@@amadoundiaye3156 really depends on your camera. Most mirrorless options have an adapter that makes them easy to connect. If you are trying to use on an Ef mount, the adapters use a glass element and trash the image. Better to have them converted if using for Ef.

@@outdoorstours thank you!

@@dimitris.tsakalas thanks! On the s5 s35 mode cuts the rolling shutter down to very minimal without much quality loss.

Absolutely does I think. Are you using the anamorphic ibis with it?

@@joshkiddfilms1295 I forgot that’s actually a setting in the camera isn’t it you know what I thought I had that turned on but let me double check

I did use them a good bit with the s1h/s5 when I was using that combo, and they look very nice. The SMC pentax to me are a cleaner and smoother version of the takumar....and somewhat vanilla, not in a bad way really, but just with less character...which can be nice for most things

The F6 to me has some really nice and pros and a few cons...ultimately I did move on from it awhile back an shot DSCM2 reds for a few years...now shooting smaller hybrid canons, mainly just to save my back. Most cameras these days can get the job done tho

absolutely useless comment lol

Right on! I have a whole set that I’ve been using for years. 28 Hollywood, 35 f2, 50 1.4, 85 1.8, and 135 2.8. They are great lenses!

Thank you!

Thanks so much!

Thank you for the kind words! I believe I had a ronin s here. Now using rs2 tho. Those are some great lenses!

thank you!

I find the Pentax aren’t necessarily sharper per se, but they are just kind of smoother and less textured. Almost more vanilla and basic if you will, which can be a good or a bad thing really depending on what you are trying to achieve. I really like the Pentax as taking lenses for anamorphics, but character wise they don’t have a ton

Zraw is internally recorded to the standard media slot but it sucks and is pretty much a waste of time, and not actually 12-bit. So I wouldn’t use it personally

@@joshkiddfilms1295 oh really ! Could explain why it sucks ? It is supposed to a raw so more flexibility in post Is it 10bits ? So I guess you shoot externally proresraw? Could you develop maybe ? Thanks for your feedback

@@Outlabyrinth I say ir sucks because it’s essentially a higher bitrate compressed h.265 in a container that reads 12-bit in software, but actually isn’t 12-bit at all. So there’s no real advantages to shooting it, especially when you consider how cumbersome it is, because the color benefits aren’t there. Real 12-bit is always better than 10-bit because it’s just much more data to work with. The best image that can be produced from the zcam cameras is external raw to either braw or pro res raw

@@joshkiddfilms1295 and yes most of them are radioactive, watch one of my latest short clips the SMC Takumar 50 1.4, serial number 5.655.555 from about 1969-1972 i measured with 7,2 microSievert/h (0,1 yS/h is background). This 7,2yS/h are not even realistic since thorium is a alpha emitter and my geiger counter only detects beta, gamma and x-ray properly so its definately above 7,x yS/h

Thank you so much!

I believe Luxury

Zraw Is made up of a higher bitrate of h265, so the newer macs with m1 should be ok with it…but honestly I think it’s a waste of time. Lots of time converting if you want to use resolve, and it doesn’t run smoothly in premiere. And it’s not 12-bit. Negatives far outweigh the positives Imo

@@joshkiddfilms1295 Do you recommend ProRes HQ and ProRes Raw in that case? Thanks man!

@@starterpvck2043 Pro Res Raw will give you the most data off the sensor in linear 12-bit. Imo I rarely see a difference between pro res HQ and regular Pro Res besides file size

I don't have an F6 anymore but the F6 pro looks cool. Mainly been shooting red the last year and enjoying it for sure

@@joshkiddfilms1295 Cool!

for suree! I second this!

Thanks so much! I appreciate it. 🤙🏻

As dialed back as they can be. Not sure the specific value. Flog2

Thanks dude!

Thanks! I sold the zcams awhile back before I switched to Panasonic for a season. Currently all I own is a Monstro, Gemini, and a fuji xh2s, and they get used for all the work I do.

@@joshkiddfilms1295 thanks for insight! Are you on the search for the perfect camera (or have found it!) or do you enjoy the process of using new cameras?

@@desmondbrosbonus I do enjoy the process of trying new things…it helps keep things fresh, but as far as cameras go I think I’m kind of at a point where the only step up really is to go into arri, and while I think in some ways I would gain certain things, I think I’d also lose some things I get with the reds. They are far more capable for shooting in dim environments, which I do a lot. So I don’t foresee myself making any jumps there. I have been watching the older arri non mini cams fall in price and I think it would be fun to own one at some point, but not anytime soon. I would like to replace my fuji with a Komodo at some point just to be all red and all raw, but not super high priority. I think the Monstro is really capable and love a lot of movies that have used it. Very happy with it.

Thanks! I had the 24 1.4 FDL on some of these wider shots. And then the same Pentax set I mentioned…and I think I used a contax zeiss 35-70 a good bit during this wedding, but not totally sure.

Thanks dude!