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penis camera look like a serious product now

We will introduce a 0.7” 1080p #oled EVF#, portkeys OEYE-3G in NAB, with 4KHDMI in and out, 3GSDi in and out, brightness waveform, 3DLUT..., all-aluminum body, diopter. NAB also publishes price . 😎

This is the official start (and maybe quick death!) of the...... 3 Hour 1 Minute Film Challenge!!!1 The rules: You setup, shoot, edit, and upload a film in a single 3-hour period - no gaps, once you start the timer you can't stop it again The final film must be 1 minute or less If your finished film looks too good then others can challenge you about the 3-hour time limit and you must explain yourself to keep your reputation in tact There are no prizes, no timeframes, and no judging Everyone that makes a film and publishes it is a winner, people that don't try are losers, and people that try but fail should learn from their mistakes and just try again There are no more rules FAQ: Can I plan things in advance? Yes. What limits are there for budget, cast size, crew size, and number of otters making cameos? None. Why are you doing this? Why not? No, really.. why? We learn by trying new things, finishing and sharing them. Too many people obsess over tiny things and never get anything done. This challenge is designed to combat that. What advice do you have? You can be an extra special winner if you: Publish in 720p - equipment shouldn't matter and if your film looks dull in 720 then 4K will not save you Try new things and experiment - think of this as going to the gym for film-makers where you can push yourself to learn and if it fails then who cares (it was only 3 hours right?) Encourage others by being helpful and supportive Have cameos from otters Film a timelapse as a BTS so others can see how you did it - an action camera is a good choice for this* (* if you wear it on your person, please remember to turn it off when you visit the bathroom) Invite friends over to help Focus on having fun and enjoying the process (having so much fun you didn't finish the film in time is also a kind of winning) Call your mother (after you've hit upload) It sounds like fun but I don't know where to start? Set a timer for 1-hour, plan the video, when the timer runs out, reset it and shoot, when the timer runs out, reset it for 45 minutes and edit, when the timer runs out hit export, then upload. Then have lunch, put in a fresh battery and SD card, then start the timer again.... I look forward to seeing the first films posted below in about 3 hours time.

Testing out some “sinister” B&W from the Canon 28mm 1.8.

These are HD frame grabs with the Mamiya 80mm and 55mm + Medium Format Speedbooster. My current favorite lens to use is the 150mm f3.5. The crop factor ends up at x0.7. Still working out the shipping details but it looks like I will test it on the MAVO soon.

2.91um pixel architecture, 100MP @ 10fps, 6K video using 12bit ADC with on-chip binning/line-skipping. 4K RGB 4:4:4 video with on-chip colour-aware binning.

Ok, here's my first effort. Filmed on a iPhone, audio recorded on iPhone headphones supplied with iPhone, editing, voice-over and grading done in Resolve. I've never done a voice-over before, so a big chunk of my time was spent figuring out how to do it, and then trying to work out how to make Resolve do it, including reading tutorials etc. I even came up with the idea for it in the three hour window, so that's cool too. ah crap. Just realised mine is way longer than 1 minute! oh well.

I'm planning on making a proper go at this today, but totally dependant on a nap - 3 hours might prove a stretch, but we'll see. Until I can post that though, here's something I made a few weeks ago to test a Resolve workflow. Similarly to @xzobinx, it's spoken word and people watching, although mine is a lot more pretentious.

There are several variables that combine in skintone; color separation, saturation model, skin color, light color spectrum, white balance, lens coloration. Color Separation: Good cameras have color separation. Less ideal color science will have 'accordioned' hues, compressing and expanding arbitrarily throughout the hue circle. For skintone - under quality light, the Alexa will have great separation between the pink aspects of the face (lips, blush) and skintone, which rides the line between too green and too magenta under flat spectrum light Saturation Model: Photometric saturation models (like Alexa LogC+R709 or EC LogC+R709) have less saturation (the video model). Saturation amplifies hue difference, and photometric models can make skin tones seem more alike. The EC variations emphasize saturation (film backend), which foregrounds skin hue Skin Color: The skin of the talent may be slightly more olive (dark and yellow in hue) or pale with pink as the primary hue accent (all vary towards magenta with emotion). Here is a recent still from the film I've been shooting, with two people in the same frame that had divergent skin hues: Light Color Spectrum: On the Alexa (and cameras generally), filming under light that has a spikey color spectum (Leds, Flos, Sodium Vapor, etc.) can cast skintone distinctly to green or magenta, even with correct - White Balance: A fully neutral WB is vital for EC, not only in skintone, but the whole of color space accuracy. Skintone is one of the reliable indicators that WB might be off on the green/magenta axis when under reference light without a white card reference (should anchor on the skintone line of the Vectorscope under sunlight and halogen). A common occurrence is that WB will be set for direct sun on the GH5 (possibly with the WB sun preset), and then the shoot will move into the shade, which will shift the WB towards blue/magenta (needs a new WB, or correction in post ahead of the conversion) Lens Coloration: Interrelated with WB is lens coloration, which is like a WB that variably shifts throughout the grayscale [For EC: it is optimal to WB around middle gray, or a little brighter for the most salient part of the image]. This can vary from minimal coloration (Sigma 18-35) to heavy coloration (for example, Xeens). For NDs - the reference EC ND is the Firecrest FSND, which evenly cuts the full spectrum (visible/invisible). Non FSNDs (even IRNDs) will have a varying ratio between IR/UV and visible, which can unpredictably shift sensor response to a given light (interacting with the camera sensor's native cut). Variable IR ratio particularly acts on the green/magenta axis Notably, EC Tungsten does have a slight magenta bias in the skintone region towards magenta compared to the Alexa. I've figured out what in the data was causing this problem (IR leak every third exposure slice), and this will be solved for the next release.

Speaking of which.... I did tests at f1.4 and at f5.6 The top row is the Samyang 85mm at f1.4 and f5.6 and the bottom row is the Contax Zeiss 85mm at f1.4 and f5.6 I deliberately underexposed slightly as I would do normally with the SL but have added no corrections hence the slightly darker image. First up, the chart stuff. The Contax Zeiss has a glow at f1.4 but its a tiny focus error on my part being a blind buffoon. I could have stopped at this point as its pretty obvious that the difference between them is marginal but I like to give value for money so I did a bit more of a contextual test. It might not seem an obvious test (it looks more like a cry for help with all that booze) but its quite informative to illustrate the out of focus rendering, handling of colour and tonality, detail etc etc. Same lineup, so the top row is the Samyang 85mm at f1.4 and f5.6 and the bottom row is the Contax Zeiss 85mm at f1.4 and f5.6 and focus is set on the Cointreau bottle. Just to add a bit more context to what you are getting separation wise for your f1.4 dollar, I brought a couple of slower manual lenses of a similar focal length to do the same test with with both being shot at their maximum aperture. The top row is the Contax Zeiss 28-85mm at 85mm f3.4 and f5.6 and the bottom row is the Leica 90mm Summicron M at f2 and f5.6 CONCLUSION ? My own view is its not really worth pixel peeping between the Samyang 85mm f1.4 and Contax Zeiss 85mm f1.4 when they are as close as this. The Samyang though.....bargain.

Hi Everyone I finally managed to get my first short underwater clips with the GH5 And I am using Cine Like D and the results are pretty good. However those videos are with rich ambient light in other situation I need to go in deeper water and there will be less light I am wondering if VLOG is a better option. Dynamic range is not the issue there isn't a lot at depth but low noise is. I will be shooting with predominant artificial LED light Would love some theoritical pro and cons of Vlog vs Cine like D in this circumstances (optimise noise not range( Thank you

I'm not sure how much pie Cinemartin were consuming to be honest. Space cakes perhaps but not pie.

I finally did manage to convert that Minolta MD 58/1.4 to EF. It was a tricky process, mostly trial and error since you can't predict how much you need to file down some parts in order to reach infinity focus. I couldn't have done it without this guide: https://web.archive.org/web/20131026030722/http://www.cogitech.ca/Rokkor/index.html (thank God we can travel back in time, because the site doesn't exist anymore) But all in all, I think it was worth it. Wide open it's a bit glowy, but sharp and contrasty. Bokeh is quite bubbly. At f/2 the glowiness is gone and both sharpness and contrast improve, bokeh is more smooth. Helios 44-4 at f/2. And, finally - Minolta MD 58/1.4 on a Viltrox EF-M2 speedbooster meant for EF lenses. f/1.4: and f/2: More importantly: it works in an anamorphic setup, but vignettes slightly when combined with a speedbooster. f/1.4 f/2 Fun fact: at f/1.4 it's 150K colder and just a tiny bit more green (3 units) than at f/2 Mission accomplished, yay.

I think I did a wonderful job!

Here's my effort, and to help anyone who might be thinking something fishy went on, the first clip I shot was at 10:02 - and I exported the edit at 11:10 ( screen shots attached ) - No animals were hurt in the making of this film, just one carrot.

Since I have the ringleader's permission

I honestly thought this was a Blackmagic Pocket 4K waitlist support thread. Hope you feel better soon.

So, let me see if I caught everything there: It's an 8K camera that can't record 8K Canon don't even have an external 8K recorder They made an 8K video but we can't watch it in 8K A YouTuber with a RED posted an 8K video on YT over two years ago, but Canon hasn't worked out how to do it yet? Did I miss anything?

He looks like he's struggling to work out where to plug that unicorn tail in.

You should do "Procrastination - The Movie" You've already wrote most of the script.

Well I had a go with a unit yesterday.. and the output kinda blew my socks off! The 80mb DNG / 300mb TIFF files are simply glorious. The 47MP sensor paired with that 28mm Summilux lens is a match made in heaven. Build quality is very nice.. but not M series nice. Lens felt a little plasticky. I was also kind of disappointed to find out it is focus by wire albeit with a pretty mechanical feel. Ergonomics are kind of hit & miss. On the hand I miss a lot of the buttons/dials I'm accustomed to, on the other hand 'less is more' is kind of the Leica philosophy. Video wise.. the DCI 4K looks really nice. Clean sharp image at 28mm & 35mm crop. At 50mm crop you start to see some aliasing and at 75mm IQ suffers a lot. Couldn't figure out how to change the shutter speed which was stuck at 1/100th. Also ISO seems locked on auto. Not sure if that was user error or if video just doesn't offer much manual control. Overall this camera is a compact beauty and delivers some of the nicest stills I've ever experienced. The Leica color science & lens rendering is probably my all-time favorite in a digital camera. The 28mm with the crop modes is incredibly versatile. I think I could use this fixed-lens camera for 90% of my needs. Now yes a Z7 + 28mm Zeiss OTUS would probably give similar/better results but that's $8.5K vs. $5K.. and a different type of experience. I think this camera will be a hit for Leica, the 30 copies at my local store sold out on the first day!

Cinema 4K is fully supported and working on Samsung Galaxy S10+. Camera 2 API checker application shows full support which was kind of a problem with previous Galaxies. High bit rate and flat profiles are available trough Cinema 4K and other applications. Quality of the video is quite good IMHO. Filmic Pro checker reports everything is supported even log profile, including [email protected] and Cinematographer Kit with [email protected] FPS with log profile, the only exception being [email protected] and maybe Log v2 profile which as far as I understand is only working on some iPhone models (Apple A12 CPU required). Keep in mind that in Europe Samsung Galaxy 10/10+ smartphones come with Exynos 9820 CPU, which according to Filmic Pro they can hack to support better their application. The version with Qualcomm CPU doesn't offer this support. At least that was the case with Galaxy S9. https://filmicpro.helpscoutdocs.com/article/41-samsung-s9-and-s9-filmic-pro-v6-compatibility-guide Optical stabilization is quite good. Basically this is the second best smartphone to buy for video after iPhone XS and XS Max.

Panasonic Leica DG VARIO-SUMMILUX 10-25mm f/1.7 ASPH https://www.ephotozine.com/article/panasonic-leica-dg-vario-summilux-10-25mm-f-1-7-asph-hands-on-33371 - manual clutch on focus ring - clickless aperture ring - ca. 13cm long 650g

The only lenses that I haven't put on it as yet are the motley collection of Berlin flea market M42 lenses that I've acquired over the past few years and a Mamiya 645 Medium Format 35mm lens. But it is only just before 1:30 in the afternoon here so you never know.

Looks like they're seriously looking into MFT now and are going to do a MFT S35 camera! All thanks to user feedback requesting it :-)

I got the E2 recently, coming from a GH5 I'm really impressed. I'm sure this new camera will be equally good (probably better but also more expensive).

How does it handle the skin tones?

Buy a camera that is "good enough" and learn to colour grade. Seriously. I used to be like you, but then I worked out what I wanted in an image and bought the right camera and lenses, and now when I hear that there's a new 12K RAW 16-bit pocket camera with built-in gimbal and AI drone I don't even care. It happens that the camera I bought was a GH5, but if you have different needs then it will be a different camera. The other part is learning to colour grade. I was "done" with other cameras when I pulled the GH5 files into Resolve and it looked and felt like when the pros grade cinema camera footage - they pull in a shot and it looks flat because it's log, and then they push and pull it around almost mercilessly and it just does it and looks great, and the GH5 files did that too. With all my previous cameras the file was fragile and would break given half a chance. I'm not getting spectacular images out of the GH5 yet, but that's because I just need to learn to grade better. I know the GH5 is great and it's about my ability to grade, not its limitations. Specifically I think that's because it's 10-bit and the colour science doesn't have problems, so I know I can work with it. Your results and preferences might be different, but when you're wishing you had something else it's because you're not happy with what you have. There are always better cameras and we all wish we had an Alexa but many of us are satisfied even if the Alexa has a better image.

Cinemartin was something out of a joke. Was never a serious, anything. You have missed some chapters of theirs(his) existance. Check the 8K camera demo video, it is more like a 90s parody, than a 2018 promotional video of a groundbreaking cine professional camera!

Totally agree, and to take this one step further, I've discovered that in life people tend to project an image of who they want to be rather than who they are. People who project confidence are typically very insecure, people who project wealth tend to be spending all their money on showing off and are broke, those who are showing off how happy they are (eg, instagram) are typically miserable. I saw a documentary on what life is like for most billionaires and it's pretty awful actually - they can't trust anyone because people are after their money, they have these huge houses but are constantly renovating them to try and one-up their other billionaire friends, and spend most of their time driving fancy cars and drinking expensive champagne wishing they had some real friends. So @kaylee, when you're looking at friends who are married and having kids and feeling that you're missing something, your friends are being torn apart by trying to have careers as well as families, pay their mortgages, not strangle their kids after the 4th sleepless night with the baby crying and the toddler drawing all over the good couch with their favourite lipstick that isn't made anymore, and wishing they could just live in a small town with their dog and get to have a bit of glitz and glam of the film world. I'm out here in the suburbs surrounded by lots of broken people who are now single parents because their relationships failed and when their kids phone gets hacked and their nudes are posted to other kids and they're getting bullied and coming home in tears and don't know WTF to do. Never compare your insides with someone elses outsides.

Dang... hmm... between my most recent 50mm tests and these Samyang tests, I am second guessing everything that is just and pure in the world. Btw, nice Oly sample... I really like your color. Teach me. Lol. Speaking of my 50mm tests. Here is yet another sample from my Zeiss Rollei 50mm shot wide open... And for good measure, here’s a B&W frame grab from the Zeiss 25mm 2.8... To add... @BTM_Pix thanks a lot for the Samyang tests. I think I may try and pick up an 85mm. I’m curious how it will hold up against my Nikkor aI-s 85mm 1.4. I started these “tests” to try and whittle down my lens collection but I think I’ve ended up with more questions than answers. For instance, I’m beginning to think that Zeiss are the best lenses ever made for a seasoned photographer/filmmaker because it isn’t easy to find their sweet spot, but when you do... it smacks you in the face. With that being said, I think I’ve only found that spot once or twice and the above samples aren’t it. But they’re alright, so I figured I’d share them.

After testing for a couple of days, we're Q5 all the time. Shot a film with it last week and yes, in the new Resolve, it is as fast - even faster than ProRes w/ FCPX. I was in the field w/ a MP skimming through a twenty minute timeline, every clip w/ a LUT and a grade. It's amazingly fast. So much so that as a small shop w/ 3 FCPX stations I really never expected to integrate resolve. After 1 week shooting braw and working with it in Resolve, I'll never shot ProRes or edit in FCPX again. A couple of producers had mentioned to me that they didn't see the "magic" from the new cam until they shot in braw and processed it in Resolve and I have to agree. It isn't just the file size and the ease of editing and grading - it's where the full potential of Gen4 and the new cam IQ comes together.

Hope you're feeling better Kaylee!! 30's (if that's where you are now) are a real treat, much more productive than 20's.... it's where things finally start to come together. I am sure you will start to see that soon. I didn't even start EOSHD until I was 30!

heyyy guys.... thank u so much..... im ok ive got a birthday ending in 0 next week, feelin a lil sad and lonely. talked to some old friends from the ancient past... that was weird. not good but not all bad i guess. didnt get the closure i wanted but maybe it just came in a form i didnt expect just thinkin about my life. there are my "normal" friends who have kids, families, and so on, and being an adult now, on an emotional level, those are the things i want, stability, etc, not bein an art star like when i was 20 its whatever. ill be ok. im feelin a lil better today. thanks for the hugs, i needed that

I didn’t watch the short since I am in a rush to an appt. I’ll check it out later… But responding to the initial question, Imo, if you don’t have a particular story to tell (you do, but maybe your natural medium isn’t a screenplay), have a particular way of telling a story: •Watch Spielberg films and focus on how his camera placement and camera motion correspond to how characters feel. What is the emotional center of the scene? Where is the camera in relation to it? (Consider focal length: a CU isn't just a CU–it could be shot with a wide lens right in someone’s face or a telephoto lens from across the street.) How does emotion relate to what characters want? We get emotional about our needs... Focus on emotion and how Spielberg draws you into moments of wonder and drama, but provides distance on moments of tragedy or comedy through blocking and camera placement. Notice how he integrates the gags (whether CGI or practical) into the medium shot, but doesn’t rely too heavily on POV shots. He keeps you close to the characters, without making you "one" of them. He's very transparent and classical. He puts you in the world with his characters without directly putting you in their eyes. Watch how Saving Private Ryan’s opening puts you into the battle even before there’s a particular soldier with whom you’re aligned. What he’s doing is complex and subtle, and probably mostly intuitive. He uses POV shots, he just uses them differently from Hitchcock. So just do what feels right! •Watch Hitchcock films and focus on how his camera placement corresponds to what characters see. (Consider range of narration and plot vs story–what characters get the most POV shots and when do you know more or less than a character. The “master of suspense” is often aligning you closely with the protagonist to make you sympathetic… then giving you a more omniscient range of narration from time to time to create suspense. Read the “bomb under the table” quote about suspense vs surprise.) •Watch Fincher films and focus on how his camera placement corresponds to what characters know. Who is the protagonist of the story? Who is moving the story forward at any given time? Who knows the most information at any given time? What’s in the box? And why do we find out at the same time as Brad Pitt (instead of Fincher choosing suspense and telling us before hand)? Why does he choose surprise here? To me, the Fincher protagonist is whoever knows the most at any given time. I feel like Gone Girl and Seven change protagonists halfway through… or repeatedly... in that sense. I think Dan Harmon and David Fincher both like to focus on the smartest person in the room. No surprise, those guys are really smart lol. •Watch how Peter Jackson shoves the camera right up the face–generally with a wide angle lens–of whatever is scariest or grossest in a given scene. Why does he shock you and gross you out so well? •Watch how David Lynch taps into subconscious patterns, frequencies, loops, in story, visuals, and sound design. How does he get into your subconscious so well? His films, to me, are more similar to music and painting. More abstract. Read his “eye of the duck” quote and consider how he structures each scene around a particular detail, each movie around a particular scene, etc. etc. I think with him it’s very intuitive and abstract, but there is a repeatable process nonetheless. I just don’t think it works if you try too hard to emulate it and think about it. Doesn’t mean it isn’t worth thinking about at all... but if studying this stuff doesn't interest you, probably don't bother. Just think: “let me show you something.” What do you show and how? To whom? How do you see the world that’s different from how other people see the world? Who are those other people you want to share your vision with? Why? Try to meet them half way and show them in a way that’s personal to you, but accessible to them. That’s you see the world uniquely. That’s your voice. It’s your personality. Ultimately, part of this is a popularity contest. But you can choose your clique… and how true to be to yourself... Or if you know the story you want to tell, simply tell it, and the rest will evolve naturally. I suspect none of the people I mentioned above are laboring over the choices I mentioned. They’re simply acting intuitively, true to themselves. Be yourself, but be cognizant of your audience. Make them want to spend time with you, or show them something no one else can. I love Tim and Eric and Lars von Trier. Those guys aren’t making palatable content. But that’s the point. They’re agitators. If you're an agitator, agitate. I remember you mentioned before that your strength was visuals. That you were doing similar things to Kendy Ty? That might be even easier to get started with, but it’s a different trajectory than feature film director imo. (At first at least.) Maybe get into branded content, music videos, try to get a staff pick, etc. If your friends and you walk down the street snapping photos and yours are the most beautiful, that’s your voice and your strength right there! Translate it into videos and start posting them on Vimeo and hounding everyone you know to try to get a staff pick. Obviously connections matter, this is a social medium after all. Network. I hate networking... There are a million different avenues–festivals, YouTube, sneaking into some director’s office, etc. No one can help provide those specifics until you provide the specifics of what you want to do. And even then we’ll get it wrong. But it’s not too different from social media–why did you put this on Instagram vs 500 px? Why did you submit to Cannes rather than Sundance? I 100% appreciate the problems you’re struggling with. I have scripts that are too big for me to shoot on my own, and it’s hard for me to recruit enough people to produce them. But that has to be a part of the conversation, too. FIND people who like your stories. If they don’t like them, find out why–is your story bad or did you just find the wrong audience? Maybe it’s GREAT but they’re envious of it or disagree politically. Still a (potentially) bad collaborator, even if they're a good person and it's a good script. Maybe it needs work (mine do) and your friend is confused. Explain it to them until they get it, then incorporate those changes onto the page. The process of getting the film made starts with communicating your ideas to your first audience–your collaborators. The process ends with you communicating your ideas to a larger audience–your viewers. Build your audience slowly. Build your voice. Start small. And focus on the journey. That said, I struggle with the same stuff. It’s not easy. It’s why, for more ambitious projects, I’m focusing more and more on writing. Not my strength, but if the ideas aren’t there in the script, they’re going to be harder to get across in the final thing and I'm too busy now to devote my life to making weird magnum opuses. Sometimes I wonder how David Lynch got a huge crew together to make Eraserhead. That movie apparently had next to no script and it's bizarre, but this guy was so magnetic that he got people to spend five years filming it. And the movie is amazing. I would seriously doubt he would win any popularity contests based on his films, but here he is directing my favorite tv show. (Admittedly more a cult classic.) Be true to yourself. Act in good faith and with confidence and the two will reinforce each other and grow. Or if you cynically just want to be a director to say you’re a director, study Brett Ratner’s career. That's true to what that guy wanted. And it worked! And more than anything, be confident.

I finished making the sock puppet skit. Enjoy.

I look like that and all I do is watch my screen. And deceive myself.

I thought you got good at running by watching those "exercise motivation" videos on YT? Tell me you're not tired just watching that...

What about the 6.1 firmware version + saving 63.3%? source: http://www.cineticstudios.com/blog/2015/7/slimraw-an-easy-method-to-save-space-with-cinemadng-footage.html According to my math you get 134 minutes of 4:1 into a 500GB SSD which is more space in disk than .braw 5:1 offers... Not bad if you have a capable machine to handle post, I guess, even though, slimraw promises a way faster workflow.

You should shoot with your distribution frame rate in mind. If you are shooting for PAL televisions, then you should shoot in 25 fps for normal motion. If you want 2x slow motion, shoot in 50 and conform to 25. If you want 2.3976x slow motion, shoot in 59.94 and conform to 25, etc. (I know you aren't talking about slow motion, I just mention it to be clearer) Essentially, at the beginning of an edit you will pick a timeline framerate to edit in, based on artistic choice or the distribution requirements. Any file that is NOT at the timeline framerate will need to be interpolated to some extent to play back at normal speed. Mixing any two frame rates that are not exact multiples of each other will result in artifacts, though there are ways to mitigate those problems with advanced interpolation algorithms. So you shouldn't mix 23.976 and 59.94. If you have a 23.976 timeline, the 59.94 footage will need to be modified to show 2.5 video frames per timeline frame. You can't show .5 frames, so yoy have to do some sort of frame blending or interpolation, which introduces artifacts. Depending on the image content, the artifacts might not be a problem at all. The same would apply for putting 23.976 footage on a 29.97 timeline, or any other combination of formats. The only way to avoid all artifacts completely is to shoot at exactly the frame rate you will use on the timeline and in the final deliverable, or conform the footage for slow/fast motion.

That lens is often mentioned in reviews of other 28mm f/2 lenses. It seems the general consensus is it’s a pretty decent lens but for only a little more you can get the Nikkor ai-s which is phenomenal. Either way, it’s a great option for a budget lens. I have the ZF version and not the traditional Contax “Hollywood.” I got it for a good price but it wasn’t cheap by any means. And the only reason I bought it was because it was a Duclos mod. By just using it for a few minutes in the house, I couldn’t say it was leaps and bounds better than the Nikkor 28 or the Zeiss QBM 25mm. But I have a feeling that the Hollywood is a lens that requires a little more than a couple minutes around the house test. Comment of the day! Thanks for proving my suspicions that I am wasting time and money worrying about lenses.

Back to vanilla glass with a couple of stills from the Pocket 4K with cheapish second hand utilitarian EF lenses that have IS. Colour is the Canon 10-18mm f4.5/5.6 and the B&W from the Tamron 16-300mm (yes 300mm) F/3.5-6.3. Both of them benefit light gathering and sharpness wise from being put on a speed booster as they are here.

ok the lens arrived early, looks immaculate very smooth action, i am very happy. just have to sort a clamp out now. it came with a case that looks brand new apart from the the holder there's barely a mark on it

Different colours, the true sign of quality products.

the jury has decided, however its a 2 pocket job one for the p4k the other pocket for the lens. but thats bare bones had to take the quick release base plate and the lens off

No no no no... RAW goes in, COOKED comes out!

By that definition you have probably never used raw then, as I haven't come across any camera that supports uncompressed/lossless raw that doesn't alter the sensor data in a process referred to as "calibration" - where every pixel is altered. That can include noise reduction and other processing that's already applied before the raw file is created. Some sensors do this on chip before the ADC! I've also never seen a camera that doesn't do pixel remapping as all sensors suffer hot/dead pixels. Some even offer user initiated pixel remapping to address this as it can occur over time. Which means lots of pixel data is CREATED because the sensor didn't provide useful information. So yeah, no camera from any manufacturer I have seen or used would qualify as offering "raw" to your standard. People seem to have a romantic and idealised notion about what raw is.

I did it for fun as a gift and as great fan of horses nature. So, for the same poor reason (and free of publishing restriction) maybe there's chance that it might touch somebody else

The diminishing returns are certainly particularly diminished when it comes to the Samyangs versus lenses many times their price. I hadn't really considered the 135mm but I will certainly pick up a cheap used one when I next come across one. Just push sliders in random directions until you like the look of it ! Many, many moons ago when I was a young pup recording engineer there was a set of cards made by Brian Eno called 'Oblique Strategies". The idea was that if you reached a creative block in the studio you pulled out a card at random that had a phrase written on it that would stimulate you to take a different approach. So there were ones like "Don' be afraid of things because they're easy to do", "Cut a vital connection" or "Give way to your worst impulse". The one that always stuck out because it was generally the most effective though was "User fewer notes". If Eno did these cards for colour correction he'd definitely have one that said "Use fewer nodes"