JordanWright

6K S16 is very interesting

"Christmas in July" ... fire sale for the P4K?
I'm fairly certain my next camera purchase will be the Sigma FP, but a P4K for $650 might sway me.

I would love this but with interchangeable mounts like the Zcam e2.

Great read Andrew! 

On the BM forums John Brawley said 'This is one that’s worth making the time to watch....' I can't see it just being a firmware update (unless it enables the camera to make you breakfast)
Very interested on what they come out with. I think a Pocket Pro is viable but i'm only hesitant as it hasn't even been a year since the 6k yet. A 6k Micro would make the most sense to me, a lot of people seem to like the 'camera in a box' style as shown by z-cam and Komodo. Although I don't see why they wouldn't just use the S35 sensor from the Pocket 6k, It's a fantastic performer.

They'll be releasing the Pocket16K before I finally get that fucker out.

A small Aussie bird told me:
Blackmagic Pocket 6K Pro with full frame sensor may be announced https://www.eoshd.com/news/rumour-blackmagic-pocket-6k-pro-with-full-frame-sensor-may-be-announced/
Take this as a rumour. 8/10 sure about the source. 👍

Alright Toneh?
Alright our kid. Wanna go down Market street and score some cameras?
Yeah mint. See ya later Toneh.

ZCam has the right approach with their interchangeable mount

My moneys on an update to the Micro Cinema Camera, It's the only 'older' camera in their current lineup. I assume it'll be a box version of the Pocket 6k. Probably EF mount, it looks like they are trying to unify the lineup to 1 mount.

Just upgraded from the 4k to the 6k and thought i'd share some thoughts.
I think they have updated the packaging again because my unit was significantly different than either version i've seen online. There was no scratches or scuffs to the body and the sensor was clean and clear. One of my main concerns with the 6K was how tight the fit of the lens mount would be but upon testing, my unit was great. It is very tight and holds the lens much better than the my 4k did. All ports/connections work correctly. The only issue I have a few stuck pixels on the monitor (not sensor). Its not a huge deal but not nice to see on a brand new camera. I have read that all LCD monitors have a few and often warranty doesn't cover it but i've opened a ticket with Blackmagic to see what they say. They have always been incredible in the past! I don't remember seeing any stuck pixels on my 4K (although I didn't look for them). Battery life appears slightly worse than the 4k. Approx 46m to 42m continuous recording in 4k ProRes to a Cfast card. Obviously requires larger and faster cfast cards mine are already on the approved list but I might pick up 1 or 2 more. Also the 6k feels much heavier than the 4k and is slightly louder although not enough to hear even in an interview setup. Don't block the bottom fans on the 6k, the camera expels a lot of heat during long recordings. 
These are only initial tests, i'll need more time with the camera to form a better opinion, I haven't used it on an actual shoot yet. I also didn't have the cameras side by side. I really see the 4k and 6k as complimentary cameras that both have positives and negatives. Price wise, it was only a £100 upgrade from the 4k & SB to the 6k. I also find it incredible that I sold my 4k & a speed booster for the exact price I purchased them for brand new almost 2 years ago.
The Dynamic range isn't miles apart but is improved. The 6k appears to do much better in the highlights but might have a touch more noise in the shadows. Although this is offset when putting the 6k file in a 4k timeline. To my eye, the colour is very similar. Samples online show the 6k to have slightly more accurate skin tones but, without a side-by-side, you'll never tell the difference. It's worth noting that the 6k does have more rolling shutter, the 4k is much more controlled in this area. 
The 6k has a larger sensor (1.55x to the 4k's 1.89x) but a speed booster gives the 4k a much wider FOV (1.22x using the Metabones XL). However, I've found that speed boosters mess with the image too much. I personally wouldn't recommend one. Ive picked up a new sigma 18-35mm as my standard zoom. It would also work very well as a standard zoom for the 4k (non-speedbooster). The sigma isn't my favourite lens, but you can't beat the range and the speed and performance for the price.  My Tok 28-70 was way too telephoto for the 6k (it was on the edge for the 4k XL). On a side note, the sigma Is MUCH contraster and sharper than the Tokina. I might try out a low-con style filter. Recommendations welcome!

No anamorphic but the image may stretch if you reach 30 degrees C!

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work.
Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa.
After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts
The PowerGrade
At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do.
Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. 
And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT.
The LUTs
Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form.
One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped.
With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0.
Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on.
Comparisons
Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

Just a little update to my Contax Zeiss journey. I created and sold a set. I ended up with a 25mm 2.8 35mm 2.8 50mm 1.4. I was planning on selling the 50mm and picking up an 85mm 2.8. When I found I buyer for the 50mm, he asked if I had anymore and made me a generous offer for the full set. I think I will build a new set up in the future. A few notes for people who might be picking up a few lenses.
1) DON'T sleep on the 25mm 2.8 MM. I returned the 28mm because it had an aperture issue and saw a good price on the 25mm. This lens has reviewed poorly and doesn't test well on the charts, especially in the corners, but wow what an image! It's bitingly sharp in the centre but does suffer in the corners a bit. It has very good subject separation and pop, pleasing flares and very good close focus. It was a bit of magic, by-far my favourite of the set.
2) The flares across the set are quite consistant and have similar characteristics. It's very easy to cut the lenses together.
3) Treat the 50mm 1.4 strictly as a 2.8. Possibly my least favourite lens of the set. The 50mm 1.4 was dreamy wide open and warmer than the rest of the set. Ive read that earlier versions perform slightly better. Although stopped down to 2.8 and it was very sharp but I tended to gravitate to the 35mm 2.8 and just move a bit closer. Maybe it's my bias as I tend to prefer wider lenses though? Many people love the 50 1.4.
4) I wish there was something fast, affordable and wider than the 25mm. The 21mm would have been perfect but prices on that lens are outrageous. I've read that the Zeiss ZE 21mm 2.8 is the same optical formulae and has almost identical performance, however you lose the aperture ring on the EF version and Focus Direction is reversed on the F version. There is an 18 F4 that would probably be the option I would go for if I was to buy the set again. 18 is about as wide as I would need on S35, you could probably get away with the 25mm as your widest on a larger sensor.
5) I wouldn't recommend a speed booster with these lenses (or any lens actually). Contax Zeiss  requires 2 irreversible modifications if you use a regular speed booster or 1 if you use a cine lock version. Ive also noticed just how much speed boosters mess with the image, I very much dislike its effect on lens flares and the distortion it introduces (Tested on 2 different versions of the Metabones XL). They are good at what they are for, but they are not a magic fix-all solution. This process convinced me to sell mine and seek a solution without one. Although I will miss the positive EF mount, that thing is priceless! 
6) Mint doesn't mean mint. There is a significant amount of dishonestly in sellers and people selling on behalf of there older relatives who don't know possible issues. Overall I purchased 6 lenses and 3 had to be returned. (Misting, Aperture actuation issue and lumpy focus ring) 
7) Don't get too curious and start opening up the lenses, you'll drop a ball bearing on your carpet and it'll be gone forever and you'll have to keep ordering different sizes on amazon until one fits! (1.5-1.8mm will work as a replacement in the smaller MMs)
I'm sure i'll pick up some of these lenses again in the future (defo the 25mm again), I do almost regret selling them but I made a bit of profit to put into other areas of my kit. 

Just upgraded from the 4k to the 6k and thought i'd share some thoughts.
I think they have updated the packaging again because my unit was significantly different than either version i've seen online. There was no scratches or scuffs to the body and the sensor was clean and clear. One of my main concerns with the 6K was how tight the fit of the lens mount would be but upon testing, my unit was great. It is very tight and holds the lens much better than the my 4k did. All ports/connections work correctly. The only issue I have a few stuck pixels on the monitor (not sensor). Its not a huge deal but not nice to see on a brand new camera. I have read that all LCD monitors have a few and often warranty doesn't cover it but i've opened a ticket with Blackmagic to see what they say. They have always been incredible in the past! I don't remember seeing any stuck pixels on my 4K (although I didn't look for them). Battery life appears slightly worse than the 4k. Approx 46m to 42m continuous recording in 4k ProRes to a Cfast card. Obviously requires larger and faster cfast cards mine are already on the approved list but I might pick up 1 or 2 more. Also the 6k feels much heavier than the 4k and is slightly louder although not enough to hear even in an interview setup. Don't block the bottom fans on the 6k, the camera expels a lot of heat during long recordings. 
These are only initial tests, i'll need more time with the camera to form a better opinion, I haven't used it on an actual shoot yet. I also didn't have the cameras side by side. I really see the 4k and 6k as complimentary cameras that both have positives and negatives. Price wise, it was only a £100 upgrade from the 4k & SB to the 6k. I also find it incredible that I sold my 4k & a speed booster for the exact price I purchased them for brand new almost 2 years ago.
The Dynamic range isn't miles apart but is improved. The 6k appears to do much better in the highlights but might have a touch more noise in the shadows. Although this is offset when putting the 6k file in a 4k timeline. To my eye, the colour is very similar. Samples online show the 6k to have slightly more accurate skin tones but, without a side-by-side, you'll never tell the difference. It's worth noting that the 6k does have more rolling shutter, the 4k is much more controlled in this area. 
The 6k has a larger sensor (1.55x to the 4k's 1.89x) but a speed booster gives the 4k a much wider FOV (1.22x using the Metabones XL). However, I've found that speed boosters mess with the image too much. I personally wouldn't recommend one. Ive picked up a new sigma 18-35mm as my standard zoom. It would also work very well as a standard zoom for the 4k (non-speedbooster). The sigma isn't my favourite lens, but you can't beat the range and the speed and performance for the price.  My Tok 28-70 was way too telephoto for the 6k (it was on the edge for the 4k XL). On a side note, the sigma Is MUCH contraster and sharper than the Tokina. I might try out a low-con style filter. Recommendations welcome!

I use the 1/8 Black Promist filter on that exact lens A LOT, and I highly recommend it. Subtle, but great.

Just upgraded from the 4k to the 6k and thought i'd share some thoughts.
I think they have updated the packaging again because my unit was significantly different than either version i've seen online. There was no scratches or scuffs to the body and the sensor was clean and clear. One of my main concerns with the 6K was how tight the fit of the lens mount would be but upon testing, my unit was great. It is very tight and holds the lens much better than the my 4k did. All ports/connections work correctly. The only issue I have a few stuck pixels on the monitor (not sensor). Its not a huge deal but not nice to see on a brand new camera. I have read that all LCD monitors have a few and often warranty doesn't cover it but i've opened a ticket with Blackmagic to see what they say. They have always been incredible in the past! I don't remember seeing any stuck pixels on my 4K (although I didn't look for them). Battery life appears slightly worse than the 4k. Approx 46m to 42m continuous recording in 4k ProRes to a Cfast card. Obviously requires larger and faster cfast cards mine are already on the approved list but I might pick up 1 or 2 more. Also the 6k feels much heavier than the 4k and is slightly louder although not enough to hear even in an interview setup. Don't block the bottom fans on the 6k, the camera expels a lot of heat during long recordings. 
These are only initial tests, i'll need more time with the camera to form a better opinion, I haven't used it on an actual shoot yet. I also didn't have the cameras side by side. I really see the 4k and 6k as complimentary cameras that both have positives and negatives. Price wise, it was only a £100 upgrade from the 4k & SB to the 6k. I also find it incredible that I sold my 4k & a speed booster for the exact price I purchased them for brand new almost 2 years ago.
The Dynamic range isn't miles apart but is improved. The 6k appears to do much better in the highlights but might have a touch more noise in the shadows. Although this is offset when putting the 6k file in a 4k timeline. To my eye, the colour is very similar. Samples online show the 6k to have slightly more accurate skin tones but, without a side-by-side, you'll never tell the difference. It's worth noting that the 6k does have more rolling shutter, the 4k is much more controlled in this area. 
The 6k has a larger sensor (1.55x to the 4k's 1.89x) but a speed booster gives the 4k a much wider FOV (1.22x using the Metabones XL). However, I've found that speed boosters mess with the image too much. I personally wouldn't recommend one. Ive picked up a new sigma 18-35mm as my standard zoom. It would also work very well as a standard zoom for the 4k (non-speedbooster). The sigma isn't my favourite lens, but you can't beat the range and the speed and performance for the price.  My Tok 28-70 was way too telephoto for the 6k (it was on the edge for the 4k XL). On a side note, the sigma Is MUCH contraster and sharper than the Tokina. I might try out a low-con style filter. Recommendations welcome!

Just to give a heads up, IMO the T5 drives are EOL. Stocks are drying up (the  1TB anyway).
I just posted the following over at the Blackmagicdesign forum, I have some interesting observations re T5 speed - I did not find any mention anywhere one should update the firmware of the T5 drives, even recent ones.
I just got a bunch of new T5s before they run out of stock, and after using a 1TB T5 for 6 months that actually does not record as high bitrates as my cheap 256GB SD card I tried updating to the latest firmware on the T5.
It is much quicker now, also when connected to PC and writing to it. Previously I only got 300 MB/s peak, which drops down to 130 MB/s after say 40 GB.
At this very moment my P4K is recording BRAW at max resolution a 60 fps at 3:1 compression ratio (=270 MB/s). I'm 4 minutes far, no dropped frames, still recording ! (that's 64 GB, after which the write speed remains constant for sure)
I would recomend downloading the Samsung T5 utility and updating the firmware. This does not seem documented at all.
This means my 500 GB T5 is not on the supported media list for braw 3:1 60 fps, but after the firmware update, it works !
Does anyone here have similar experiences ?
This would mean any T5 with correct firmware would be able to do 6K full res at 24p on a bmpcc 6K !

I've got one of these plus the sl150
The 150 is a crap ton brighter, and is almost a perfect colour match (but not totally identical)
The word is to avoid the sl200, it's very green.
I also bought a cheap fresnel
https://www.bhphotovideo.com/c/buy/Bowens_Fresnel/Ntt/Bowens+Fresnel/N/0
This coupled with silver boards gives a nice backlight keylight.
I made my own silverboards from insulation foam. 
Personally I think these lights are way more versatile than led panels.
 

I picked up a Godox SL60 for under £100, works a treat! I think they have newer versions out now that'll hopefully drive the price down even further.

https://www.eoshd.com/news/canon-officially-schedules-9th-july-live-event-to-reveal-eos-r5-and-eos-r6/
https://www.canon.co.uk/pro/events/reimagine-live-event/
Save the date!
Shills will be out in force!

Just a little update to my Contax Zeiss journey. I created and sold a set. I ended up with a 25mm 2.8 35mm 2.8 50mm 1.4. I was planning on selling the 50mm and picking up an 85mm 2.8. When I found I buyer for the 50mm, he asked if I had anymore and made me a generous offer for the full set. I think I will build a new set up in the future. A few notes for people who might be picking up a few lenses.
1) DON'T sleep on the 25mm 2.8 MM. I returned the 28mm because it had an aperture issue and saw a good price on the 25mm. This lens has reviewed poorly and doesn't test well on the charts, especially in the corners, but wow what an image! It's bitingly sharp in the centre but does suffer in the corners a bit. It has very good subject separation and pop, pleasing flares and very good close focus. It was a bit of magic, by-far my favourite of the set.
2) The flares across the set are quite consistant and have similar characteristics. It's very easy to cut the lenses together.
3) Treat the 50mm 1.4 strictly as a 2.8. Possibly my least favourite lens of the set. The 50mm 1.4 was dreamy wide open and warmer than the rest of the set. Ive read that earlier versions perform slightly better. Although stopped down to 2.8 and it was very sharp but I tended to gravitate to the 35mm 2.8 and just move a bit closer. Maybe it's my bias as I tend to prefer wider lenses though? Many people love the 50 1.4.
4) I wish there was something fast, affordable and wider than the 25mm. The 21mm would have been perfect but prices on that lens are outrageous. I've read that the Zeiss ZE 21mm 2.8 is the same optical formulae and has almost identical performance, however you lose the aperture ring on the EF version and Focus Direction is reversed on the F version. There is an 18 F4 that would probably be the option I would go for if I was to buy the set again. 18 is about as wide as I would need on S35, you could probably get away with the 25mm as your widest on a larger sensor.
5) I wouldn't recommend a speed booster with these lenses (or any lens actually). Contax Zeiss  requires 2 irreversible modifications if you use a regular speed booster or 1 if you use a cine lock version. Ive also noticed just how much speed boosters mess with the image, I very much dislike its effect on lens flares and the distortion it introduces (Tested on 2 different versions of the Metabones XL). They are good at what they are for, but they are not a magic fix-all solution. This process convinced me to sell mine and seek a solution without one. Although I will miss the positive EF mount, that thing is priceless! 
6) Mint doesn't mean mint. There is a significant amount of dishonestly in sellers and people selling on behalf of there older relatives who don't know possible issues. Overall I purchased 6 lenses and 3 had to be returned. (Misting, Aperture actuation issue and lumpy focus ring) 
7) Don't get too curious and start opening up the lenses, you'll drop a ball bearing on your carpet and it'll be gone forever and you'll have to keep ordering different sizes on amazon until one fits! (1.5-1.8mm will work as a replacement in the smaller MMs)
I'm sure i'll pick up some of these lenses again in the future (defo the 25mm again), I do almost regret selling them but I made a bit of profit to put into other areas of my kit. 

Just a little update to my Contax Zeiss journey. I created and sold a set. I ended up with a 25mm 2.8 35mm 2.8 50mm 1.4. I was planning on selling the 50mm and picking up an 85mm 2.8. When I found I buyer for the 50mm, he asked if I had anymore and made me a generous offer for the full set. I think I will build a new set up in the future. A few notes for people who might be picking up a few lenses.
1) DON'T sleep on the 25mm 2.8 MM. I returned the 28mm because it had an aperture issue and saw a good price on the 25mm. This lens has reviewed poorly and doesn't test well on the charts, especially in the corners, but wow what an image! It's bitingly sharp in the centre but does suffer in the corners a bit. It has very good subject separation and pop, pleasing flares and very good close focus. It was a bit of magic, by-far my favourite of the set.
2) The flares across the set are quite consistant and have similar characteristics. It's very easy to cut the lenses together.
3) Treat the 50mm 1.4 strictly as a 2.8. Possibly my least favourite lens of the set. The 50mm 1.4 was dreamy wide open and warmer than the rest of the set. Ive read that earlier versions perform slightly better. Although stopped down to 2.8 and it was very sharp but I tended to gravitate to the 35mm 2.8 and just move a bit closer. Maybe it's my bias as I tend to prefer wider lenses though? Many people love the 50 1.4.
4) I wish there was something fast, affordable and wider than the 25mm. The 21mm would have been perfect but prices on that lens are outrageous. I've read that the Zeiss ZE 21mm 2.8 is the same optical formulae and has almost identical performance, however you lose the aperture ring on the EF version and Focus Direction is reversed on the F version. There is an 18 F4 that would probably be the option I would go for if I was to buy the set again. 18 is about as wide as I would need on S35, you could probably get away with the 25mm as your widest on a larger sensor.
5) I wouldn't recommend a speed booster with these lenses (or any lens actually). Contax Zeiss  requires 2 irreversible modifications if you use a regular speed booster or 1 if you use a cine lock version. Ive also noticed just how much speed boosters mess with the image, I very much dislike its effect on lens flares and the distortion it introduces (Tested on 2 different versions of the Metabones XL). They are good at what they are for, but they are not a magic fix-all solution. This process convinced me to sell mine and seek a solution without one. Although I will miss the positive EF mount, that thing is priceless! 
6) Mint doesn't mean mint. There is a significant amount of dishonestly in sellers and people selling on behalf of there older relatives who don't know possible issues. Overall I purchased 6 lenses and 3 had to be returned. (Misting, Aperture actuation issue and lumpy focus ring) 
7) Don't get too curious and start opening up the lenses, you'll drop a ball bearing on your carpet and it'll be gone forever and you'll have to keep ordering different sizes on amazon until one fits! (1.5-1.8mm will work as a replacement in the smaller MMs)
I'm sure i'll pick up some of these lenses again in the future (defo the 25mm again), I do almost regret selling them but I made a bit of profit to put into other areas of my kit. 

Just a little update to my Contax Zeiss journey. I created and sold a set. I ended up with a 25mm 2.8 35mm 2.8 50mm 1.4. I was planning on selling the 50mm and picking up an 85mm 2.8. When I found I buyer for the 50mm, he asked if I had anymore and made me a generous offer for the full set. I think I will build a new set up in the future. A few notes for people who might be picking up a few lenses.
1) DON'T sleep on the 25mm 2.8 MM. I returned the 28mm because it had an aperture issue and saw a good price on the 25mm. This lens has reviewed poorly and doesn't test well on the charts, especially in the corners, but wow what an image! It's bitingly sharp in the centre but does suffer in the corners a bit. It has very good subject separation and pop, pleasing flares and very good close focus. It was a bit of magic, by-far my favourite of the set.
2) The flares across the set are quite consistant and have similar characteristics. It's very easy to cut the lenses together.
3) Treat the 50mm 1.4 strictly as a 2.8. Possibly my least favourite lens of the set. The 50mm 1.4 was dreamy wide open and warmer than the rest of the set. Ive read that earlier versions perform slightly better. Although stopped down to 2.8 and it was very sharp but I tended to gravitate to the 35mm 2.8 and just move a bit closer. Maybe it's my bias as I tend to prefer wider lenses though? Many people love the 50 1.4.
4) I wish there was something fast, affordable and wider than the 25mm. The 21mm would have been perfect but prices on that lens are outrageous. I've read that the Zeiss ZE 21mm 2.8 is the same optical formulae and has almost identical performance, however you lose the aperture ring on the EF version and Focus Direction is reversed on the F version. There is an 18 F4 that would probably be the option I would go for if I was to buy the set again. 18 is about as wide as I would need on S35, you could probably get away with the 25mm as your widest on a larger sensor.
5) I wouldn't recommend a speed booster with these lenses (or any lens actually). Contax Zeiss  requires 2 irreversible modifications if you use a regular speed booster or 1 if you use a cine lock version. Ive also noticed just how much speed boosters mess with the image, I very much dislike its effect on lens flares and the distortion it introduces (Tested on 2 different versions of the Metabones XL). They are good at what they are for, but they are not a magic fix-all solution. This process convinced me to sell mine and seek a solution without one. Although I will miss the positive EF mount, that thing is priceless! 
6) Mint doesn't mean mint. There is a significant amount of dishonestly in sellers and people selling on behalf of there older relatives who don't know possible issues. Overall I purchased 6 lenses and 3 had to be returned. (Misting, Aperture actuation issue and lumpy focus ring) 
7) Don't get too curious and start opening up the lenses, you'll drop a ball bearing on your carpet and it'll be gone forever and you'll have to keep ordering different sizes on amazon until one fits! (1.5-1.8mm will work as a replacement in the smaller MMs)
I'm sure i'll pick up some of these lenses again in the future (defo the 25mm again), I do almost regret selling them but I made a bit of profit to put into other areas of my kit. 

'Sigma here and they should be congratulated for treating their customers like adults!'
Well said!

This is starting to talk to me.......a........little.