BTM_Pix

Sigma have announced that they are releasing a range of RF mount lenses, indicating that Canon have softened their “no 3rd party lenses” stance.
I say softened rather than abandoned as, whilst these lenses are fully licensed by them, they do not include any full frame lenses.
At least for now.
The initial offerings are the two f2.8 zooms and four f1.4 primes from Sigma’s Contemporary range that have been available in other mounts for a few years now.

The 18-50mm is the first one that will be available but it is not until July and the others will follow in the Autumn.
No word on prices but they are usually similar in different mounts so you can take that as a rough guide, although maybe there will be an additional cost on top for the official licensing from Canon.
Good news for owners of crop RF cameras to have different options and also for people using the KOMODO (or maybe we should call it the NIKOMODO now).
Full details here 
https://www.sigma-global.com/en/contents/sigma_rfmount_lenses/

Sigma have announced that they are releasing a range of RF mount lenses, indicating that Canon have softened their “no 3rd party lenses” stance.
I say softened rather than abandoned as, whilst these lenses are fully licensed by them, they do not include any full frame lenses.
At least for now.
The initial offerings are the two f2.8 zooms and four f1.4 primes from Sigma’s Contemporary range that have been available in other mounts for a few years now.

The 18-50mm is the first one that will be available but it is not until July and the others will follow in the Autumn.
No word on prices but they are usually similar in different mounts so you can take that as a rough guide, although maybe there will be an additional cost on top for the official licensing from Canon.
Good news for owners of crop RF cameras to have different options and also for people using the KOMODO (or maybe we should call it the NIKOMODO now).
Full details here 
https://www.sigma-global.com/en/contents/sigma_rfmount_lenses/

Sigma have announced that they are releasing a range of RF mount lenses, indicating that Canon have softened their “no 3rd party lenses” stance.
I say softened rather than abandoned as, whilst these lenses are fully licensed by them, they do not include any full frame lenses.
At least for now.
The initial offerings are the two f2.8 zooms and four f1.4 primes from Sigma’s Contemporary range that have been available in other mounts for a few years now.

The 18-50mm is the first one that will be available but it is not until July and the others will follow in the Autumn.
No word on prices but they are usually similar in different mounts so you can take that as a rough guide, although maybe there will be an additional cost on top for the official licensing from Canon.
Good news for owners of crop RF cameras to have different options and also for people using the KOMODO (or maybe we should call it the NIKOMODO now).
Full details here 
https://www.sigma-global.com/en/contents/sigma_rfmount_lenses/

I like the look of it too.
I think what it is benefitting from greatly, aside from the compositions, image quality and general shooting competency, is what I would call accidental environmental production design.
The uniforms and demeanour of the subjects are consistent and tie together as does the station setting and its train and staff.
When the shots are framed, as many of them are, to only include those elements then it provides the right aesthetic to sell the "cinematic" image.
The proof of that, for me at least, is when other none designed elements stray into the frame and not just the obvious of modern vehicles etc but onlookers with modern clothes (particularly those out of the general colour palette) then the illusion is gone and quite jarring to be taken out of it.
No amount of obsessive grading is going to cure that.
Oh and the use of a tripod does absolutely no harm whatsoever in this as does the flattish light of what I am guessing is the archetypal overcast Bank Holiday day in the UK.
All in all, aside from it being a good advert for a camera from "yesteryear" in modern terms, I also think this is more broadly a very good example of why "cinematic" doesn't just happen when wafting a camera at random scenes no matter what YouTube thumbnails will scream at you.
When it comes to trying to do this in the wild, its definitely a case of granting ourselves the serenity to accept the things we cannot change, the skill and vision to change the things we can, and the wisdom to know the difference.
 

I like the look of it too.
I think what it is benefitting from greatly, aside from the compositions, image quality and general shooting competency, is what I would call accidental environmental production design.
The uniforms and demeanour of the subjects are consistent and tie together as does the station setting and its train and staff.
When the shots are framed, as many of them are, to only include those elements then it provides the right aesthetic to sell the "cinematic" image.
The proof of that, for me at least, is when other none designed elements stray into the frame and not just the obvious of modern vehicles etc but onlookers with modern clothes (particularly those out of the general colour palette) then the illusion is gone and quite jarring to be taken out of it.
No amount of obsessive grading is going to cure that.
Oh and the use of a tripod does absolutely no harm whatsoever in this as does the flattish light of what I am guessing is the archetypal overcast Bank Holiday day in the UK.
All in all, aside from it being a good advert for a camera from "yesteryear" in modern terms, I also think this is more broadly a very good example of why "cinematic" doesn't just happen when wafting a camera at random scenes no matter what YouTube thumbnails will scream at you.
When it comes to trying to do this in the wild, its definitely a case of granting ourselves the serenity to accept the things we cannot change, the skill and vision to change the things we can, and the wisdom to know the difference.
 

Whenever I start thinking about the beginning of the DSLR revolution or the Digital Revolution, I take my own advice and go back to look at some old videos that I love from those forgotten cameras.
This first round of films, from Kendy Ty and his t2i, I have linked to countless times, years ago, but I think they could be helpful or relevant to the OP's topic...
If I remember correctly, he used the t2i and the old Sigma 30mm 1.4. I believe he even created his own picture profile, in camera, for his earlier films.
Like so many others, he eventually moved onto a Sony 4K camera, but many people commented they preferred the look from his trusty, old t2i.
If there's a lesson here, it's simple... sometimes less is more. Sometimes the tool that gets the job done and is simple to work with, is better than wading through the minutiae of features and tech finding the best camera.

I remember a similar thing came up a couple of years ago and a fix that apparently worked was to rotate it a couple of times around its axis.
It might be worth a go.
 

 

I believe it only offers a S35 crop. Due to the compression methods from the 6K sensor, some say that the S35 crop is superior... but I didn't buy a FF camera to shoot in S35. And the difference is probably minimal and I don't care about minimal.
But as usual, I'm probably the weirdo here, because I still prefer good 1080p over run of the mill 4K.
For instance, I mentioned earlier that I think some lenses shine with certain cameras. After thorough testing, most lenses look pretty good in 4K. By that I mean, most vintage lenses have a certain level of sharpness that is good enough due to the 4K. In fact, I think vintage lenses help to tame the sharpness... resolution of 4K.
Now with my 5D3/ML Raw, some of those same lenses just don't work. But with a more modern lens, the image looks really good, in my opinion better than the FP.
Here's a shot from the 5D3 with the older non-Art Sigma 50mm 1.4...

 
And here are a couple shots of the Takumar on the 5D3...

Obviously, they're different shots so in some ways they're incomparable...
And here's a B&W shot with the Tak on the 5D3 that's a lot more interesting...

So what's my point...
I have way more options than I need and B&W makes everything look cooler.
That is all. 

YouTube link is now up
 

Here's another shot from the Tak/FP combo. I don't know about anybody else, but I have been noticing some major disparities between the image in my computer and what the image looks like posted to different sites/devices, so this is also a test of that for me.

Either way, I really like this lens with the FP. I've been saying for years that some lenses just work better with certain cameras. I was about to sell this lens, now I'm going to dig through my closet and find my 35/3.5 Tak.

In other news, I finally had a chance to get out and shoot some stuff yesterday with the FP. For this outing I brought along an oldie, but a goodie... the Super Multi-Coated Takumar 50mm 1.4.
Here are a couple shots that didn't turn out terrible...


I'm still using my old MB Air from 2014, so I can't always say the image posted looks exactly like my graded image. I hope to upgrade my computer soon enough.
That said, I'm in the middle of a test for a short film I am hoping to make this summer.
But to stay on topic, I forgot how amazing the Tak 50mm is and I really like it with the FP.

Picked this up second hand at a good price as my introduction to anamorphics. Here's some tests shot last night.
 
 

The camera itself can’t be powered over USB but that hub does allow the zoom on demand to be used simultaneously with SSD recording so that is a positive, albeit that BM doesn’t specify it in the manual.
He reports no issues with doing it so that’s all we have to go on and it might well be that BM doesn’t specify it because there are a LOT of USB hub/SSD combos that people could use that would make it a support nightmare.
The zoom on demand handle is very much a sledgehammer to crack a nut to get that external control though as it certainly takes away the Micro element and its primary function is only compatible with a few very average lenses.
The hub usability (difficult to refer to it as compatibility until BM official support it!) does open up the possibility of them making a more appropriate form factor interface for some external control.
Or maybe someone else will if there is sufficient demand from people buying the Micro as a cinema camera…

I think the closest that you're going to get with that will be the Sigma contemporary range.
They are behemoths compared to what you can get in MFT but, actually, when you line it up against an MFT package of actual equivalence (or slightly less in this case) then the story changes.

Its just that with MFT you have the option and thus far in L mount then you don't.
Unless....
You don't mind sacrificing a daft amount of money and going APS-C and picking up the Leica range that they made for the TL and CL which are very compact indeed.

Leica have abandoned APS-C and Panasonic seem content to sit either side of it with their MFT and L mount so it might be a place that Sigma could carve a niche for themselves with an APS-C body, particularly as they have an excellent set of fast primes and a zoom for it.
With the trials and tribulations of them trying and thus far failing to make a full frame Foveon, it could well be that it would find a home for an interim APS-C version in a rehoused Fp. 
Realistically, though, the only current way to get pancake-ish full frame in L mount is to go for the manual focus route of using M mount on them like I've done on mine here with a 35mm f2.

As @MrSMW has just posted, the E mount system is currently better served with compact FF lenses particularly in regard to 3rd party manufacturers like Samyang.
The closed shop nature of the L mount alliance (in terms of electronic lenses at least) is definitely a hindrance in that regard.

If you do go down the ATEM path then I think you might be interested in my new product as it addresses exactly this type of operation, amongst many other things.
 

Try PhotoJoseph’s complete 3 1/2 hour masterclass here:
The Mini Pro versions of the ATEM have the MultiView option for the HDMI output and the Extreme has the hardware macro buttons.
Audio delay is adjustable per channel.
If you can stretch to the ISO version of the Mini Pro or Extreme then each individual channel and the master are recorded to SSD along with a project file of all the cuts that you can then load directly into Resolve to re-cut it.
If you are using BM cameras then you can then automatically swap in the original camera media and there is now a workaround (see PhotoJospeh’s channel) to do this with any camera.
I have designed two products for the ATEM that will be released at the end of April and one of those will be of interest in terms of creating custom functionality for DVE etc as well as offering more direct control of existing functions that do not have dedicated hardware input on the control surface.

I’m not sure as a hardcore fan of any sport how you could be lukewarm about systematic cheating as, well, it doesn’t seem very, erm, “sporting”.
From my personal point of view as a pro sports photographer covering Tour de France in that era though I’m far from lukewarm about having sat in press conferences being lied to  by him and watching him ridicule and soil the reputation of David Walsh and Paul Kimmage.
Or Emma O’Reilly.
I’m also sore that in Armstrong’s case, unlike all the other ones I’ve covered, that I get zero residuals from my “winner of stage x” or “winner of TdF x”  images 🙂
I might be being old fashioned here but I’d give it to the highest placed cyclist that wasn’t using PEDs.
I have some sympathy with the “well they were all at it” aspect so, fine, let everyone do it and have a special event.
Just don’t call it sport when it’s only being used by some of the field.

London Camera Exchange. I’m still kinda thinking they accidentally put it up at the wrong price!
The ones on MPB at that price were a lot shabbier.

Not 100% of riders.
No, you’re trying to prove your own point that 100% of riders were using.
Floyd Landis’ TdF title in 2006 went to Oscar Periero just as Alberto Contador’s went to Andy Schleck in 2010 so that proves the point that they only had to go one place down to find a rider that they could give it to.
I’d venture that the Armstrong “asterix” years are more to do with UCI/ASO complicity and/or legal issues that are still ongoing.
Anyway, enough of cycling, I’ve derailed this thread enough so will politely withdraw from the sport vs spectacle conundrum.
 

Likely none.
The issue at hand is being lukewarm about when someone is caught.
That just doesn’t chime with me personally in terms of being sport.
Transparency?
Armstrong colluded with the UCI to cover up his positive tests FFS.

I’m not sure as a hardcore fan of any sport how you could be lukewarm about systematic cheating as, well, it doesn’t seem very, erm, “sporting”.
From my personal point of view as a pro sports photographer covering Tour de France in that era though I’m far from lukewarm about having sat in press conferences being lied to  by him and watching him ridicule and soil the reputation of David Walsh and Paul Kimmage.
Or Emma O’Reilly.
I’m also sore that in Armstrong’s case, unlike all the other ones I’ve covered, that I get zero residuals from my “winner of stage x” or “winner of TdF x”  images 🙂
I might be being old fashioned here but I’d give it to the highest placed cyclist that wasn’t using PEDs.
I have some sympathy with the “well they were all at it” aspect so, fine, let everyone do it and have a special event.
Just don’t call it sport when it’s only being used by some of the field.

Or, indeed, the sport vs a certain brand of sunglasses debacle? 

Not 100% of riders.
No, you’re trying to prove your own point that 100% of riders were using.
Floyd Landis’ TdF title in 2006 went to Oscar Periero just as Alberto Contador’s went to Andy Schleck in 2010 so that proves the point that they only had to go one place down to find a rider that they could give it to.
I’d venture that the Armstrong “asterix” years are more to do with UCI/ASO complicity and/or legal issues that are still ongoing.
Anyway, enough of cycling, I’ve derailed this thread enough so will politely withdraw from the sport vs spectacle conundrum.
 

I’m not sure as a hardcore fan of any sport how you could be lukewarm about systematic cheating as, well, it doesn’t seem very, erm, “sporting”.
From my personal point of view as a pro sports photographer covering Tour de France in that era though I’m far from lukewarm about having sat in press conferences being lied to  by him and watching him ridicule and soil the reputation of David Walsh and Paul Kimmage.
Or Emma O’Reilly.
I’m also sore that in Armstrong’s case, unlike all the other ones I’ve covered, that I get zero residuals from my “winner of stage x” or “winner of TdF x”  images 🙂
I might be being old fashioned here but I’d give it to the highest placed cyclist that wasn’t using PEDs.
I have some sympathy with the “well they were all at it” aspect so, fine, let everyone do it and have a special event.
Just don’t call it sport when it’s only being used by some of the field.

First finished piece using the FS7, first live band video.
This was a bit of a nightmare, to be honest, but it taught me 4 very valuable lessons for next time:
1. Get to the venue before the soundcheck. Set up and crucially...
2. Get the band to do a run-through of the song you're covering, ideally with the stage lighting as it will be later.
3. Get a second static view that you can just leave rolling.
4. During the gig, start rolling and don't stop until the end.
You can probably guess from the above that my major problem wit this piece was lack of coverage, which is why some of the cutaways don't quite fit.
Having said all that, it was a great experience and the band are happy; so on to the next one!