BasiliskFilm

Given the shallower DOF and better low light on APS-C you really have to compare an F2.8 lens on µ4/3 with F4 lenses on Sony. The smaller the sensor the easier it is to build f2.8 lenses, so naturally they will be cheaper.

Seems odd, but I guess the full frame market is seen as quite conservative, and getting pro Canon and Nikon shooters to shift to mirror-less is a big challenge, especially now that Sony has such a developed mirrorless full frame operation. A whole new lens system, just to catch up with Sony?

Seems odd, but I guess the full frame market is seen as quite conservative, and getting pro Canon and Nikon shooters to shift to mirror-less is a big challenge, especially now that Sony has such a developed mirrorless full frame operation. A whole new lens system, just to catch up with Sony?

Seems odd, but I guess the full frame market is seen as quite conservative, and getting pro Canon and Nikon shooters to shift to mirror-less is a big challenge, especially now that Sony has such a developed mirrorless full frame operation. A whole new lens system, just to catch up with Sony?

Seems odd, but I guess the full frame market is seen as quite conservative, and getting pro Canon and Nikon shooters to shift to mirror-less is a big challenge, especially now that Sony has such a developed mirrorless full frame operation. A whole new lens system, just to catch up with Sony?

f1.2 lenses (and faster) are already available for MFT and probably better corrected than half a ton of glass.

The medium format look was all about proportionally finer grain, allowing faster films, better in low light, and relatively shallow DOF. Faster full frame primes take the speed advantage away from a lot of medium format lenses.
I know this is a relatively slow macro lens, but your reducer is giving you 56mm f2.8 equivalence, with a fairly bulky set up. Do you perceive any advantages?

I think the reason they are (relatively) light and compact is because they take full advantage of the short flange distance on e-mount. Every DSLR compatible wide angle has a retrofocal design that has additional elements to compensate for the distance between the lens and the sensor. Longer focal lengths are less affected by this problem.

The problem seems to be that most can't do full sensor readout at more than 25 fps, so you can either get great 4K footage from downsampling the sensor (A6300/6500), or lineskipped 1080p at up to 4x speed. Seems to be a next generation thing, as the NX1 (ahead of its time in many ways) and GH5 seem to have faster readout, so it is probably the next thing to come to Sony, though APS-C upgrades will probably have to wait till after the next FF releases. Perhaps the A7iii?

To be fair, Sony have been producing the best cameras for adapted non-Sony lenses for several years, unlike pretty much any other manufacturer, certainly in the full frame market. 

Hey guys, I put together a behind the scenes video about how I film my travel videos for clients. I have been posting a few of them lately and I plan to post one every week or so. Let me know if you have any questions or comments and please subscribe if you like it!
 
 

Would it be impossible for Mitakon to make a Lens Turbo with interchangeable rear mounts, being as they are just dumb adaptors of slightly different lengths. Going with the EF version, and finding 3rd party adaptors to F, MD, M42 etc seems a bit kludgy.

The lesson is - if the Sony model doesn't quite meet your requirements, wait a bit and they may find a way to add the features you want. With Canon, if the model doesn't meet your requirements, you might as well buy it, as you will have to wait 4 years for the next model, and it won't be much better.

Disclaimer:
I did an experimental roll of Kodak Vision converted for C41 today. I seriously underexposed the iso800 film. I than let it sit waaay longer than it should in cold and very very old chemicals that I was planning on taking to the dump tomorrow. So, grainy and instagrami as f..ck.
I only had 5 frames left of the roll and was going to just let them go to waste when I saw the gimbal. 
So here are a few very rough images
The Gimbal

Very little play for heavy cameras and still keeping the 360 ability.


The Remote (optional extra)

Love details like the hole where you can store the mounting screw.

You really should have tried your film camera on the gimbal, pretty steampunk

Not saying it can't be done, though there is no point coming up with a whole new form factor for a slight change in resolution. Sony seems to have made a decision with all the current sensors to optimise for video, and 6K -> 4K downsample seems to give a mighty fine image. Is 6.5K -> 4K going to be any better? 
The 24MP APS-C sensor is already the same pixel size as the 42 MP FF sensor, i.e. pretty high resolution. My guess is that down the line the 42 MP sensor will be developed into an 8K video sensor. There is a logic behind these numbers, not just picking a high number for the sake of it.

If you have watched Sony's sensor development for any time, you would notice they don't change resolution that often. They establish a sensor form factor and gradually evolve it. The current batch (apart from the 24MP full frame which is a throw back to the A99, Nikon D600 series etc) are optimised for video resolutions. The 42MP is an 8K sensor that gives a cleaner line skip result for 4K. The S35 crop of the 42MP sensor is essentially the same as the APS-C 24MP sensor which can do full 6K readout. And 12MP on the A7S obviously works well for 4K. Anything in between will be a mess for video resolutions (see Canon). The question is whether the 24 MP full frame sensor has reached the end of its potential.

I was assuming that I would need a gimbal for use with an A6300, now the sensor stabilised A6500 has come out I might hold off a bit. The good thing is a small camera can work with a cheaper, more compact gimbal. I fully acknowledge that RS and overheating are serious problems for some shooting styles, but the quality of the 4K image out of these cameras, and the potential for a speed boosted full frame image, makes it worth considering work arounds for the limitations surely?

I was assuming that I would need a gimbal for use with an A6300, now the sensor stabilised A6500 has come out I might hold off a bit. The good thing is a small camera can work with a cheaper, more compact gimbal. I fully acknowledge that RS and overheating are serious problems for some shooting styles, but the quality of the 4K image out of these cameras, and the potential for a speed boosted full frame image, makes it worth considering work arounds for the limitations surely?

So apart from the overheating, the lack of 42 mp still files, and possibly a more user-friendly (though bulkier) form factor, the gap between the A6xxx series and A7Rii has narrowed considerably. For manual shooters, a focal reducer can get you the full frame look, and the 6K -> 4K S35 video mode on both bodies is probably very similar.
For those who can't afford an A7Rii, or the expensive full frame G lenses that add several thousand onto your investment, this could be an option to get comparable results.

The lesson is - if the Sony model doesn't quite meet your requirements, wait a bit and they may find a way to add the features you want. With Canon, if the model doesn't meet your requirements, you might as well buy it, as you will have to wait 4 years for the next model, and it won't be much better.

So apart from the overheating, the lack of 42 mp still files, and possibly a more user-friendly (though bulkier) form factor, the gap between the A6xxx series and A7Rii has narrowed considerably. For manual shooters, a focal reducer can get you the full frame look, and the 6K -> 4K S35 video mode on both bodies is probably very similar.
For those who can't afford an A7Rii, or the expensive full frame G lenses that add several thousand onto your investment, this could be an option to get comparable results.

So apart from the overheating, the lack of 42 mp still files, and possibly a more user-friendly (though bulkier) form factor, the gap between the A6xxx series and A7Rii has narrowed considerably. For manual shooters, a focal reducer can get you the full frame look, and the 6K -> 4K S35 video mode on both bodies is probably very similar.
For those who can't afford an A7Rii, or the expensive full frame G lenses that add several thousand onto your investment, this could be an option to get comparable results.

It wouldn't be too complicated to put the A6300 sensor in an A7II body surely? For a video/pro APS-C camera it would solve some of the heat issues, and improve the usablity, without having to create a whole new form factor.

Physics also is affected by how compact the camera is, not just the weight. A heavy object a long way from the centre (like a big front element on a long lens) requires more force to move than if it was nearer the centre. That is why it is difficult to give absolute weight limits.