyright strikes there needs to be a layer of legal protection for the smaller guy who doesn't have access to lawyers. Before the lawyers get involved, a judge should be able to quickly throw out spurious BS cases.

I think more than ever there is a power struggle between the law and corporations, we'd do well to keep an eye on that - since most of the normal rules which keep companies in check like product and competition are becoming less of a factor. We have quite a few duopolies, even monopolies in many markets and in many countries. What the corporate bastards have also realised, is that since the pandemic they are able to act like a cartel with patterns of cartel-like behaviour like all of them raising prices in unison and creating exclusivity of market share for themselves, and also making the consumer increasingly dependant on tech as a service... Less of a product, more of an app or a cloud based service. The pandemic accelerated all of this. And that of course is where all the recent subscription bullshit comes in. But of the two quite different topics raised in this thread... I am way more worried about the abuse of the legal system to stifle journalism. The companies in question are Nvidia and Universal Records. I suggest to think twice before handing them your hard earned.

I mean the aim is not to use those 4-5 last stops and put them back at the base exposure, but it tells you that a 3 stop underexposure is still good, meaning your noise floor would still be much better than a camera that would be stuck at 2. Somebody else who likes to do technical test on Nikon cameras has an interesting test between the two, because he was intrigued how could the z6iii that was so criticized for the DR, while the S1ii got so much praise while using the same sensor. For me without the DR boost, the S1ii is still reaching 9 vs about 7 stops of latitude in the case of the Z6iii. The only difference for me is the 9 vs 12 ms for the sensor readout. And I hope Nikon give us, at least the S1ii DR. I already se a z9 which has 14ms sensor readout, so 12 ms is good for me. https://www.dpreview.com/forums/thread/4812023 link to the comparison

Yes, this is also a symptom of late-stage unrestrained capitalism when there is no longer a lot of competition in the market, but instead there are a handful of well-established/entrenched players who can gamble with losing some sales in the short term. Don't buy a VW this time around because they added a stupid subscription? They'll be in the running next time after all the others add shitty subscriptions too. The same applies to stuff like car vendors trying to move away from supporting Carplay/Android Auto because they really want to sell you subscriptions to connected features in the car, despite that you already have all of those things paid for in your phone already.

No they don’t as such…but Sigma do and Leica have a 135 f2 APO in the works, but the price of that will make the Plena seem ‘cheap’. Just a couple of years ago, I thought the weak link in L Mount was the lenses and whilst I think there are a couple of holes still, I’ve gone round in a big circle and ended up with a set of f1.8 primes, the; 18,35,50 and 85 and with the addition of a 28-70 and a 70-200, over 4 bodies, I’ve got all bases covered for my needs, video and stills. For sure. I wrestled with all kinds of combos of brands, bodies, lenses and each time I thought I’d found my best set up, I found flaws if not outright issues. In the end, I decided to just go back to basics and creativity has shot up as a result. As has logistics, workflow and a load of other basics. I have no further needs and instead, only wishes and intentions and none of those are kit related.

Nice!! Good call having that HDMI clamp by the way!

Did you even really read my post? I gave several suggestions and the OP never clarified or said his requirements were set in stone. Soft vs clinical, deep focus and circular bokeh right? There are a few ways to achieve that look. Most vintage lenses are soft compared to modern lenses. Does OP want REALLY soft? Why? Very easy to take a vintage soft lens and add a desired look in post for anything extreme. My vintage Yashicas and old Vivitars all have many bladed apertures and produce round apertures at f/2.8 so I get some low light benefits as I need it while still being vintage soft. But I can live at f/3.5 or f/4 as desired. So no, I wasn’t just waiting to talk, I was offering a perspective and fostering a discussion.

Absolute scumbag behaviour from these American corporate fascists. The law and YouTube needs to stand up and say... enough. You should not be able to abuse so many innocent people via the legal system. It's all fair use.

It will be fine but needs either a baseplate & grip for even basic handling but better a cage from someone like Smallrig. I have the Smallrig baseplate/grip myself for my needs but if I was going anywhere rough and for more than a couple of days, the cage for sure as it’s not the most robust camera ever built. S9 + grip + Sigma 28-70mm f2.8 (42-105mm in APSC mode), Sennheiser MKE 200, mount for monopod. If I had the cage instead of the baseplate/grip, I could mount 2 accessories instead of one such as a mini LED. As it is, I just have to swap out the mic for the LED if I need it. Extremely compact and lightweight package for it’s capability but neither the body nor the lens have any proper weather sealing so IMO, this is not something to take around the world when you are inevitably going to have some inclement conditions!

100% agree about the size, and when compared to the GH5 the difference in the hand is a lot more than what it looks like in pictures, so it's sort-of deceptively chunky. By the time you're looking at a GH7 "small camera" territory is so far off you can't even see it in the rear-view mirror! Perhaps the compromise is that the GH7 has an integrated cooling fan whereas neither the R5 nor Z6 III have it, and will be a larger again by the time you add on additional accessories etc.

The reason that I've been avoiding (and maybe others have to) mentioning the GH7 has nothing to do with low light and everything to do with it being as large and heavy as a lot of FF bodies. If you're willing to go that big, you could also get an EOS R5 or a Z6 III.

I can vouch for the GH7 as a workhorse. In terms of low light, I'd say it's fine. Here are a couple of stills from the GH7 with the Voigt 17.5mm F0.95 lens. I can't remember if the lens was fully wide-open or not, but I think the GH7 was at ISO 1600? These have a film grain applied, so the grain is deliberate. GH7 ISO tests are available online if you want to see the grain at various settings. Also remember that NR exists in post, and compression does a pretty good job of NR as well. The first shot is lit from the candle and the light of the fridge: and this is just the candle: Here's are some shots from the OG BMMCC from 2014 at its base ISO of 800, the 12-35mm F2.8 lens and shot at a 360 shutter to cheat an extra stop. These locations looked about this bright with the naked eye, and I have excellent night vision. You actually need far less low-light performance than most people think. Thanks! The issue is that you're either showing a very wide FOV, which will have significant distortions, or you're cropped in to the point where the quality is low because you're cropping out most of the data. IIRC, If you have a 100Mbps 360 image then by the time you crop to the FOV of a 24mm lens you're down to something like only a few Mbps. This is why I said the bitrates are what matters most.

Ah well, if you had a proper understanding of time & space theory, you would understand that by meddling with time, you would create an alternative reality and someone like failed businessman Donald Trump could one day become president of the USA…and then we’d all be fucked. Phew, luckily for us, that documentary turned out to be a fake and they made up the entire story!