John Matthews

Going back to the GH7, one thing that surprised me on the trip was the GH7 + Voigtlander 42.5mm F0.95 + Sirui 1.25x anamorphic adapter combination. 
When I saw that the Sirui was under USD300 / AUD500 I was stunned as anamorphic was something that I had dismissed as simply being inaccessible to me - too expensive / difficult / complicated.  I ordered it immediately.
When my tests revealed it was quite happy paired with the Voigtlander F0.95 primes shot wide open, I decided to take the 42.5mm on the trip with me as a creative experiment.  The FF horizontal equivalent for the 17.5mm and adapter is 28mm F1.5, which is interesting but I'm not a huge fan of the 28mm FOV, so I chose the 42.5mm lens to pair with it, which gives an equivalent of 68mm F1.5.  It's a longer lens for street shooting, but will give me some distance to work with (useful for a rig that is as large as this combination) and will give some great shallow DOF too.
Here are some sample frame grabs from the night markets in Xiamen Island, China.








When I used it in Hong Kong I found the focal length really came into its own.  There were so many layers and so much movement, the best shots are just a confusing mess without the motion that helps you identify what is going on.  Here are some more minimal frames.







I have pushed the grade in these very heavily.  Loads of contrast and vignetting and a strong application of Film Look Creator too.  The Voigtlanders are soft wide-open too, adding to the look.
IIRC these images were shot with the lens stopped down a bit (I'd forgotten my ND filter!) so it can be quite well behaved.


It has sent me down a rabbit hole of looking at how to get a more vintage S35 / FF look.  More on that later.
My mini-review of the Sirui is this:
It's very affordable It's large and heavy, but build quality feels very good and seems to have tight tolerances It's sharp It doesn't flare much at all, even shooting in the streets at night I only saw flares on a few occasions when the headlights of a car hit the lens just right The focusing mechanism is a joy, I used one finger to focus it for a lot of the time I was using it The bokeh is surprisingly cats-eye / swirly, and doesn't have that strong a vertical stretch (at 1.25x it's only a mild squeeze factor so that makes sense) It has a bit of coma with bright lights If you like what you see above, I'd recommend it.
I started off thinking that my bag was very heavy and not taking this combo next trip would be a good way to lighten my luggage a bit, and on the trip home was thinking that I'll take it everywhere and just pack less clothes.

Fujifilm will probably release a GFX 100RF with a 28mm f/2.8 in 3-4 years, with IBIS, and an updated sensor and no one will give a shit about wanting a FF fuji camera. They'll instead be asking Leica why there isn't a MF sensor in their Q, hmmm?

FWIW, the Canon EF 40mm f/2.8 pancake is popular among Fuji GFX users because it's the smallest (or one of the smallest) autofocus lenses that covers the GFX sensor.
If there's a market for the Canon lens, there's almost certainly a market for a similar lens that's one stop faster. Not even sure why Sean would equate it to a shitty 26mm f/8 lens.

That’s definitely a shift in their marketing strategy—not one that really appeals to me. Owning the S9 (though not the painted gold version), I can’t help but feel Panasonic has done the camera-world equivalent of polishing a turd.
That said, I actually like the S9 for what it is—though not at the original price. At the discounted sub-1000 euro mark, it makes sense. My main issue is that it didn’t deserve the attention of a redesign because it’s a fiddly little camera that lacks proper lenses. I’m still waiting for a Panasonic-branded, real pancake lens with autofocus—the kind that should have been released alongside the S9.
I even mentioned this to Sean on his weekly livestream. I asked why Panasonic wouldn’t create a lens like the 40mm f/2 that TTArtisan just released, even if it cost twice as much. His response was that they wouldn’t, because everyone would hate on it—much like the 26mm joke of a lens. I disagree. I believe they’d sell plenty of copies of a 40mm f/2 with AF (even if plastic) at around 350 euros.
Sometimes, Panasonic just can’t see the obvious, IMO.

Sorry, my mistake, it’s the 18-40 lens of course and not the Titty Artisan lens 🙈
But still a really good looking little kit etc even though it doesn’t have any more capability than any other colour including good old black.
There are some other EU only release colours I think.
I have a red one. Thought about selling it since I got a pair of S1Rii’s but repurposing it instead as a static extra video unit for those occasions when I could do with such a thing. Rather than pocket £500, makes sense to me as business user.

Possibly and from my perspective, yes!
But that’s based on my own selfish desires.
And then again, since acquiring first one and then a second S1Rii, I ask myself what is missing from those that I need and the answer is absolutely nothing!
I loved the design of my S1H and its video capability. The S1Rii beats it.
I loved the photo capability of the OG S1R but hated the body. I now have that capability on the S1H ‘lite’ body.
I have literally zero complaints.
The S9 has limitations however and despite my liking the little fucker, a season’s pro use with it has shown up it’s shortcomings…

I intend on doing this, but Sean's response rubbed me the wrong way. It's too bad Panasonic doesn't have the same spirit as it had with the GM1 (the camera referenced in the release of the S9). I wanted a 28mm and 40mm pancake. The TTArtisan isn't quite pancake status, but it's the best we've got.
 
It seems like a decent price. 

Or just go buy the TT Artisan one at £159 and that's Lumix's loss in terms of lens sales at least.
IMO, unless you want to shoot cropped video, in which case the Sigma 17-50mm f2.8 is a great choice, for stills, the 40mm f2 is a perfect match.
I didn't realise it was a limited edition and even if they gave away 1/2 of them, apparently still at least one available as it's listed as in stock on Panny's UK website at £1199 inc. matching Titty lens.
Might just pick one up to sell on to the Leica Sunday polishers...

I guess that people must have been complaining to Panasonic that the S9 was too affordable and they really needed the same thing, but more expensive.  😉

That's about the gist of it.  But I'd add that the heavier body is also, from what it seems, a more robust body. Also, less rolling shutter, shutter angle setting, 2 hours vs 30 minutes recording, uncropped 4kp60, much higher resolution on the lcd, headphone port, environmental sealing, and CF express.  Also, ability to get an adapter and use Sony lenses for people who have invested in them.
On the other hand, S9 can do 3:2 recording if that's a selling point for you.  And aside from being lighter, it's noticeably smaller in side-by-size pictures.
I'd also add that at least a nubbin of a hand grip is preferable to a completely rounded body for a camera that I'd intend to shoot mostly handheld (making the ZR preferable)

I don't know, I think you answered your own questions... bigger LCD, internal Raw (multiple Raw formats... and ProRes HQ) ... those alone are worth the price increase. When you add internal 32bit float audio (a real game changer) ... as far as tools, I have a feeling some of Red's exposure tools may be implemented... I've heard a lot of folks refer to the stop light as being a really cool one?
Listen, I get it. I like Panasonic too. I still really enjoy my GH6 (with LogC) and will probably keep it. Am going to test the pixel:pixel mode today with some old Cosmicar c-mounts, but not every thread, or new camera release, has to be an affront, or comparison, to Panasonic.
That said, this idea of Raw video, r3D or otherwise, is NOT for most video shooters and probably unnecessary for most YouTubers and people who frequent this site. The storage requirements are insane. Someone upthread said that you get 28 minutes of footage on a 320GB CFExpress card... I assume that's 6K, so I'll do a little better with 4K but that's still a lot of media and storage needed. But if you look at the camera for what it is... a powerful, entry level, Raw video camera, then even with its quirks, it's an epic release.

Absolute scumbag behaviour from these American corporate fascists.
The law and YouTube needs to stand up and say... enough.
You should not be able to abuse so many innocent people via the legal system.
It's all fair use.

Same…one of my most used lenses for my Z6, an old Nikon 17-35 2.8, is not weather sealed lol, but there’s the 5% of times where it’d be nice for the body to be weather sealed. 

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.

Just discovered that Minolta MD 35-70mm f3.5 is parfocal. 🙂 

Inspired by this post, I tried to make some flares with the Makinon.
Some were shot at f/16 and others f/3.5 with an ND filter. I shot in v-log and corrected for exposure and add the official Panasonic LUT.

And that is just Section 13b in building 21 on site 17.
There’s also an entire empty facility just in case ‘missing’ deliveries from MPB via DHL, turn up.

The cupboard in question

I'd go with Super Takumar,  Nikkors, or Olympus OM.

All have a good selection of 3.5 and 2.8 lenses that can be had cheap.

I put together a cheaper Takumar set a few years ago and got great deals on some bundles with the 3.5 primes. 

All the footage on this one (between approx 1 minute and 2 minutes 15 seconds) was shot on the Zeiss 40-80 f3.5 handheld.
I programmed 2x custom settings for the IBIS on the S5ii, one at 40mm and the other for 80mm and then only shot at these focal lengths.
I bottled it for the wedding day and went back to Sigma and Lumix AF lenses, but I am considering bringing this lens back as part of my workflow for these day prior and day after parts of a wedding where I am not under any real time constraints and can afford to be more 'creative'...
https://firehorsephotographyfrance.com/weddings/jenniedan

Thanks for sharing, might be the only lens that can compete with the first nikon 43-86 zoom😉 After some research, a little while ago, i got the 2nd edition? of the nikon 43-86mm. One odd thought later  (like how bad could it be? ) and a first edition was on its way... easiest way to tell them apart is the first has the text on the inside of the filter ring from memory.
The second gives a more pleasing image for the masses, the first is er... more subjective, dare i say it a specialist lens for particular projects. Now i guess i have to find the adapter to suit as its been awhile.  

 

Inspired by this post, I tried to make some flares with the Makinon.
Some were shot at f/16 and others f/3.5 with an ND filter. I shot in v-log and corrected for exposure and add the official Panasonic LUT.

Canon FD might do it - price might be an issue perhaps?  Plenty of F3.5 or F4 lenses in the lineup, they focus the way you want, and you even get a choice of coatings (normal, S C, or S S C).  Some of the slower ones are macro lenses too!
https://cameraville.co/blog/list-every-canon-fd-lens-ever-made
Zooms are also an excellent idea.
An out of the box idea is to use faster lenses, but to keep the aperture wide open and cut a round hole in a lens cap and get the aperture you want that way.  I'm not sure if this would reduce the DOF in the right way?  It would definitely lower the exposure though, and would definitely keep the bokeh the shape you want.

Turns out I had the Makinon in a cupboard all along and will also give it a go.
Some of these old zooms have terrible 1.5m+ minimum focus distances or rely on an awkward to engage separate macro mode, but some have the macro mode on the main focus ring and some are even par-focal. The Exakta 28-70mm F4 MC Macro (made in Japan with 62mm filter thread, and mine is an M42 mount version) in particular stands out for me, nice vintage look, nice size and weight, ergonomic to use, decent optics and distortion, covers GFX 100 well, especially in square 1:1 aspect for stills or 16:9 for video, and focuses down to 1:3.2 macro with one turn of the main focus ring (no funny separate mechanism to contend with).
The best for flare is the absolutely pre-historic Voigtlander Zoomar 36-82mm F2.8, think it was the first ever zoom lens for SLRs, the distortion is absolutely insane at 82mm but if you stay between 36-70mm it has a lot of cinematic goodness. 

That is all.  Thanks for coming to my TED talk.