Andrew Reid

With the Fringer EF-FX adapter this lens is a BARGAIN. I have the 16-55mm F2.8 Fuji X and 18-135mm. I wanted something faster than the 18-135 although to be fair that is a very good run & gun lens. I wanted something longer than the 16-55. This fits the bill and the macro is amazing. AF is instant. Works perfectly in 4K too. It cost me about £250 used in mint condition. Will add some samples frames from it soon.

Some shots from the Baby Hypergonar on GFX 100 The trick here is apparently to use a lens with a rear element as small as your thumb. On a sensor the size of the albert hall. Light works in mysterious ways.

Certainly is worth persevering with judging by the atmosphere in those shots. I think the Sigma 45mm is really well suited to anamorphic. I tried it on my Fp with the Bolex Moller and it's almost as if Rachel herself comes climbing out the picture. Another one of these lenses where the entrance pupil is very close to the anamorphic elements. It's got a lot more contrast than the Nikon E-series 50mm pancake I was using as well. I just wish for the dual focus lenses, that the front variable diopters were a bit smaller and lighter. They are all 72mm+ monsters!

NEW BLOG POST https://www.eoshd.com/anamorphic/preview-of-coming-attractions-anamorphic-goes-medium-format-with-fuji-gfx-100-and-a-look-at-the-leica-sl2-5k-43-mode/

"The business has changed ever since Jim Jannard announced the RED One camera in April 2006" You can read all the interviews in FDTimes here [PDF] NEW BLOG POST

The X-T4 is like a S35 version of that for run & gun. With the 18-135mm it's a real shot grabber Only lacks the internal ND.

Great studio concept. Looking forward to seeing what he creates from it.

Haha great stuff. Liked the video a lot @jgharding It's true, you reach a point where you have so many tools you don't use any of them. The EOSHD blog adds an even more warped motivation for me. I have no choice but to keep buying cameras and lenses!!! I enjoy it like a crack addict enjoys coke. I never wanted to become an obsolete camera collector or lens museum though, and even less want to become a shop. So the things just kind of sit there like the void staring back at me. Buying fancy stuff is only part of what inspired me to start shooting. I do enjoy it, but I enjoy a good shoot even more. It is something that doesn't just apply to creatives.... much of how we've organised our civilisations all boils down to this constant cycle of acquisitions and never settling with what we have or pausing progress long enough to taste it. The other paradox of this syndrome is that it instantly devalues what you already have. You can spend a fortune and lots of time on effort researching a tool, only to get it, love it, use it for a week, and then feel the urge for the NEXT adventure straight after before you've even scratched the surface of the creative possibilities that just opened up before you. A prime example of this for me was when I got the Fuji X-H1. The A7 III came along on the same first proper shoot as that, so half the time was spent wondering which shot to do with which camera. Very distracting. Then after the A7 III up pops the Panasonic S1 and Fuji X-T3. By this point the X-H1 was sat on the shelf for weeks on end while I dabbled with 4K/60p, and the A7 III wasn't coming out on any shoots at all. So why did I bother spending all that money on either of them only to upstage both of them within months? This constant churn of gear is basically one long syndrome of addiction, brief enlightenment and disappointment. I don't know how to stop it. I liked it best when everything was either rubbish or expensive, apart from a GH2. I stuck with that for ages and actually created something.

Is the S1H RAW. I have only just now received the firmware update and will be giving it a go with the Ninja V - or at least when I have cleared my desk of the 40 other pressing projects I have to do and got a bit of a focus back, and a bit of motivation to share stuff on the internet, where you tend to get just a load of troll comments back and clueless facebook comments.

1.5GB for 20 seconds is a major deal breaker! It may as well not shoot it. Are you converting the files to a different format? I do like the AF on the 1D X III though. The SL2 and GFX 100 simply aren't capable of the effortless shot you did, unless you are going all out with a proper follow focus and even then it's difficult... especially on a gimbal! Try Wetransfer If you can upload some 4K 10bit as well even better!

You really are making stuff up as you go along aren't you The A9 megapixel count and speed is aimed squarely at sports pros and 1D X market. The A7R IV is aimed at the 5D crowd. You can claim that Sony is wrong and actually the A9 is aimed at 5D Mark IV users. It isn't though. That's just your incorrect opinion. The A7R series is the high megapixel body to compete with D850 and 5D line. R5 fits into that space, and the A9 line has absolutely nothing to do with it. For a start the A9 has a stacked sensor and 20fps electronic shutter, with no viewfinder black out. It's a sports camera. The unique selling point is actually that speed, and not the fact you think it resembles an EOS R5!

Sounds like you'd be happier with 200Mbit 4K on the E-M5 III for a bit more money I can upload some original files from the E-M10 III but won't be today

I'm afraid there is no such thing as a 5D/A9 space. They are aimed at different users. The A9 / 1D X space exists, is that what you meant. The EOS R5 will be 5D market + pros. And priced accordingly... $4k probably. In reach of the 5D enthusiast crowd... But only just. Certainly NOT a camera for the masses like the Fuji X-T4 is. The EOS R6 will probably be that, unfortunately... I wanted that to be a 1D X III in mirrorless form. Not some cheap rubbish

Got any 5K raw files to upload for us to have a look at?

Why don't you look at the blog post that started this thread?! I posted my straight out of camera footage there and you can download the original Vimeo clip. I didn't realise Olympus has a custom picture profile editing app that can load profiles onto the camera. Anybody used this and know which models it works with?

Turn it off then Uh oh. Which lens was attached, and how long was it recording for prior to the shut off? What message (if any) came up on the screen?

Just ordered the Hanimex 35-70 from eBay @PannySVHS Looking forward to seeing if it takes the edge off digital I can also recommend the Minolta 35-70mm MD (F3.5) It's got a nice 3D rendering, and very compact.

Yes the hand grip is something that is being looked into. Leica are sending me one to test. With two batteries, they tell me the resistance is halved on the power current to the camera, which could help with the peak current demands of the system with the power hungrier lenses attached. Then there is the power management system itself, which could be fine-tuned in a firmware update. There is also the issue to explore of lens firmware, and to make sure the lens is communicating properly with the camera. The MC-21 for example, doesn't work at all whereas the Novoflex EF adapter is able to drive the fly by wire driven huge glass elements in the Canon 85mm F1.2L on a 25% battery charge during the most intensive 4K recording modes. Below 20% it still stops prematurely though.

Looking back on some of my oldest GH1 footage before the hack, the compression is horrific. Looks like a webcam! After the hack it looks much better, but still softer than the GH2. The GH2 really stepped things up, and out of the box before the hack looked much better. I disagree that you can't get nice results outside in natural light with both of the cameras, though.... Dynamic range is not up to V-LOG on the S1 today of course, but dynamic range is not always the answer to cinematic looking composition. It's not the magic bullet. I like a high contrast look very often. The Pocket 6K image is nice, sure but the V-LOG 10bit on the S1 goes toe to toe with it codec-wise... yet the overall look is much nicer, thanks to the much larger sensor, better low light and the more pleasant shooting experience.

What a gem this camera is. I always get distracted by what else is coming out - GFX 100, SL2, X-T4, and the list goes on. But when I look at my footage shot in Asia and Berlin on the GH2, I realised how effective locked down shots are with manual focus. Back when we had to use a tripod... Even the slightest shake is a distraction. There was no racking or AF during a shot either, that just ruined things. This was before follow focuses were common on mirrorless cameras... and the AF, well, it was useful for AF-S to lock off a subject and then you'd record and keep it there. I continue to come back to the S1 because it is the spiritual successor to the GH2. It's not expensive (well, compared to an S1H or cine camera) so it's aimed at the same people. It's relatively small, smaller than an C200 or FS5 for example which are the smallest popular cine cameras. It has a very good battery and huge EVF. The IBIS is tip top. The image in V-LOG, 10bit 150Mbit astounding, yet the file sizes remain much smaller than 400Mbit ALL-I. The 4K 10bit image quality difference to the S1H hardly exists. The ability to load a LUT onto the live-view display and shoot with your favourite one - what other mirrorless camera does that for £1500?! It is amazing in low light, it's full frame, and you can leave the tripod at home. I would take either over the X-T4 as it stands, good though that is. Now the GFX 100 is marvellous... but it's £8k even used! The SL2 would be wonderful if it actually shot 4K without the battery error, so that ruins that. The Sony A7 III is fine, but the image just doesn't hold a candle to the S1. So putting autofocus to one side and just shooting nice stuff the classic way... there is no better tool than the S1. If you want to use manual lenses with IBIS and shoot 4K 10bit LOG, the S1 is the best camera out there, especially for the price. Although the Sigma Fp doesn't have the same amount of features or an EVF, or yet a LOG profile, I rate that highly as well. Will do a round up of all the current cameras soon on EOSHD.

I think $4k is likely. I've heard $6k but don't believe it. It isn't quite an 1D III in terms of the market yet. Most sports shooters won't go near it, unless they are feeling adventurous.

No response since NOVEMBER? That is appalling from such a well know company. Are they trying to bury the issue and hope the publicity doesn't develop before the fix comes out? I can only speculate. But I want it fixed. Otherwise the £5k camera goes back to Wetzlar with a polite note for a refund.

Leica haven't responded to anybody about it. Tons of users with the same issue https://www.l-camera-forum.com/topic/306288-4k-recording-with-low-battery/ It's disgraceful. I want a refund! Or a working camera. Whichever comes first.