Vintage Jimothy

Nice shots, especially in terms of the tonality and colour. Would love to see more.
It's true there is hardly anything to worry about in those frames - no aliasing, they look close to 6K RAW stills

Thanks.
I used the Blackmagic Design setting in both colour space and gamma. I find the FP CDNG footage very easy to basic grade (exposure, saturation etc).
Then as I am usually looking for a stylised final look, I dropped someone's Kodakrome LUT on a final node - which gives it the darker contrast with richer colours.
I'm often doing it quick and dirty for films on Instagram to support my music.
The shirt has a weave pattern (as well as the check)  I know I would have had moire problems with using my original BMD Pocket five or six years ago.

Now that's how to market a camera! 

Man, this new firmware update is MASSIVE. Definitely breaths a ton of new life into the FP and fixes a few of the issues that Caleb mentioned in his video! 
However, I feel it's worth noting that Sigma confirmed in a new interview with one of the sites that can't be linked here that they were ultimately unable to create a proper LOG/flat profile for the FP due to technical limitations... So apparently that's not coming any time soon for the camera. Not the end of the world, as I'd wager most filmmakers buying this camera are investing in it for the various RAW codecs it can provide internally and externally. Hopefully though the next model in the FP lineup fixes that issue and provides a LOG profile at launch. 
In cheerier news though, Sigma just released a whopping 35 minute long narrative short film shot entirely on the FP! Unsurprisingly, it looks pretty great.
 
 

So to follow up on that whooping 35 minute short film from Sigma, I just found that they'd released a Behind-the-Scenes video highlighting the crew's experience using the FP for the project and what their thoughts on it were!
 
Gotta say, if Sigma continue to listen to the feedback they're getting on this camera and keep that in mind moving forward, I cannot wait to see what Sigma's followup camera to the FP will be like. They've got a monster of a camera on their hands, just iron out some quirks here and there and the next model will be insane.

The Rokkors. See https://www.reduser.net/forum/showthread.php?92246-Minolta-Rokkor-Survival-Guide
There's some good history and detail there.
There are also reviews of individual lenses here: https://phillipreeve.net/blog/lenses/minolta-mcmd/
In terms of value for money, these are hard to beat. They have all the usual problems of old lenses designed for film when you use them on modern digital cameras, but if you want character and incredible colors, it's worth getting a few. I recently got the 55mm f1.7 Rokkor for about $40 on eBay and it's incredible.

Sure, they're a consumable, but in general the maxim of "date your camera, marry your lenses" still applies. Lenses don't last forever but they almost always outlast cameras. I'm using some 50-year-old Minolta lenses on MFT and E-mount cameras, and could use them on L-mount and Nikon Z-mount among others. Those lenses offer a Leica look for a tiny fraction of the cost and with better lens-to-lens consistency than Leica. PL mount cinema lenses of any vintage can be used on any of these cameras as well with adapters. Camera technologies evolve faster than lens technologies, so you're likely to upgrade your camera much more frequently than your lenses, as long as adapters for your new cameras are available.

Yeah, the only short film that I can think of that even begins to compete with it for me is A Different Beyond that Fujifilm used to promote the video capabilities of the X-T3. And that short had Matthew Libatique as the director!
Sigma went all out with this short film. It's a genuinely compelling story being told by a talented filmmaker and cast and crew. The colors coming out of the FP look like something you'd see in a painting. Subtle, but rich.
Sigma did seem to confirm that they're working on a new model in that same interview with the site that shall not be named and that they were aiming to continue to improve the autofocus on that model. Pretty vague overall, but it'd be nice if that were to turn out to mean that Sigma might switch over to Phase Detect autofocus at least.
Like I said earlier; Sigma has a beast of a camera already with the FP. They could cause quite a storm in the industry if they implement the various key adjustments here and there that customers are suggesting for the successor model.

So to follow up on that whooping 35 minute short film from Sigma, I just found that they'd released a Behind-the-Scenes video highlighting the crew's experience using the FP for the project and what their thoughts on it were!
 
Gotta say, if Sigma continue to listen to the feedback they're getting on this camera and keep that in mind moving forward, I cannot wait to see what Sigma's followup camera to the FP will be like. They've got a monster of a camera on their hands, just iron out some quirks here and there and the next model will be insane.

Man, this new firmware update is MASSIVE. Definitely breaths a ton of new life into the FP and fixes a few of the issues that Caleb mentioned in his video! 
However, I feel it's worth noting that Sigma confirmed in a new interview with one of the sites that can't be linked here that they were ultimately unable to create a proper LOG/flat profile for the FP due to technical limitations... So apparently that's not coming any time soon for the camera. Not the end of the world, as I'd wager most filmmakers buying this camera are investing in it for the various RAW codecs it can provide internally and externally. Hopefully though the next model in the FP lineup fixes that issue and provides a LOG profile at launch. 
In cheerier news though, Sigma just released a whopping 35 minute long narrative short film shot entirely on the FP! Unsurprisingly, it looks pretty great.
 
 

That shortfilm is second to none compared to every ”branding video” I’ve seen made with cameras in this price range. Really impressive.

So to follow up on that whooping 35 minute short film from Sigma, I just found that they'd released a Behind-the-Scenes video highlighting the crew's experience using the FP for the project and what their thoughts on it were!
 
Gotta say, if Sigma continue to listen to the feedback they're getting on this camera and keep that in mind moving forward, I cannot wait to see what Sigma's followup camera to the FP will be like. They've got a monster of a camera on their hands, just iron out some quirks here and there and the next model will be insane.

Man, this new firmware update is MASSIVE. Definitely breaths a ton of new life into the FP and fixes a few of the issues that Caleb mentioned in his video! 
However, I feel it's worth noting that Sigma confirmed in a new interview with one of the sites that can't be linked here that they were ultimately unable to create a proper LOG/flat profile for the FP due to technical limitations... So apparently that's not coming any time soon for the camera. Not the end of the world, as I'd wager most filmmakers buying this camera are investing in it for the various RAW codecs it can provide internally and externally. Hopefully though the next model in the FP lineup fixes that issue and provides a LOG profile at launch. 
In cheerier news though, Sigma just released a whopping 35 minute long narrative short film shot entirely on the FP! Unsurprisingly, it looks pretty great.
 
 

So to follow up on that whooping 35 minute short film from Sigma, I just found that they'd released a Behind-the-Scenes video highlighting the crew's experience using the FP for the project and what their thoughts on it were!
 
Gotta say, if Sigma continue to listen to the feedback they're getting on this camera and keep that in mind moving forward, I cannot wait to see what Sigma's followup camera to the FP will be like. They've got a monster of a camera on their hands, just iron out some quirks here and there and the next model will be insane.

So to follow up on that whooping 35 minute short film from Sigma, I just found that they'd released a Behind-the-Scenes video highlighting the crew's experience using the FP for the project and what their thoughts on it were!
 
Gotta say, if Sigma continue to listen to the feedback they're getting on this camera and keep that in mind moving forward, I cannot wait to see what Sigma's followup camera to the FP will be like. They've got a monster of a camera on their hands, just iron out some quirks here and there and the next model will be insane.

Man, this new firmware update is MASSIVE. Definitely breaths a ton of new life into the FP and fixes a few of the issues that Caleb mentioned in his video! 
However, I feel it's worth noting that Sigma confirmed in a new interview with one of the sites that can't be linked here that they were ultimately unable to create a proper LOG/flat profile for the FP due to technical limitations... So apparently that's not coming any time soon for the camera. Not the end of the world, as I'd wager most filmmakers buying this camera are investing in it for the various RAW codecs it can provide internally and externally. Hopefully though the next model in the FP lineup fixes that issue and provides a LOG profile at launch. 
In cheerier news though, Sigma just released a whopping 35 minute long narrative short film shot entirely on the FP! Unsurprisingly, it looks pretty great.
 
 

Personally, my interest for 1DX3 completely died down after R5 was rumoured  shortly after.
As for GFX100 vs 1DX3 vs XT4.. well 3 different sensor size cameras at 3 completely different budgets.
Again personally, above the $6K line I'd rather be looking at dedicated cine cams.. especially if RS, NDs, XLR etc are of importance to you.
XT4 definitely seems like best bang for buck at the moment, kinda like the new GH5.
But if you're into FF (even if just for stills) you still may wanna invest in another hybrid system.

Wolfcrow tested out the 1dxIII extensively on a job and praises many things, but rolling shutter performance in 5,5k raw is not one of them. It’s really bad (which makes me cautious about both the R5 and R6) But the image is as expected gorgeous.
https://wolfcrow.com/canon-1d-x-mark-iii-real-world-review-for-video-and-cinematography/

Yeah, that's a very fair point. Like I said before, my current predicament is debating between one of two routes for my next camera purchase; something more cost affordable, but will likely be replaced within a year or two (i.e. a Fuji XT3/4)... or something notably more expensive and heavy duty, but will hold a longer shelf live for me before I need to upgrade from it. And while obviously camera bodies are far less of a long term investment than the actual lenses, I do think the R5 is one of those camera models that would ultimately have a long shelf life. 8K RAW alone is overkill, but between that and 4K120p (with DPAF), I'd be set for quite a long time.
As much as I love my Panasonic G85 and the footage I've seen from the S1 and S1H, I get the feeling that the DPAF would far more beneficial for my current hybrid photo-video work than Panasonic's Contrast autofocus. I don't mind the Contrast autofocus in my G85 or using manual focus, but I do have to admit it's gotten in the way of my footage and photos on more than one occasion. So with the R5 having DPAF across the board with a rich image, be it RAW or 10bit C-Log internal, that's a big factor that's made me consider it over the Panasonic alternatives. Like I said before, if I were living in Atlanta or LA and focusing on my narrative filmmaking career, I'd probably go with them- but as it stands now, the R5 seems to make more sense if we're talking "Long Term Investment" cameras.
And yeah, my plan if I were to get the R5 is to buy it with the 24-105mm f4 IS right away with the camera! It seems to be one of those perfect kit lenses and would have me covered for most practical scenarios. The point about having the vintage glass was that, aside from my fondness of the aesthetic and character, it'd be a good cost effective way to have other special cases covered for my work until I could afford to buy other RF glass aside from the 24-105mm f4.

Perhaps it might be overkill, but I do like using vintage glass a lot of the time whenever I don't need to rely on autofocus. I do plan on investing in RF lenses too if I get the R5, but it's a matter of price and what lenses are available by that point in time.
I suppose if I really save my pennies, I could try to eventually nab the RF 28-70mm f2 lens. That lens does seem pretty magical...

This camera is probably overkill for using manual lenses and the IBIS might not work as effectively without electronic contacts. (The Panasonic S1 series/Leica SL2 are the only ones which are 5-axis with every lens so they are best suited to manual lenses, Nikon/Sony is only 3-axis and I guess Canon will behave similarly)
I mean, it will still work just fine, but the whole point of this camera is to have full compatibility with EF and RF lenses with full Dual-Pixel Af support (and of course Canon colours), while also offering full feature set that the internet was complaining about until now. I am using manual lenses on the EOS R as well, but not many people do.
In my experience, RF lenses are the way forward for both photo and video (but the EF lenses are still quite good, too).

It won't have any compromise regarding low light or dynamic range as long as the 4k30p is downsampled from the 8k, which it probably will, while the 4k60p and 4k120p are going to be line-skipped.
The rest is impossible to make without some sort of compromise, the EOS R battery life is really good but it has no IBIS and full sensor video, although the new battery is higher capacity which should offset it a little bit. 30-minute limit is a given, but it should be fine until that time, or it should be better with an external recorder (which also records is a less demanding codec)
Rolling shutter will be interesting, as the sensor has to have a fairly decent speed to have 8k30p mode in the first place.
It is not aimed at the professional video market and it is not going to cannibalise the EOS R5.
Yes, it will do 4k60p and 1080p120p, but I don't expect the cheap sensor to have great dynamic range to start with, so it will be restricted to 8-bit 4:2:0 H.264 IPB codec and no Canon Log. Of course people have been shooting on the 1DXII without Log for ages, so it's not like one can't produce great video with it. But it will be a big step down form the R5, as it should be for almost half the cost and the EOS R will remain relevant as the 'cheap' option to have access to Canon Log, but no IBIS.

David Sandberg is awesome, a huge inspiration for me. I also agree its better to stick to gear you know, or at least do a ton of testing on new gear prior to using on paid gigs. I've found out the hard way. Funny enough I just got the URSA he mentioned in the vid. No more updates suck but its a great camera. CDNG is better than BRAW in many ways (imho) and if I need something a bit less data heavy I can shoot HD 444. 

Experimental filmmaker legend Maya Deren had an excellent take on this,  in 1959! Her text "Amateur versus Professional" is worth quoting in its entirety:
The major obstacle for amateur film-makers is their own sense of inferiority vis-a-vis professional productions. The very classification “amateur” has an apologetic ring. But that very word – from the Latin “amateur” – “lover” means one who does something for the love of the thing rather than for economic reasons or necessity. And this is the meaning from which the amateur film-maker should take his clue. Instead of envying the script and dialogue writers, the trained actors, the elaborate staffs and sets, the enormous production budgets of the professional film, the amateur should make use of the one great advantage which all professionals envy him, namely, freedom – both artistic and physical.
Artistic freedom means that the amateur film-maker is never forced to sacrifice visual drama and beauty to a stream of words, words, words, words, to the relentless activity and explanations of a plot, or to the display of a star or a sponsor’s product; nor is the amateur production expected to return profit on a huge investment by holding the attention of a massive and motley audience for 90 minutes.Like the amateur still-photographer, the amateur film-maker can devote himself to capturing the poetry and beauty of places and events and, since he is using a motion picture camera, he can explore the vast world of the beauty of movement. (One of the films winning Honorable Mention in the 1958 Creative Film Awards was ROUND AND SQUARE, a poetic, rhythmic treatment of the dancing lights of cars as they streamed down highways, under bridges, etc.) Instead of trying to invent a plot that moves, use the movement of wind, or water, children, people, elevators, balls, etc. as a poem might celebrate these. And use your freedom to experiment with visual ideas; your mistakes will not get you fired.
Physical freedom includes time freedom – a freedom from budget imposed deadlines. But above all, the amateur film-maker, with his small, light-weight equipment, has an inconspicuousness (for candid shooting) and a physical mobility which is well the envy of most professionals, burdened as they are by their many-ton monsters, cables and crews. Don’t forget that no tripod has yet been built which is as miraculously versatile in movement as the complex system of supports, joints, muscles, and nerves which is the human body, which, with a bit of practice, makes possible the enormous variety of camera angles and visual action. You have all this, and a brain too, in one neat, compact, mobile package.
Cameras do not make films; film-makers make films. Improve your films not by adding more equipment and personnel but by using what you have to its fullest capacity. The most important part of your equipment is yourself: your mobile body, your imaginative mind, and your freedom to use both. Make sure you do use them.
https://hambrecine.com/2013/12/10/amateur-versus-professional/ (also includes a PDF of this text.)
- She shot all her films on a 16mm Bolex H16 btw.

Yes its the small rig cage, I'm happy with it
I allows me to connect to the smallrig focus oled.