Emanuel

Kit lenses are always good for second hand markets, here's just one case: https://www.mpb.com/en-eu/used-equipment/used-photo-and-video/used-lenses/used-panasonic-lenses/panasonic-lumix-s-20-60mm-f-3-5-5-6/sku-1250119/

In fact, they realize it pretty well : ) For their camera features, friendly user interface, IQ and price-wise, they are unbeatable today :- )

Bryan (where you can also find a few bargains from his used inventory too when he has something in 2nd hand from his glass reviews and tests : ) has a fair informative resource for the subject matter: https://www.the-digital-picture.com/Comparisons/Sigma-18-35mm-f-1.8-DC-HSM-Lens.aspx So, for some reason (especially stills) Sigma has introduced their Art series 24-35mm f2 too and not for extra significant weight, less than 20% more, even though for a higher cost usually to double such gap... Go figure how much we're able to safe with that proper wide aspect ratio, not really for stills but to motion picture use ;- ) As far as Tokinas offer concerns, the eldest 11-16mm f2.8 @ 16:9 you practically only reach it on 16mm end which is much more handy going along the younger sister 11-20mm f2.8 today from there to 20mm. Wide open included. Let alone a wider aspect ratio then (through a 2.39:1 crop as inferred above ; ) That is, filters and hood aside :- )

You mean 35mm equivalent : ) Those Tokinas we know don't cover other than wide end but are much affordable these days and you still can use them in their cine-like version as you wish and on full frame for a good fraction of the range. Without mention the Sigma either on FF coverage or its S35 18-35mm F1.8 counterpart you can assure a low light use as well, even though at a heavier cost of course :- )

Indeed : ) I guess to infer Internet has to be a nasty location from people placing their invectives and frustrations is simply to add a reducer on something always welcome as an open and healthy discussion is. They haven't ever watched Citizen Kane, very likely ; ) BTW in behalf of this lovely thread, came to my mind now that vintage Nikkor 35-70mm f/3.5 AI... Paseo nocturno (Pamplona by) © Ángel Sagardoy Here's more on Flickr (and here's a second part for more samples). Ah and @kye allow me to stand corrected "to this new thread of yours" for better English understanding as well a vivid "as much as possible" I forgot to include in the same paragraph up there :- )

LOL : ) Jokes aside, I can actually agree with you not exactly as a contradiction but complexity on our "truths" or beliefs as you wish, you see we can agree on anything too (or almost ; ) Ah and being a poet coupled to these tools with "lots of character" (ain't we talk about camera + lens combos?) can make a novice (or not necessarily only just a novice) filmmaker a better one, no matter the rest for the sake of the point now ;- ) So thank you for bringing me to this new thread of you, you should know I am always trying to follow your posts I sincerely appreciate when focused on the same joy we both share topic related :- ) Paul Cezanne, a poet with pictures once said: "Time and reflection change the sight little by little 'til we come to understand."

On the other hand, you've produced some distinguished superior outcome from there, kudos to the shooter as well :- )

8.6K 2.39:1 up to 120fps? It's such a jump! :- )

In the last James Bond, at a certain point of the dialogue, he and M nod to each other: "Just the usual" ; ) LOL :- )

One of the reasons I immediately embraced Jim's vision on his Red endeavour from day one ; ) Blackmagic Design is what RED didn't succeed to be : ) And today, I come here to the pioneering effort put by our webmaster to respond @kye or @mercer when they wonder themselves why I relegate to a second place the traditional manufacturers ;- ) Even though I always salute their progress (half dozen of Canons and more than a dozen of Panasonic cameras over my inventory yet nowadays :- )

I doubt this camera output won't be much superior... : ) I guess you mean high-end and prosumer in general is narrowing, that one I buy : ) Three decades ago when I was still starting my path someone who came later to VP of Sony Europe told me very straightforward: "Don't think you'll ever see the same IQ from one to another end because business will never allow it..." I still believe he was pretty honest in those words addressed to me :- ) BTW, I met him at the Lisbon Sony's showroom then when he came there to take a look on some new slides device from their photography consumer range. He was the responsible for Portuguese Sony Broadcast & Industry division in the beginning of 90s.

I guess so but that's the fact they're only focused on flooding us with paper specs other than real world features instead :- )

What puzzles me is the way a cine specs list could ignore 120fps nowadays... it's beyond me :- )

And here's another James' presentation (in my native country BTW but) where the director simply forgot there is public to assist the show... : X (and all of that) despite the resources! (Let alone when in the previous example up there, Tim Booth at a certain point of his performance orients the cameraman to the main focus of the live concert: the people there! : )

One of my fav performances ever (and can also serve as single homage to our webmaster's town, so special to the creative people and my own native countrymen and women because of the obvious reasons today ; ) ...and this is when they decided to act in a singular location half dozen years ago in the capital of my motherland -- the north of Portugal (where there is today an important Leica factory unit BTW ; ) More clips here, there and else in their Portuguese crowd :- ) With ancient roots in the eldest alliance in the world still up... based on the Anglo-Portuguese friendship since the 14th century at least when the treaty was signed and a marriage planned and blessed in this same town: https://travelsquire.com/porto-sao-bento-railway-station/

Much valuable post, interesting and entertaining informative stuff on topic, thank you for sharing Stefan, cheers to you as usual :- )

Well, thanks for the words of you two : ) To properly answer you Glenn, the same way Canon's C line, Sony, RED, Z Cam cameras are mentioned in this page or the previous one by everyone, OP, me and you included who directly referred 1/2 inch sensor size devices BTW ; ) Is each one of those looking less videoish? LOL ; ) What defines "video look" to you? A cleaner high rezzed output, as for instance? Will my other P4K pop up less "video looking" then? : D What about if we had grain going on post processing, does it prone to end more cine-like fine to you, is it fair to assume so...? :- D Because I guess to evaluate on the current feature's film festivals circuit @ big screen, it should not surely be! ;- ) hey, I am just redeeming myself to those butting head occasions with reps of the brand in these same pages before or later on hahaha :- )

LOL Yeah, suchlike : ) The elitism couples ignorance and is like the fear, just another bitch! : D Why confused @mercer...? Isn't it a serious cinema camera? We've made an entire feature film, among much other cine-like stuff, with: Shot on P6K Make-Believers (2021) - EAG

I guess he wouldn't probably call the Pocket series a serious cinema tool! LOL :- )

Yes, 2K or 1920x1080p 12-bit RGB 444 internally but not sure if 60p, reason why if you don't need higher resolution for anything such as hybrid use to extract grabs from, towards printing or reframing at post, you're better going with the C300 MKII, especially for motion picture.

It depends on your needs or the shot requirements or yet your post processing : ) That is, if resolution plays any role... Otherwise, I'd keep a C300 MKII for motion picture work as preferred option route anyway.

PS: Just to avoid any misreading of my quoting and again because 5 minutes is still short to edit it : ) I think you @Mark Romero 2 fairly summed it up on the leftover of your post above-mentioned from your own experience, which should always rule what fits best our needs :- )

I think you summed it up when progress means anything you can take advantage from, without losing the "north". : ) Variable ND you'll find several options Internet is plenty of reviews such as those from Tom Antos on IR pollution with Tiffen or Cavision filters. When OLP filter is not in-camera as it is not non-rarely adopted by BMD for their acquisition devices. That is, a non-variable solution, in this case just for the sake of it. Or on the other hand, here's some other Tiffen on a variable option if you want to run away from the square route, usually recommended by Shane Hurlbut and by myself too BTW. - EAG

No worries, whereas people cannot agree about everything, things are a bit complicated when there's a balance we all pursue, but it's not B&W. Certain stuff from film world is mandatory like easiness, simplicity based on the control/focus over the triad aperture-shutter-sensitivity rather than anything which can distract the operator from basics such as lighting, framing and perspective, which means angle/POV. If we are distracted with multiple menus, something will lose the attention of the operator. On the other hand, the gradual automation and miniaturization each day more affordable (let alone the progress to embrace IQ, higher resolution, wider latitude with a softer highlight roll-off as for instance and an obvious impact on the properties of a picture becoming it more prone to be called "cinematic") have gathered a natural resistence from film world, especially when there is a whole work organisation to turn out obsolete in growingly steps towards the simplification of the process. - EAG

I am not them as you know well haha (sorry, couldn't resist! : ) but I think you summed it up rather fine. You see? We have more to unite us than the opposite. Phew :- ) Well. Filmmaking didn't change in any way other than as for experimental stuff, documentary and narrative included and new ways of multi windows for international release and exploitation, not available before. Without mention the 100,000 bucks mark as starting point, where you had to be in the past to take off from, going with film processing and lab bills, as average for a feature film. You can begin now already from that basis, with no-budget mantra in mind nowadays. Likely you reached that milestone per se : ) The matter is that we're hardly able to set it up below than a low budget, feasible today for a portion of the seven digits, at least, you had the need onetime. Much less, actually. With the same equipment both professional and amateur use or alike. Drone shots, as for instance, when wisely and creatively used, bring a production value formerly only watched in mere hollywood standards. - EAG