Juank

Of course but we are reaching a point of diminishing returns. We've had 10 bit 422 for a while now(GH5), we've had great low light (A7S), we've had RAW(Pocket camera) but nothing has combined all of them together. Sigma has come close, the S1H comes close, the Pocket 4k/6k come close. They are all missing on of the ingredients. 

As a small camera, I'll be happy with X-H2 style X-T4... Basically the X-H1 body design but with X-T3 video specs and a bit extra, like an anamorphic mode.
Doesn't have to be 6K or 4K 120fps!
I will always need a good Super 35mm option for my Arriflex lenses and LOMO OCT19
Anamorphic better suited to S35 as well.
Not everything has to be a full frame R5 monster cam and cost $4000!

Wellllllllllllll........ he isn't proven wrong yet!

Let's first wait (another two years?) and see if the a7s mk3 has a raw unit or not 😉 

First I'd like to say that I appreciate that the Lenses sticky thread is now it's own Sub-Forum. It really allows members to post more specific topics and it allows readers to ignore topics that may not be useful for them.
With that said, @noone had a great idea creating a topic with one of his favorite lenses... so I figured I'd follow suit with one of my favorite lenses...
Nikkor 35mm 1.4 ai-s
As I started writing this brief, real world review, I realized that this lens represents a larger story of me as a filmmaker as it chronicles the highs and lows of my life since I started shooting my film...
So what started as a brief review morphed into a much longer story. If you don't have the time or inclination, stop now.
For those that are still interested... here we go...
I love fast, wide angle lenses. They offer shallow depth of field while allowing you to get close to your subject. And a fast 35mm straddles a wide angle FOV and a normal FOV making it almost the perfect full frame, focal length for my style of filmmaking.
This is my second copy of this lens and truth be told... I've almost sold this lens a half a dozen times over the past year.
My first copy I bought when I started shooting my film. I had a simple game plan... the Canon 24-70mm f/4 IS lens for daylight and the Nikkor for lowlight.
Here are a couple frames from the first shots I took with the lens for my film.


For some reason I decided to go a different route for my lowlight shots and bought a Canon 35mm f/2 IS lens. In most ways, the Canon is a better lens, but it lacks the charm of the Nikkor even if it did match my zoom a little better.
At the time, my film was moving along at a steady pace, so I decided to keep the Nikkor for a different, upcoming film...
Well...
Life had a different plan, like it often does, and some unforeseen medical issues in my family slowed production to a near grinding halt. With those medical issues came some unforeseen financial issues and I was forced to sell a bunch of lenses. For a brief time I thought I'd be forced to sell my camera as well, but I luckily made it work.
Before I sold the Nikkor, I decided to take it out for a final spin. Here are a couple frames from that last day with the lens...


By this time, I was also forced to sell my Canon zoom and my Canon 35mm f/2. Over the next 6 months I raided my closet to test any and every lens I had that could work for my film. Luckily, during that time, I found a Canon 28mm 1.8 listed on eBay "For Parts" for peanuts. Needless to say, I won the auction and found another one of my favorite lenses born from need.
For the next 6-8 months, the Canon 28mm 1.8 lens became the only lens I used to shoot my film and at the time, I couldn't be happier with the results. But I still missed my Canon zoom and my Nikkor 35mm 1.4.
Last year, I came into a little extra money and immediately sought another copy of the Nikkor and after a few weeks, I found one.
With the extra money in my account, I took the opportunity to test a bunch of lenses I couldn't otherwise afford but always wanted to try. I tested some beautiful lenses but being a hobbyist, I needed to contain my obsession and build a couple logical lens sets.
I used the end of my sporadic shooting days to test a lens. My method was simple, use my main actor as a model in the same locations I was shooting my film.
Here are a few frames from those tests...




After hours of deliberation and footage, I finally realized that I don't change lenses that often and I grew to like the idea of a single POV, from a single lens, as if the lens' FOV represents an invisible narrator's eye. I used my feet to zoom and put together a simple rig consisting of a closed monopod with a tilt head and a tape measure pouch clipped onto my belt. The bottom of the monopod fits snuggly inside the tape measure pouch giving me a stable image with a handheld-like flexibility.
During these tests, I realized that I had way too many lenses and could easily shoot a short film a month, for well over a year, and never reuse the same lens...
What was I thinking?! I am just a hobbyist with no delusions that I will make the next great indie film. 
This was getting out of hand.
So I set up a final round of testing and narrowed down my keepers to a grand total of 5 lenses with the only "set" consisting of my Canon FD 50mm 1.2 L and my Canon 28mm 1.8.
At the time, I even contemplated selling the Nikkor 35mm 1.4 one more time to keep with my minimalistic utilitarian approach.
 But after some careful thought, and some good advice from some other EOSHD members, I decided to keep it. Although I was still unsure if I needed the lens, after a recent go at some of the footage with my mediocre color skills and my crappy monitor, I came up with these frames from one of my test shots...


Although, I realize that none of these shots are particularly spectacular, but each one represents something I like about cinematography and tells a story about my life over the past 3 years.
Sometimes the gear we buy is more than just tools for the stories we tell... they become part of the story... part of the journey. Maybe I am being too sentimental but when I look at these perfectly imperfect images taken with a perfectly imperfect lens, I remember the moments that brought me from then to now and what I learned during that process...
This lens taught me that my equipment is better than I am. I learned that I don't have to shoot everything wide open and that I probably shouldn't if I ever want to pull focus on an actor walking. I learned that some lenses have a vintage look when wide open, but when stopped down can look crisp and modern. But most importantly, I learned that I need very little to make a movie and gear is the least important.
If you're interested in a more technical review, I recommend Ken Rockwell's review of the lens. He gets into the nitty gritty of the characteristics of the lens. I feel he's a little too hard on the lens but everything he writes is dead on accurate...
https://www.kenrockwell.com/nikon/35f14ais.htm
For me, I can sum it up in one paragraph...
The Nikkor 35mm 1.4 ai-s lens has a warmer tone and when shot wide open, the images are dreamy, a little soft with a ton of coma on the edges. Stop it down to f/2 and it cleans up a little. By f/2.8 it's like you're using a different lens and that lens is as sharp as a knife. It's like having two lenses in one with both being sharp enough with a bunch of character.
So there you have it... thanks for reading. 

I think that we are headed for a massive disappointment. There is absolutely no reliable info on this camera and we already expect that a small canon body will leap frog the entire competition? It makes zero sense, even the S1H with its brick size and embedded fan can't do crop-less 4k60. How would Canon manage to do 8k24 in a Rebel/R type body without heating issues after behind being for so many years? As for ProRes, this is wishful thinking as someone mentioned earlier. It looks like some sort of limited 8K "for the sticker" on the box and then massive 4k crop or pixel binning/line skipping output. But I hope to be proven wrong!!!

Finally, I don't think that Sony needs to wait for the official Canon announcement to figure out what they plan to do. Look how all the major brands (Pana, Canon, Nikon) came out with FF mirror-less camera last year at the exact same time. They all have similar supply chain and providers, they do business intelligence and know what the competition is going to do (more or less). The Z and R release were both underwhelming. They all came out with slow lenses and a few useless super wide and overpriced options for the show before releasing f/2.8 glasses later on.
 
 
 

Z cam uses ASIC and implemented h264, h265, prores, and raw all on the same camera. Canon has way more resources and I assume could also develop a prores asic.
 
They had planned it from the start. In fact, some users found out how to unlock it right away, way before it was licensed.

The problem is that Canon, like all big camera manufacturers, uses an ASIC architecture for the camera electronics and signal processing: single-purpose boards where most functions are hard-wired, allowing smaller bodies, less cooling and lower manufacturing costs in high volumes.
To implement ProRes, Canon would need to develop a new ASIC from scratch, which is expensive, and is only done every couple of camera generations, with one ASIC for all current Canon SLR and mirrorless cameras.
Blackmagic, Arri and RED and other smaller manufacturers use FPGA instead of ASIC: fully programmable boards (or mini computers) where new codecs and functions can be implemented in software. While FPGAs are more flexible and cheaper to develop initially, they are larger, require more cooling andbigger camera housings, and are more expensive to manufacture per piece than ASICs.
The Blackmagic Pocket Cinema 4K and 6K cameras are good examples for those advantages and disadvantages of the FPGA architecture.
The Sigma fp is a good example for the advantages of ASIC (smaller body with a full frame sensor), but also for the disadvantages (lots of limitations that likely can't be fixed in firmware).
 

As far as ergonomics & features, the Canon competition have to start implementing stuff like internal NDs..
Sony especially should include the FS5's Vari-ND tech inside Alpha series. 
I don't see them going too far up resolution/codec wise because of XDCam cannibalisation fear.
Panasonic are in the best position to compete on that front, but they really need to sort out PDAF, and maybe hire better design team (take some cues from Leica ffs)!
Fuji, I'd love them to do a proper cine cam, but make it radical by taking cues from retro 8mm pistol cams:

 

I wonder what percentage of $3000 these licensing deals actually would cost the Japanese camera makers.
Just pass the cost onto the customer and they will gladly pay. Who would turn down Alexa colour science and ProRes RAW for $300 extra?
We are talking top end cutting edge mirrorless cameras not consumer low-end.
Or do a patent swap.
The main challenge will be getting Arri and Apple to agree, me thinks.

A few remarks:
The body looks awfully small for an 8K FF monster. In the video, it is paired with a 24-105 f/4 lens and the body seems more like a Rebel/RP series than a 5D in relation to the lens size. But the R5 terminology might indicate that this camera fights in the 5D category There is absolutely zero details in this announcement, except for FPS and usual language (new sensor and processor). I wouldn't be surprise if the 8K capture is only available in short burst. Fuji might enlarge its next X-T4 camera for video capture, Panasonic can't event do 4k60 without crop on its fan equipped brick size S1H camera and all the sudden Canon shows up miles ahead of the competition with a small body and 8K recording? Not only this camera would mark the end of the cripple hammer but it means that Canon secretly worked for months/years to make a giant technical leap with camera design, and they just introduced this out of the blue after a decade of sub-par release. Anyway, if this thing is real and hit the market with clean crop-less 4k60p, I'll probably get one. I'm not going to complain!
 

Hopefully Andrew will get answers to many unanswered questions about this camera. Their press release didn't reveal much as far as all the video features other than 8k. The 1DX Mark III appears to be media card hog and will require a lot of expensive memory chips. Will the R5 follow suit? What will the dynamic range be for video? What about higher frame rates? 120fps 4k? at what bit depth? Will it be a cropped 4k at 120fps? Recording length? Clog? Prores? Autofocus at higher 4k frame rates and/or 8k?
Been down this road so many times with Canon and then have the rug pulled out from under me. Looking forward to verifiable specs before getting giddy about this camera.

So no 6K... then what's the biggest new feature... IBIS?
Well, if they can keep the cost of the X-T4 very close to the X-T3 and include IBIS... IMO... that's an instant win.
However, I would love for Fuji to do something out of left field like ProRes... I hate h.265.

Today I am told there is no 6K/60p.
Maybe they can do 6K/24p, or most likely it will stick to 4K/60p.
However the rest makes it all worth it.
Can't wait until the announcement later this month.

Here's a curious comparative sample:
 

I should receive my One R this week, the 360 module does not seems any better than the One X that I have, but the waterproof and the screen is a good upgrade for me as the venturecase is a piece of c.... so I will sell the One X as I used a lot in the snow and water.
The 360 reframe quality is not yet ready for prime time but is so good to reframe in post that for certain type of action is unbeatable.
The 1 inch module seems a good step up from the hero 8 and similar. One cool thing is that you can enable or disable the stabilization and the fov in post..... the hero 8 is already processed so if you set the wrong one or you don't know if is better with what level of stabilization you are toasted…. I was shooting last week some rally cars with some hero 8s and when I wanted the hypersmooth on I had it off and vice versa…. 
 

Any word on video record limits? Seems like if they wanted to go after Panasonic for the hybrid video king, you would need to figure out how to never overheat and have no clip limits.
I am actually unhappy with my S1. I've had issues with various (expensive) SD cards. about 1 in every few hundred clips will not write to the card forcing me to pull the battery. This happened on a paid shoot and was very embarrassing. I don't want to record onto an external device (loud/power hungry/heavy/expensive). I was planning to get an S1H as an A cam and S1 as a B cam, but now that I'm having trouble with the S1, I am considering getting 2 XT-4s and moving to the Fuji system. But if there are overheating/video clip limits, that is going to be a deal breaker no matter how great the images are.

Maybe RAF camera can do something?
Very good quality and good prices too.

Yeah, his anamorphic clamps and adapters are top-notch. We'd need to provide him with some details, though.
Like I said, my friend and I are on it, but it'll take some time, since he's a busy person.

I have 100x more trust in Fuji delivering the goods with any speculated camera than for Canon to do the same.

I'd love if there was a 10 bit H264 option so I don't have to always transcode files. Anywho though its not the body that matters as much as the lenses too me. Full frame bodies aren't usually a biggie, its those gigantic lenses. 

Facts
I have both an FS5 and A7iii, even though I believe the A7iii makes better looking video, the FS5 while having really bad lowlight performance and autofocus it is easier to use for video due to the ergos + SDI + variable  ND+ SDI.  
I'm more interested in seeing what the FX6 has in store over the A7siii. 

Exactly my point, David!
This is a must have in the indie world to duplicate routes...
Go figure the optionS we have at the manual side... ; )
 
MFT is the most versatile lens format ever, most affordable, truly most and a must! ; -)

Or Fuji's own excellent cinema zooms (18-55mm T2.9 and 50-135mm T2.9), which if you buy in X Mount you're locked into only X Mount. But if you purchase it as MFT then you'll be able to use it on ANYTHING! (which is S35 mirrorless... if the adapters come out, such as a MFT to X mount adapter. FZ and E mount adapters already exist for the Fuji MFT cine zooms)

Well, I could try to dare one of my friends to do it.. 
No promises he gets it done, though. 
EDIT:// MFT -> Fuji X seems doable, whereas Sony E -> Fuji X would require a whole lot of magic to produce. The flange distance difference between these two mounts is only 0.3 mm.. 

Who wants it? Let's open a purchase group here.
 
Born there:
Thanks @Andrew Reid for your tiptop forum (the best worldwide in the hybrids cine-like realm and stuff somewhat related!)
@heart0less Done. LOL Now let's try to get it just fine! (E : -)