PannySVHS

I love this thread. Keep em coming. If only the Canon FD 35 105 was not prone to gnarly focussing after several years of use due to ball bearings covered with desolving rubber. There is a very compact 38 to 100mm F3.5 under the Hanimex label, which I really like using for personal filming. Mine has a FD mount. I used to have a video uploaded showing this lens in action, which I shared here before. Vimeo deleted it along with 60 other videos when I canceled my plus account, because they deleted all groups and destroyed the whole community.
I really need to read into Nikon glass. All these different versions leave me puzzled.:) @mercer

I love this thread. Keep em coming. If only the Canon FD 35 105 was not prone to gnarly focussing after several years of use due to ball bearings covered with desolving rubber. There is a very compact 38 to 100mm F3.5 under the Hanimex label, which I really like using for personal filming. Mine has a FD mount. I used to have a video uploaded showing this lens in action, which I shared here before. Vimeo deleted it along with 60 other videos when I canceled my plus account, because they deleted all groups and destroyed the whole community.
I really need to read into Nikon glass. All these different versions leave me puzzled.:) @mercer

Although it's not exactly what you're looking for, I'd have to second the Nikon Series E lenses. They truly are remarkable little lenses. I haven't been able to find a good copy of the 35mm 2.5 but the 36-72, 50mm and 100mm are nice little lenses, especially the size of the 100mm. Also the older non-ai lenses are pretty spectacular as well. One lens I hate to mention because it does get such bad reviews is the 35-70 3.3-4.5 ai-s lens. It's tiny and a lot better than the bad reviews give it. I mean, it isn't great, but there's something very Nikon in its not greatness.
Another zoom lens I love, which I assume you're familiar with is the Canon FD 35-105mm 3.5. This lens is ALMOST parfocal. Obviously constant aperture. Internal zoom. Fairly compact. I've had a few copies over the years, then end up selling it because I didn't use it too often, regret it and seek another one. My most recent copy I put on the Sigma FP and here's a sample of it at 105mm wide open...

 
No mind-blowing image by any means, but fairly sharp wide open and I like the way it handles the highlights. Of course it's a mess in direct light... as I found out last week during a shoot. However, there are rumors that Canon considered putting the L badge onto it because they were so happy with the lens.
As far as primes, other than the Nikons, the Takumar lenses are a personal favorite of mine. I've heard people argue that the 28mm 3.5 is one of the best 28mm lenses they've used. I haven't used that one but the 35mm 3.5 is excellent.
I've used a couple of the wide angle Tokina lenses from the late 70s, early 80s and they were decent, but I think they were f/2.8 lenses. Obviously you could get a cheap Neewer fixed ND to pop on the lens and leave there to give you that slower stop and to protect the front of the lens. Also check out the old Vivitar lenses, I have a set of mostly Tokina made ones in the m42 mount and I have always been very fond of them. The image instantly feels like an old 70s made for TV movie. I'm probably going to sell them though, not because I don't like them, I just have too much stuff and really need to scale back.
I guess you could also look at some of the older Zeiss Jena lenses... even the MF ones would give you the slower apertures you were looking for wide open.
Great thread! Wish there were more threads like this on here like it.

Did you even really read my post?
I gave several suggestions and the OP never clarified or said his requirements were set in stone. Soft vs clinical, deep focus and circular bokeh right?
There are a few ways to achieve that look. Most vintage lenses are soft compared to modern lenses. Does OP want REALLY soft? Why? Very easy to take a vintage soft lens and add a desired look in post for anything extreme. My vintage Yashicas and old Vivitars all have many bladed apertures and produce round apertures at f/2.8 so I get some low light benefits as I need it while still being vintage soft. But I can live at f/3.5 or f/4 as desired. So no, I wasn’t just waiting to talk, I was offering a perspective and fostering a discussion. 

Some anamorphic goodness. Splendid shortfilm with jojo players performing and offscreen statements about their art and what it means to them in living their lifes. I found the bts on youtube which linked to the actual video. Filmed in HD 240fps with a 20mm Laowa Nanomorph, in Arri C.
 

Youtubers are snoring! Better quit watching, cuz it's so boring!

Youtubers are snoring! Better quit watching, cuz it's so boring!

The book is highly recommended 🙂
Or as they call them in the Netherlands... Booooooooooooooooooooooooooooek

Youtubers are snoring! Better quit watching, cuz it's so boring!

Imagine if MotionCam RAW worked on this…

According to a book, Dutch company ASML got into a big fight with Nikon a few years back.
They both make lithography tools for semiconductors industry. ASML's optics supplier is Zeiss.
To pressure Nikon into a settlement, they had to take the patent fight to them in cameras.
So ASML got Zeiss to make them a camera.
It also doubled as a marketing adventure, shown off in stores but rarely really ever in stock.
Until one day this popped up on my radar, with the serial number XXX XXX.
The AF wasn't working, or the manual focus (fly by wire), lens stuck at macro 30cm.
So I cracked it open, mopping sweat off forehead.
Inside is 256GB SSD, final release model was bumped to 512GB.
Android 6, with Zeiss test suite of apps onboard including FCC certification test suite 🙂
A music player.
A Dutch full frame 36 megapixel sensor with some analogue colour.
A Zeiss 35mm F2 lens (but different optics to the Sony RX1), 4K video (Super 35mm crop) and an EVF.
And some weird prototype issues. I'll make a YouTube video on it.






Sample shot
And I still have no idea how I fixed the AF.
Just wiggled the lens and sensor ribbon cables a bit and it started working properly, but there was no sign of either cable being loose in the first place!
It is quite a fun tool, and a bit different. Android is decently snappy on it, the camera app is well designed, the physical dials are lovely but it doesn't have a joystick or command dials... So a lot is on the touch screen, but it's well done.
Shall I root it?
Update to 3.0 production firmware? (Risks bricking it).
Given the rarity factor... I probably won't!!

Might be time to release my version for free then!
The download link will self destruct in 48 hours.
Until then... enjoy!
https://drive.google.com/file/d/1Z60UNsWHuc6wFmgEOlp0VgDlucHoutip/view?usp=share_link

Works on Panasonic S9, S5 II, GH7 as well as all the new cameras.
I'd welcome any questions, feedback, help making a guide for regular folk, or even comparisons to the official ARRI LOG profile, or even the odd ALEXA. Sample shots also welcome!!
@BTM_Pixhas shot some nice stuff with it already. If you're ok for me to share it?
And the ARRI LUT library is available here https://www.arri.com/en/learn-help/learn-help-camera-system/tools/arri-look-library-app
Installation is via SD card as a real-time LUT so it sits in-camera, next to V-LOG and the regular picture styles.

Nice is doing a lot of heavy lifting there.
But if people don't mind log shots of mainly grey buildings under grey skies in Salford then have at it !

How I would love to see uncompressed 14bit Cinema DNG on newer Canon.
Perhaps the R7, would be a perfect candidate.
Let's hope they focus efforts on supporting the stuff beyond the DSLRs and older EOS M 👍

Yes, it's the AF that makes me think of manual lenses on the GF3.  For stills it's a fully featured camera, but for video it's auto-everything* and so having an AF lens on it is a pain because the CDAF will hunt occasionally.
(* actually I recorded some clips with it last night and discovered it keeps the current WB setting - how odd that's the only thing it will let you lock down!)
If you don't already own the Olympus body cap lens then perhaps the "7Artisans 18mm f/6.3 Mark II" might be a better choice as it's cheaper and faster than the Olympus. 

Equivalency of DOF is the elephant in the room for sure.  In comparison, MFT lacks in the selection of gargantuan lenses with super-shallow DOF and FF lacks in small lenses without shallow DOF.  If someone made a FF 28-280mm F7.0-11 lens then it should be the same size as my 14-140mm F3.5-5.6 lens, but of course the internet would go ballistic over it and run whatever manufacturer dared to create such an abomination out of town faster than you can say "grab your pitchforks - the devil has come for our children!".
It depends on what you're doing of course, but for me personally when I switched from watching YT lens reviews to watching award winning movies and TV shows from the worlds leading professionals I had the Ah-ha moment when I realised very few shots had shallower DOF than could be achieved with relatively normal MFT lenses.  Even when looking at the shots that would have required quite fast lenses on MFT, the aesthetic penalty for the DOF being deeper was very low.
I then looked at what potential benefits would be traded-away for it....  lighter cameras that make me more likely to carry them around and use them and therefore get more shots to use in the edit...  smaller equipment making me more pleasant to be around and having a nicer trip and causing the people around me to be happier and more relaxed and look nicer in frame...  the smaller rig making the people around me less distracted and suspicious...  the deeper DOF meaning there was less chance of having one person in focus but the others out of focus or it simply missing focus by focusing on the wrong thing...  the much lower likelihood of having a difficult conversation with law enforcement or self-important security staff, etc.  I concluded that getting slightly shallower DOF was a very small benefit competing against a significant number of advantages that would make far more impact to the end product and to my experience in using it.
The extra cropping potential is one of the only benefits I can see for sensors above 2.5K.  I put the cropping modes on my GH5 and GX85 into good use when I was shooting on primes and have been hugely impressed with them with my GH7 + 9mm F1.7 PanaLeica which I'll use for shooting in ultra-low-light.
The R5 + EF-RF + 40mm F2.8 would be a great medium size setup.  Perhaps the best second camera FF setup I could think of would be your R5 + 24-105mm F4.  Like I mentioned above, the flexibility and speed of using a zoom when shooting in uncontrolled conditions just gives you more coverage - there's a reason doco and ENG shooters use zooms!
Yeah, that's a real gem, I'm still seeing footage crop up on YT that really shows how much you can push things.  I've also noticed it's very popular with the vlogging crowd and it seems to give really good results, similar to those who might use a small mirrorless, which is definitely saying something when you consider the size of it.
Nah.
Do a complete end-to-end analysis of what gives you the best results in the final edit or final photos, work out what equipment aligns best with those trade-offs, buy it, test it and learn the settings, then shift focus to actually shooting and don't look back.
Beauty magazines make you feel ugly, and camera YT makes you regret your equipment.  Best strategy is to ignore both.
By far the most important skill in uncontrolled environments is being able to understand and predict the behaviour of your subjects.  Not only does this matter for shooting people in public, but it matters doubly (triply?) for safari because the biggest struggle seems to be even finding the animals in the first place.
A professional animal tracker would probably get better footage with an iPhone than an amateur with all the equipment in the world who spent a week and only saw a few animals the whole time.  
Perhaps a good exercise is to think about what the total cost will be of the trip, think about how much it would matter if you didn't see any animals at all, and then see how much it would cost to hire a guide or some other service that would help you locate things.  There's a reason that people hire a model instead of just walking the streets hoping to find someone to shoot!

From what I've seen and comparing to my own 10bit footage, Magic Lantern Raw on Eos M and 5DII/ III looks magical under natural light despite less dynamic range and much less resolution. So I am exited about any news from ML. I am referring to the pure joy for the image. It is not an observation in regards to full time content production.
No, no, no! @eatstoomuchjam No 10bit GM5 flimsyness but a solid and small 10bit GX85 body. Thank you, Panasonic!:) GM5 feels hollow and viewfinder is very tiny. Sorry, but no! 10bit GX, yes please.:)
@stephenDoesn't the 5DIII allow liveview on the screen, just like the EOS M?

The comparison was great. I was thinking you focused on the leave behind the first one. Anyway, 2x crop in 4K mode looks like a great, even downsampled FHD image.
I have the Fuji 12.5 F1.4. Your Cosmicar looks like it's outresolving my lens quiet a bit. The Fuji is still a nice lens though with a very solid build and delivering a beautiful image.

GX line supports its elegent GM silbings, so both to be continued in 10bit alterations of their predecessors.:) @eatstoomuchjam

the camera I'm using could be in a museum ..but it works..i

Indeed!
Actually, the killer combo for the GF3, if we think of it like a tiny vintage film camera, is when it's paired with the Olympus 15mm F8 body cap lens.
It is truly tiny....


In a sense it's an incredibly synergistic pairing, because it gives a 30mm FOV, which is wide enough to make any micro-jitters pretty minimal (especially if you add gate weave in post) and it's sharp, so the softness is just limited by the GF3, and it's deep DOF which fits with the 8mm look.  Without an ND you're also using the shutter to expose, which I understand is also how 8mm cameras worked?
However, perhaps the killer aspect of it is the way you would use it.  You'd never use this as your main setup, so this would be a carry-everywhere low-stakes camera for having fun with.  It would be what you pull out when being silly with friends, or filming random things that aren't so formal.  In a way, that's how people might have used an 8mm camera back in the day, because they weren't inundated with video and didn't have the media savvy we all have now, so they would have just pointed their home movie cameras at whatever was happening.
It's even got a lever that closes it for use in pockets, but it also works as a manual focus adjustment and close focus is something like 30cm / 12 inches which might even get a little bit of background blur (I can't recall) so it's quite versatile.
The challenge is that the F8 aperture means it's basically no good after sunset or indoors, so that's the weakness.  Apart from that, this is perhaps the most likely setup I would use this with.  There's an F5.6 version from a different manufacturer that is tempting, but re-buying it for only one extra stop is a bit hard to swallow.
Anyway, here's a video I shot with this combo quite some time ago....
I can't remember how I graded that, but I think I used a film emulation plugin that added a lot of softening in post, so don't take that as the limits of its resolving power.  It also shows a lot of rolling shutter, so maybe the strategy would be to have it on a strap around your neck and pull that tight when shooting to stabilise the camera a little.
There is something about the extreme lack of technical performance that makes my brain think "well, this isn't going to win awards for literally anything, so ignore all the rules and just shoot and have fun!"

From what I've seen and comparing to my own 10bit footage, Magic Lantern Raw on Eos M and 5DII/ III looks magical under natural light despite less dynamic range and much less resolution. So I am exited about any news from ML. I am referring to the pure joy for the image. It is not an observation in regards to full time content production.
No, no, no! @eatstoomuchjam No 10bit GM5 flimsyness but a solid and small 10bit GX85 body. Thank you, Panasonic!:) GM5 feels hollow and viewfinder is very tiny. Sorry, but no! 10bit GX, yes please.:)
@stephenDoesn't the 5DIII allow liveview on the screen, just like the EOS M?

I think GX85 design is great and I would shock you with a bigger grip if I was a Panny engineer. Stay strong! 🙂 @eatstoomuchjam

I think GX85 design is great and I would shock you with a bigger grip if I was a Panny engineer. Stay strong! 🙂 @eatstoomuchjam

Tokina 28-85 F4 is a heavy baddy, if that's what you are looking for.:) I have never used mine on an actual shoot.
GF3, with that 12MP sensor from the GF1 days is a harsh higlights specialist camera. Respect for giving love to this novelty.:) @kye
Yes, the CZJ 40 has a nice rendering. I would love to try it on a S16 sensor size photo camera like the Nikon 1 series since it's a 16mm lens. But then I like the FOV of the 40 on mft. So I will keep enjoying it that way. Using and enjoying a lens is what it's about after all.:)