JordanWright

@JordanWright but I guess with some of these zooms you're just getting close to your Sigma. To keep it simple, you could look at the Canon 20mm 2.8, or the Tokina 17mm 3.5. I had the older RMC version and I quite liked it.  I never used the newer version, but I assume they're similar. If I was in your position, I'd probably go with the Canon. But I'm a huge fan of the 28mm 1.8 and the 50mm 1.4, so I may be a bit bias.

At a half a pound heavier and half an inch longer, than the 11-16mm, you can gain a stop with the Tokina 14-20mm f/2.

Retail price would be a catch, haven't seen a Voigt 28mm in years... 
Also looking at the 11-20 that looks like its a nifty walk around lens for S35 although its a bit pricer than the 11-16. 
On a side note its great to see the lens topic getting some love!

I haven't got this particular Samyang but it might be worth having a look at the Flickr pool for it to see if it takes your fancy.
Samyang 16mm F2.0 ED AS UMC CS
https://www.flickr.com/groups/2299572@N22/pool/
The comparison tests that I've put up on here have invariably included a Samyang variant and they always punch above their weight, particularly as a used purchase.
As with most Samyang lenses, there is also the option of the cine version of it with geared focus and aperture.
For an alternative, as you don't need FF, then, whilst not a prime, this Canon EF-S 10-18mm is very compact, light and is a flexible if slower option. They are also pretty cheap used and I got mine for about £130 if memory serves.
https://www.flickr.com/groups/canonefs10-18mm/pool/
Gives you the option to go wider and the stabilisation comes in very handy with the P6K.
As an aside, I've obviously been doing a lot of AF stuff with P6K of late with numerous different lenses and the 10-18mm is definitely one of the fastest responding and quiet of all of them.

Yeah I mean if you are pushing those shadows I think it becomes more apparent, depending on your eye and the amount you push color around. But yeah 12 bit BRAW is incredible to being with. Would be sweet if BM used the Sony A7S3 sensor in a camera. You'd get that great dual gain ISO as well as low rolling shutter. No 6k though.

The Zcam e2g is coming soon but at 6k you might as well get the komodo and get the redraw. 

New blog post:
https://www.eoshd.com/news/wonder-woman-1984-movie-review-crimes-against-men-and-children/

I think you could grab pretty much any camera now and make the audience believe it looks like a “real film”. 
@kye notifies sone great points. It’s more about what’s in the scene, and how that is coloured and lit. 
Sure, cameras like RED, Blackmagic, Arri all have a special feel to the motion. No doing about it. But the audience will barely notice. 
At the same time, most consumers have “TruMotion”, “Smooth Motion” switched when watching films on TV. They rarely notice it, but they notice production design, colour and performance quality above all else. 

Heres a 'music video'. I shot using the Blackmagic 6k. It was very low budget and shot adhering to local covid lockdown guidelines.
Production
We used a Sigma 18-35mm, everyone already knows how much of a great all round lens this is. I prefer shooting on wider lenses anyway, (25mm being my go to prime). I didn't really find myself wanting to swap lenses. Also used a Hoya ProND 6 Stop on some shots, this ND does show IR pollution. I wish I had a 3 stop aswell. (Ive since sold the Hoya and picked up Nisi IRND 3 & 6 stop filters. They are cheaper and better performing than the Hoya.
We shot 6K Braw Q5 on to 2 128GB Cfast Cards. This codec is incredibly efficient we used about 450GB over 2 1/2 days. I didn't have the camera rigged at all, the camera was powered by LPE6 Batteries. The camera burns though them, I needed more than the 6 we had! The only item attached to the top of the camera was a wireless video transmitter. 
I aimed to expose 'correctly' at 400ISO.  A majority of the shoot was overcast so the DR wasn't stressed much so I found that I was often 1 stop over. In the grade I pulled the exposure on most shots down at least a stop and sometimes as much as 2/3. I recommend underexposing this camera at least a stop anyway. Even exposing for 800 shows almost no noise especially in a 4k timeline. 
All the exteriors were lit naturally. occasionally using a bit of diffusion in close ups. I just tried to use the sun as backlight as often as possible. The interiors, we used the affordable Godox SL60 and a ring light for fill.
We used a variety of grip equipment (Tripod, Glidecam, Handheld, Jib).
Grade/Post
I also graded the video on a baseline 2017 13inch MBP, we imported the timeline from premier and used the camera originals. I shot to a Kodak 2383 LUT in camera but decided to grade from scratch. Gen5 colour Science in resolve is a treat to use. It reacts incredibly naturally to contrast a saturation changes. Skintones (with tint set to 0 in the raw tab) are very natural and lifelike. On a sidenote: Gen 5 Ext Video and Video gammas are totally usable now, much more than the Gun 4 versions. Other than basic adjustments, I just adjusted the hue of greens to remove IR in shots we used ND. I also added a subtle glow to the highlights and DaVinci's built in film grain. I set exposure for each clip using the exposure slider in the raw tab and the false colour effect on a timeline node, it really helped with matching shots when the lighting was constantly changing over the 3 shoot days.   
I am still shocked by the image coming out of the 6k, it has huge dynamic range, beautiful colour science and can be pushed and pulled more than you would ever without breaking. The extra resolution meant we didn't have to rent a dolly/silder on some shots and allowed us to crop and reframe in post without degrading IQ.
 

SUCCESS!
Just to finish this thread, I replaced the eBay purchased Metabones XL with a new one. The new one had much tighter tolerances and even a weather sealed gasket on the back. I had to adjust the infinity focus a small amount but now my XL and Tokina 28-70mm work great together! 

Happy Holidays!
Since Covid-19 has made shooting possibilities pretty limited, I've decided to shift to micro short films. Here are some test frames using the Canon FD 50mm 1.2 L...
 

SUCCESS!
Just to finish this thread, I replaced the eBay purchased Metabones XL with a new one. The new one had much tighter tolerances and even a weather sealed gasket on the back. I had to adjust the infinity focus a small amount but now my XL and Tokina 28-70mm work great together! 

Very impressive.  Almost didn't watch it as the thumbnail doesn't do it any kind of justice whatsoever!

I got the C70 last week as part of CVP’s first batch. 
Even though I have the A7SIII, I bought it because Canon obviously read a post on this forum about what my “perfect camera” looks like. So I just had to. I sold my EVA1. 
I put it in the deep end straight away on 2 professional shoots for fitness brands. The videos aren’t finished so can’t share any footage yet! 
My impressions: 
1. Body design is fantastic. Lovely in the hand and a joy to operate. Feels cheaper than other C-series for sure but still premium. Well built and easy to use. Very light too! 
2. The screen is flimsy and should be more robust. 
3. The joystick is drunk. You want to go left, but it goes up etc. Not sure if this is a “getting used to it” kinda thing, but it’s unusually tricky to get the hang of. 
4. Record button is also a bit stubborn. You have to press that thing very well to get it to record or stop. 
5. Quick touch screen menu is amazing. There’s no need to reboot the camera to change frame rates and codec like I did on the EVA1.
6. DIS is decent! Doesn’t feel overly robotic like other IBIS systems. But there’s a slight crop. 
7. DPAF with the Sigma 18-35mm is pretty good. My Sigma 50mm hunted quite a bit though. 
8. It has no tracking like the A7S3, only for faces. Seems the face tracking is disabled in 4k100fps. 
9. Footage in all modes is crisp and clean. Not overly sharp, but detailed.  It looks a bit more organic than the A7S3, which is clinical without a Promist. Noticed the A7S3 is a bit more contrasty in SLOG3 than CLOG3. The C70 has an edge in the shadows. 
10. You can use a V60 in 4k100fps but comes up with a warning  that it won’t work. It does, but sometimes cuts off due to a full buffer. Not often though. I’d still get a V90. 
11. H265 footage plays back better than the A7S3 on my 2025 iMac. Still a sludge though.
12. Footage can be easily matched to the A7S3. Took me about a minute. Amazing how much Sony have improved it. 
In conclusion, I had a good first experience and I’m looking forward to the next shoot. I currently prefer the A7S3 but it’s too early to decide that really. Both are great and can be used together very seamlessly due to the Sony’s improved colour and codecs. 
 
 
 

Well yeah, I more meant the IR pollution. I know this has been taken care of on most of the hard stop filters. Still an issue with variable, no?

You can get variable IRND right? I really don't use them to be honest, was an issue with my old non IR VND!  

I wouldn't call it a hidden cost, your gonna need NDs with any camera that doesn't have them internally. Its just about getting the best ones for the camera!

Another example. There are tons of hidden costs and not even Black Magic documents issues like the IR pollution. 
True, but all of those cameras are ergonomically beautifully designed. Even a simple Bolex has a view finder, drop in NDs (which Canon just now is utilizing 60 years later,) and 50d stock that make shooting in daylight actually possible at a reasonable shutter speed without NDs. For better or for worse, the Black Magic pocket cameras are very much a stripped down sensor in a box. If it had NDs, XLR, a flip screen, and a view finder, it would cost just as much as the C200.
This sounds like I am anti Black Magic. I'm not. I own the Micro and the original pocket. Both are beautiful cameras, but have lots of flaws and quirks that took me a while to adapt to. The studio I work for has two C300 Mk2s and they're about 100x easier to setup and operate.

100% go CFast, it's so much less hassle and you don't have to worry about bad cables or securing the cable/damaging the port. Even with Tilta's screw in cables, I had 2 break on me in a year. 2 128GBs shooting 6K Q5 get me through a day of shooting. Search the used market for approved media easy enough to get great deals nowadays. 
You'll want an IRND on the Pockets, I got significant IR pollution with the Tiffen VND. Currently using Hoya ProNDs the IR is correctable but still apparent. Nisi make affordable circular IRNDs, I haven't tried them but they review well. Id go for the 3 and 6 Stop. 
If your only shooting 4K ProRes i've used Sandisk Extreme Pro SD cards that worked flawlessly!

It’s arrived. Just charging batteries but first impressions of the body...
- Great form factor, makes total sense although could be nice to have a compact EVF somewhere. 
- It’s much more lightweight than I thought. Doesn’t feel that much heavier than the A7SIII. 
- Body is solid, but the material is definitely a bit more budget than other C-series. 
- LCD is larger than I thought, although it’s on the flimsy side. 
- Button layout is great. Everything is there although the “media” button is almost impossible to press with your right hand on the grip. 
- The top handle is neat however the texture feels weird. Others might not mind, but I think I’ll have to wrap some extra material round it, haha. 
In conclusion, Canon have stripped back the premium feel a little to give us a camera with great features at a great price point. The form factor makes sense and they’ve done a great job of fusing these bodies together. 
Now, let’s see how it does on the field. 
 
 

I can speak on BM Pocket cameras reliability! ive had two 4Ks and two 6Ks. my first unit of both had to be replaced (4K for power issues) (6K for dead pixels on monitor). Both the replacement units however have been rock solid, never had an issue with them. I think its more of a case that some units are bad but when you get a good one it's reliable. I would buy from a reputable reseller and open a ticket with BM if you have any issues with your unit.
I may be outspoken but I don't think the camera doesn't really need to be rigged. Ive shot documentary style films just using LPE6 and Cfast cards. You will need a fair few batteries though. Braw Q5 is surprising efficient on card space btw. Ive been considering the battery grip for when I need longer than 45m continuous. If you are using the 4k I would skip the speed booster and just use native lenses.  

I can speak on BM Pocket cameras reliability! ive had two 4Ks and two 6Ks. my first unit of both had to be replaced (4K for power issues) (6K for dead pixels on monitor). Both the replacement units however have been rock solid, never had an issue with them. I think its more of a case that some units are bad but when you get a good one it's reliable. I would buy from a reputable reseller and open a ticket with BM if you have any issues with your unit.
I may be outspoken but I don't think the camera doesn't really need to be rigged. Ive shot documentary style films just using LPE6 and Cfast cards. You will need a fair few batteries though. Braw Q5 is surprising efficient on card space btw. Ive been considering the battery grip for when I need longer than 45m continuous. If you are using the 4k I would skip the speed booster and just use native lenses.  

Just had an email to say my C70 will be delivered by tomorrow! 

The 40mm and 28mm along with the 20mm 3.5 and 90mm 3.5 is my favorite set of lenses. Great separation, smooth rendering, and extremely light. Highly recommend them. With low light performance getting better and better I think they will become more and more useful. 

Is amazing. I love it. Never going back to RED unless I’m forced to by a client.
Just thought I would share. The IQ is pristine, colors are great and it’s just a breeze to use. Will post a few stills here in a day or two.

6K users, how tight is the EF mount on your cameras? One of the only things holding me back from upgrading my 4k to the 6k is that i'm worried the mount is loose. Its not an issue on the 4k as i've added a Cine Lock Speedbooster.