New Camera and Mount Upcoming ?

I shot an RB67 Pro S for 25 years. Interesting to see it mentioned here!

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Yes you’d be looking at medium format lenses.

And no one is excited about a 50mm F4.5 or a 65mm F4 which is the kind of stops those lenses tend to be.

At least in Mamiya 645 which covers to A65 most of the primes are F2.8 and there’s a nice 80mm F1.9. Some companies are also doing a speedbooster conversion which makes them great for 135 format too.

https://www.newsshooter.com/2020/07/14/ ... rehousing/

The great thing about the Mamiya 645 lenses is the donor lenses are really inexpensive right now and you can do a simple mod like this.

https://www.simmodlens.com/product-page ... ersion-kit

I just actually did a full set of Mamiya 645 primes to PL and the lenses and conversion was under 10k for 8 lenses. I believe they are also about to start doing the same mod for Pentax 6x7 but I think they’re a bit slow and bulky. The Mamiya 645 are cheaper, smaller and still really nice optically.

I predict the mamiya 645 are going to be the next hot lens family

I think these are exceptional value considering the lens circle covers to A65 and they are very nice optics. The only downside I’ve found is the 110mm minimum focus and the 150mm could be little closer. They’re really nice optics.

JB

I'm curious what glass they are actually using on the real 1570 IMAX Cameras. It could possibly be Mamiya or Hasselblad lenses that are cinema modified. I remember when the Alexa 65 was announced they name dropped Hasselblad lenses as being for that camera.

Follow up link to one of the articles covering Alexa 65 announcement in 2014: https://www.digitalcinemareport.com/art ... s-alexa-65

The 50-110 mm Zoom 65 and the eight Prime 65 lenses, ranging from 24 to 300 mm, utilize high-performance, Fujinon-manufactured optics from Hasselblad HC lenses, re-housed in robust lens barrels co-developed with IB/E Optics. Equipped with Arri’s Lens Data System, the lenses permit frame-accurate metadata about focus, iris and zoom settings to be recorded with the image stream, aiding both on-set shot making and visual effects tasks in post.
In addition, a Vintage 765 lens range – originally developed to partner the Arriflex 765 65 mm film camera – has been adapted for use with the Alexa 65. These lenses provide a classic filmic look with a gradual, soft roll-off across the frame.

Remember those from photography, beautiful glass. Does anybody rehouse them?

Plenty do, they just cost. I personally use Mamiya 645 Sekor C on my Pocket 6K.

The throw on them is long enough that you can use them for cinema use.

I'm curious what glass they are actually using on the real 1570 IMAX Cameras. It could possibly be Mamiya or Hasselblad lenses that are cinema modified. I remember when the Alexa 65 was announced they name dropped Hasselblad lenses as being for that camera.

They used Mamiya 645 Sekors on Dark Knight, Rises, and Interstellar.

[*]

I get that it’s silly to want a camera thats specifically tailored to me, but i would just like a tinier ursa with the 4k sensor and mft mount. That would make my life easier, just being able to use the lenses i already own, a slightly nicer form factor that isn’t a cube, have internal nds, multiple video outs, viewfinder support, just using 1 big battery and not having to rig anything. That would be just be my dream.

panasonic kinda managed to do it in 2010, camcorder like shape, mft, internal nds? Would be cool now too.

Bit late responding to this - but I agree - the cube form factor isn't going to be perfect for everyone. I owned a Komodo for a few months and found it was still just too long on a gimbal because of the depth of the camera with a fast lens on it. I've ended up modding my P6K so the original screen is in a pivoting CNC'ed enclosure on top, freeing up the back of the camera for a V mount. I'm thinking of doing the same mod to a 6KPro to have the internal ND's, but I'm also kind of waiting to see what Blackmagic does next.. The 6KPro came out a over 2 years ago now.

Ollie, this would go crazy if you did a version for the OG pocket, NP-F sled on the back, monitor on the top. Imo.

Got to work with that Alexa 35 yesterday. And, it's everything I expected. The camera is incredible! LPL to PL adapter works great for allowing a shorter flange distance on new cinema lenses, and allowing for use of older cinema lenses with the longer flange. Next, the B-Mount Battery Mount and Batteries are pivotal as it is a power hungry camera. We definitely ate through 3 batteries over the course of the 5-hour promo shoot.

Alexa 35 on Arri Trinity w/ DZOFilm Pavo

JR-Promo-DZOFilm-Pavo-DSC06789.jpeg (57.21 KiB) Viewed 14184 times

Either way, this definitely lead me to want to push Blackmagic to keep pursuing the cinema camera body design akin to Alexa and RED and Sony. A well built body with an incredible sensor. One, it needs to be 1.2:1 open gate sensor size to accommodate anamorphic shooting. Next, it needs to the professional connections and build.

I have always been lukewarm to the Pocket design. It's fine for certain purposes. But it's not what I reach for as my main camera body and design.

So I'm going to stand at the other end of this debate and say I couldn't care about a new Pocket with L Mount. Give me an updated URSA Mini Pro body design with the 12K sensor getting a bit of an upgrade to make it a true anamorphic sensor with either being 4:3 open gate or 1.2:1 open gate. That would mean a 12K X 10K anamorphic image.

Yes Tim!

I wonder what could happen if they released an Ursa 12k v3 that has updated media, an anamorphic-friendly cut of the sensor and possible ProRes option…

But yeah, the demand and “whining” about another pocket camera is really loud.

I think we all would love a new body design that sits between the UMP and pockets and could be priced accordingly. Though, while the 6k sensor is nice, I’m hoping for that 12k sensor in more options!

That's where we are too: the Pocket cameras are good for certain jobs, but not good enough for most; and the 12k is overkill for most of our jobs. Something in the middle with a proper cinema camera body would be ideal for us.

There certainly is a place for a sensor with the low light capabilities of the Pocket cameras, but I do appreciate the higher dynamic range and image quality on the larger cameras. And it’s nice when you don’t need to use a cage to rig the camera.

Thank you Adam, Matt, and Rick! Agreed! But agreeing with you agreeing with me? Either way, thank you for reinforcing my claim.

We actually shot ProRes 444 on this recent project with the Alexa 35. So ProRes is still a very important Codec option for when you don't need a raw codec. I would love to see ProRes return to the UMP12K models.

I'll be sharing more thoughts on the DZOFilm Pavo Anamorphic lenses soon. I'm very impressed. Got to do more testing still.

ProRes 444 is much larger than BRAW pixel for pixel.

12k ProRes isn’t possible either.

I think with the wide acceptance of BRAW now it’s really a bit moot.

I love ProRes but BRAW gives you more for less. I think that ship has sailed.

JB

ProRes 444 is much larger than BRAW pixel for pixel.

12k ProRes isn’t possible either.

I think with the wide acceptance of BRAW now it’s really a bit moot.

I love ProRes but BRAW gives you more for less. I think that ship has sailed.

JB

Amen to this. ProRes, whose birth was serving as an intermediate codec for editing on slow Apple CPUs, is dead wherever BRAW is a workflow option.

ProRes 444 is much larger than BRAW pixel for pixel.

12k ProRes isn’t possible either.

I think with the wide acceptance of BRAW now it’s really a bit moot.

I love ProRes but BRAW gives you more for less. I think that ship has sailed.

JB

As much as I agree, I still am asked for ProRes over BRAW on projects. The blame can definitely go to the producers/editors. Especially inferior editors who don't know how to handle raw workflow. Heck, I recently had a client ask of SLOG3 ProRes, so I had to use my Video Assist with the Sony A7IV to deliver that request. So if it's what the client asks for that's what you have to deliver.

Heck, I recently had a client ask of SLOG3 ProRes, so I had to use my Video Assist with the Sony A7IV to deliver that request. So if it's what the client asks for that's what you have to deliver.

Couldn't you use the same approach to get ProRes with the 12k? What resolution does the 12k output?

And what is the resolution limit for ProRes?

There’s no resolution limit with Prores, it’s the data. 12k XQ would be close to 10tb an hour.

Good Luck

Heck, I recently had a client ask of SLOG3 ProRes, so I had to use my Video Assist with the Sony A7IV to deliver that request. So if it's what the client asks for that's what you have to deliver.

Couldn't you use the same approach to get ProRes with the 12k? What resolution does the 12k output?

And what is the resolution limit for ProRes?

As Howard says the problem with 12k ProRes is the file size.

You could record the 4k output, but I have a feeling it’s not as good as what’s recorded to Braw when you use the camera like this. It’s the hardware equivalent to a preview monitor in resolve vs the rendered output. The SDI is good for framing and preview but the debayer is preview quality, not final render quality.

JB

I just actually did a full set of Mamiya 645 primes to PL and the lenses and conversion was under 10k for 8 lenses. I believe they are also about to start doing the same mod for Pentax 6x7 but I think they’re a bit slow and bulky. The Mamiya 645 are cheaper, smaller and still really nice optically.

I predict the mamiya 645 are going to be the next hot lens family

I think these are exceptional value considering the lens circle covers to A65 and they are very nice optics. The only downside I’ve found is the 110mm minimum focus and the 150mm could be little closer. They’re really nice optics.

JB

This has been on my mind. We have a full set of Contax Zeiss lenses that we use on our 6k Pros, and most of them work well on adapters to Fujifilm GFX cameras. I have shot with Mamiya lenses quite a bit (still have a 645AF) so I am partial to them. However, they seem a bit slower than the Contax Zeiss, and prices might be a bit higher. Anyone know how they compare otherwise? The image circle doesn't matter in my case, as I do not expect to ever shoot A65.

Part of the reason this is on my mind is the potential of moving to a new lens mount for whatever BM releases next.

Well, lenses with a larger image circle are usually slower, just like lenses for S-35 or 16mm are faster than photographic full frame. Other than that, Mamiya glass is excellent, I'd say on par with Zeiss.

Heck, I recently had a client ask of SLOG3 ProRes, so I had to use my Video Assist with the Sony A7IV to deliver that request. So if it's what the client asks for that's what you have to deliver.

Couldn't you use the same approach to get ProRes with the 12k? What resolution does the 12k output?

And what is the resolution limit for ProRes?

What JB wrote about above to this question is a perfect answer.

But, yes, you could use the same approach. I just prefer internal recording a hell of a lot more. Even using the Video Assist on the Sony for recording ProRes is not ideal for me.

Yeah, Medium Format lenses are traditionally slower. The main reason you want to use them is for the larger image circle for larger image sizes of Medium Format. Thus why Medium Format exists as a format. The 65mm Film Size is the cinema equivalent to Medium Format, especially when run horizontally through the camera for IMAX 1570 as that is akin to 6x7 MF.

Yet, as most Full Frame lenses now are fast at 1.4 you can get that Medium Format depth of field look at times. The true reason to want Medium Format however is less about shallower depth of field and more to do with resolution and dynamic range. Usually the larger format meant you had a greater latitude along with the finer details captured by the film. With digital it usually means higher megapixels and higher dynamic range.

Perhaps I should I have specified my question a bit: how do they compare in use, such as their look, color, contrast, use on set, etc. (I have been shooting cine and photo for three decades so I have some experience moving between formats.) For instance, did John choose the Mamiya lenses over the Contax Zeiss because of the larger image circle or for other reasons?

What about overheating?
When I tested a Canon R vs. the Sony A7IV, I couldn't stop it from overheating in our climate.
The Sony is stable if switched to higher range.

Perhaps I should I have specified my question a bit: how do they compare in use, such as their look, color, contrast, use on set, etc. (I have been shooting cine and photo for three decades so I have some experience moving between formats.) For instance, did John choose the Mamiya lenses over the Contax Zeiss because of the larger image circle or for other reasons?

I own Zeiss contax era lenses BUT I don't use them from motion. I am a long time Contax STILLS camera user and still prefer their cameras for shooting film and of course their lenses. I have many OG contax lenses that are not cinemodded at all! Weird I know.

I own Zeiss Compact primes. These are very versatile. I love that they are super lightweight and compact, yet cover up to 135 format (full frame) and have interchangeable mounts. I have the PL, MFT and EF mounts and I basically own one of each focal length. I love the 50mm macro so much I bought two of them.

I own Zeiss Supremes. There are beautiful lenses, also cover 135 format and are just a beautiful pretty lens.

I bought the Mamiya because

1. They are freakin cheap as hell for a REALLY GOOD lens optically.
2. They are very small and lightweight. Most lenses that have an image circle this large are physically large.
3. For their small size they have MASSIVE coverage, up to even A65. A lot of other converted lenses only will cover 135 format.
4. They're still pretty fast for an A65 covering lens.

The ONLY downside I've found so far is that the minimum focus on some of the longer lenses isn't that great.

But I think nothing beats them for bang for buck in a vintage cine coverted lens. They look really pretty.

Here's a test I did that I shouldn't share for a film I did recently that hasn't been release yet. There's some mamiya examples in there on Alexa LF and Alexa 35 as well as other marquee lenses.

the password is

"Stanicky"

I like Contax 645 Zeiss, but they are harder to convert I believe. Hasselblad too, but typically not as fast.

I think Mamiya are still a bargain for what you can get out there optically if you want a lens that has more future proofing. If you want fast and 135 format, then they're less interesting. But if you want a lens that will still work on even larger sensors...this is a great option.

JB

Thanks John.

Makes sense. Appreciate your thorough reply.

Is that true?

https://www.l-rumors.com/more-info-abou ... amera/amp/

Not related to Sony but instead to the recent story you published regarding Blackmagic joint L mount. It’s true, and as a result the upcoming pocket camera revisions will be much smaller than the current versions. Still housing large rear touchscreens, but thinner and boxier, with cageless mounting points like that found in the FX3/FX30 and Red cameras bodies.

Sensor is still Super35 6K provided by CMOSIS, but there are full frame bodies planned. Apparently since the FX3 and FX30 launched both Blackmagic and Panasonic have seen a sharp downturn in sales and both are looking to expand their share of the prosumer cinema market.

The new 6K will be smaller than the G2 but larger than an FX3. Similar to a Sony body in terms of visual designs, but all black. No IBIS but an improved version of the gyro stabilization, and it will shoot 6K at up to 75fps, and 4K up to 140fps. OLED screen and CFExpress Type B support.

Coming soonish. Maybe end of the summer.

Is that true?
https://www.l-rumors.com/more-info-abou ... amera/amp/

Intriguing rumor!

Is that true?
https://www.l-rumors.com/more-info-abou ... amera/amp/

Intriguing rumor!

I don’t want to buy Bmpcc 6k pro and the very next day BMD announces new products.

Off-topic: how’s the tokina? Are you happy with it? It’s in my to-buy list.

I'm pretty sure that the sensors in the current BMPCCs are Sony and not CMOSIS.

English syntax is often ambiguous. Is the rumour saying that the sensor format remains Super35 AND is still CMOSIS? If so, then it sounds more like clickbait than a substantial rumour. If the claim is the format remains Super35 BUT will be a new CMOSIS sensor, then that is something new. Who knows what exactly is being claimed.

I'll be honest. If the update does not include some version of the new 12k sensor they designed, that would be a bummer.

I doubt we will see any version of the 12K sensor in the lower-end cameras, it's a custom sensor that I'm sure costs far more to make than it does to buy an off-the-shelf Sony sensor as we see in the current pockets.

Let's not forget that the IMX671-AAPH Sony sensor is extremely popular right now. Sony, Fujifilm, and Kinefinity are all said to be using this sensor in their latest cameras. I feel like this will also be Blackmagic's move.

… Let's not forget that the IMX671-AAPH Sony sensor is extremely popular right now. Sony, Fujifilm, and Kinefinity are all said to be using this sensor in their latest cameras. I feel like this will also be Blackmagic's move.

When I looked up Sony’s product sheet they specify it is solely to be used in digital stills cameras which would seem to preclude using it in a BMD Cinema camera.

Maybe, it's just the chatter I've seen around these cameras, people saying that the FX30, X-H2S, and the MAVO Mark2 6K S35 all use the same sensor.

I do know that the X-H2S has the specs that a next-gen Pocket Camera Sensor should have. Dynamic range roughly on par with the Red Komodo, which would be considered 14-15 Stops by Blackmagic standards. Nearly twice as fast rolling shutter. Combine that with Blackmagic's color science and they'd have a killer camera. Add in the amazing tracking tech found in Resolve for autofocus and Blackmagic could become stiff competition against the Sony FX line.

And although Sony said the sensor is available off the shelf as is, not as a custom order, some camera vendors may be able to order slight variations with a new model number to suit their needs regardless as long as they pony up for it.

Off-topic: how’s the tokina? Are you happy with it? It’s in my to-buy list.

There is no ideal lens, BUT for the price, and all the specs which it's have, it doesn't have a competitor in my opinion, so you should try it.

Off-topic: how’s the tokina? Are you happy with it? It’s in my to-buy list.

There is no ideal lens, BUT for the price, and all the specs which it's have, it doesn't have a competitor in my opinion, so you should try it.

Perfect. Thank you!

Nothing on the grapevine?

Need to shoot a project on 2x anamorphics late September. Will be using Atlas Orions in PL. Also need to mount on my emotimo spectrum for part of the shoot so am limited in weight with those lenses. My Ursa 12k with an Orion and batteries would be right at the limit.

I live in the middle of nowhere so don't want to rent as it adds a day of driving at each end of the project.

I don't want to replace the EF on one of my existing PCC6k g1s as I use EF a lot and don't want to wreck the threads by putting a PL mount on it for one job.

I hate the idea of picking up a camera this late in its lifecycle but it seems a 6K Pro with WC PL adapter is my best shot at capturing it in BRAW and hitting weight limit / being available?

I would not bet your job on a new camera coming out from Blackmagic. Seems like you either need to look at a new camera, a new camera manufacturer, or a rental house that will ship the equipment you need to you vs driving each way to go get it. I have been there and it's no fun being that far away and then on the day of shoot either you forgot to get something, or something breaks. Personally I like to have everything up and running a few days before.

Forgive me for this in good fun joke, but what do you think will happen first:

1) Blackmagic Releases a New Cinema Camera
2) The AMPTP Makes a Deal with WGA & SAG to End Strike

Place your wagers.

IMO Blackmagic will come out with a new camera before the Strike ends for the WGA and SAG.

haha, Tim. Good question!

I think the strike will end before we see a new BMD camera.
There is a quickly-growing awareness of "wage balance" in this industry and in America in general, that surely something will shift, right?

I hate the idea of picking up a camera this late in its lifecycle but it seems a 6K Pro with WC PL adapter is my best shot at capturing it in BRAW and hitting weight limit / being available?

It's a pretty big difference between the 6K and a 12K in my view. They are quite different cameras.

Can you not take the batteries off-board with the EMOTIMO?

The WC mod is suggested to not be reversible, but the truth is if you take care, you should be able to switch it a few times. You just can't make a habit of it.

If one is worried about buying a camera for a specific job and it being superseded, then find a vendor that will accept a return and wait till the last possible moment to order your camera?

JB

It's a pretty big difference between the 6K and a 12K in my view. They are quite different cameras.

Can you not take the batteries off-board with the EMOTIMO?

Thanks John - so you'd plump for the 12k over the 6k Pro regardless of project?

For the emotimo, I could tape the battery to the dana or use the v mount slot on the emotimo and run it over a d-tap to ursa 4 pin cable. I could even just tape the actual ursa power supply to the dana, with some slack in the line to account for dolly movement, and run from mains.

But even after that:
ursa 5.62lbs
orion 40mm 5.2lbs
arri lmb 4x5 (I could break it down to just the filter tray I guess )
plus baseplate and rails with the ring attachment for support (I haven't weighed but would anticipate another 2lbs) - it's just a lot of bulk for something like the Emotimo which is relatively fragile and needs a bit of care when it comes to balancing. The move is a repeated move so we can change the set and lighting several times so it needs to be precise and too much weight might make the belt slip over the course of the day).

I guess I could use the WC mod on an existing 6K G1 and carefully unscrew, though I don't have much in the way of rigging for them (so would likely spend something anyway here) and they obviously lack internal NDs (I want to minimise weight on the front with just one filter rather than stacking multiple).

Or just rent something else entirely fromhttps://origin-cine.com/inventory/cameras/ (probably a Gemini for the sake of size/form), lose the two extra days and have a chunk of change in my pocket at the end and not have to explain to my wife why we now own 5 cameras.

Ugh.

I have been there and it's no fun being that far away and then on the day of shoot either you forgot to get something, or something breaks. Personally I like to have everything up and running a few days before.

Exactly the same and why I'm a typically a buyer not a renter for most projects, (though that's not without issues obviously).

haha, Tim. Good question!

I think the strike will end before we see a new BMD camera.
There is a quickly-growing awareness of "wage balance" in this industry and in America in general, that surely something will shift, right?

It's tough to say. I feel like in America the "wage balance" discussion has been stalling. There's always excuses, but one of the harshest truths is that the models of distribution has changed so radically that financially films/tv are not making the same money they once did. Inflation alone makes the appearance of certain successes are not exactly as big as they once were.

Barbie is a good example. Very successful and profitable. But it just passed The Dark Knight as the highest grossing domestic release for Warner Bros. But, if inflation is taken into account then, it really has another two-hundred-million to go for that honor. Yet, that's not to belittle its success. Yet, then look at the massive losses of Indiana Jones 5 and Mission: Impossible 7 as each stands to lose one-hundred-million for their studios. The Flash looks to have lost Warner Bros. two-hundred-million.

And, this is where the home entertainment sales are not what they were. DVD/Blu-Ray sales are down. Streaming doesn't generate the same kind of residuals. But the studios are not licensing their films to networks like in the past. So a lot of the past deals don't make the same money for the studio. Films don't find the second life they used to to make money back.

I know this is off topic. So, I'll leave it there. But there's a serious discussion to be had about the industry and revenue streams.

Back to topic. The latest ARRI Update and Monitor Release does make me hope to see Blackmagic take to my request for a Video Assist that has BMD Camera Control. Would love to be able to use the Video Assist Touch Screen to change settings on the Camera. And, would love for it to be 4X3 screen dimensions so that we could get a clean picture with UI Text Surrounding the Image.

I know this is off topic. So, I'll leave it there. But there's a serious discussion to be had about the industry and revenue streams.

Perhaps. I wonder if it was Barbie 5 and Oppenheimer 7 if the numbers would be the same.

I think the problem is that there's a lot of regurgitated dreck and the very American pursuit...the "franchise" films and not a lot of original ideas.

JB

It's a pretty big difference between the 6K and a 12K in my view. They are quite different cameras.

Can you not take the batteries off-board with the EMOTIMO?

Thanks John - so you'd plump for the 12k over the 6k Pro regardless of project?

For the emotimo, I could tape the battery to the dana or use the v mount slot on the emotimo and run it over a d-tap to ursa 4 pin cable. I could even just tape the actual ursa power supply to the dana, with some slack in the line to account for dolly movement, and run from mains.

But even after that:
ursa 5.62lbs
orion 40mm 5.2lbs
arri lmb 4x5 (I could break it down to just the filter tray I guess )
plus baseplate and rails with the ring attachment for support (I haven't weighed but would anticipate another 2lbs) - it's just a lot of bulk for something like the Emotimo which is relatively fragile and needs a bit of care when it comes to balancing. The move is a repeated move so we can change the set and lighting several times so it needs to be precise and too much weight might make the belt slip over the course of the day).

I guess I could use the WC mod on an existing 6K G1 and carefully unscrew, though I don't have much in the way of rigging for them (so would likely spend something anyway here) and they obviously lack internal NDs (I want to minimise weight on the front with just one filter rather than stacking multiple).

Or just rent something else entirely fromhttps://origin-cine.com/inventory/cameras/ (probably a Gemini for the sake of size/form), lose the two extra days and have a chunk of change in my pocket at the end and not have to explain to my wife why we now own 5 cameras.

Ugh.

.

Yeah tricky. I think the 12K is a marked step above the 6K. Just on overall aesthetic and look. Also, 12K/8K res means it's easy to make re-framing adjustments if you need. Much less RS too. RS can greatly affect multi take integration in a scenario like this.

Sounds like your'e doing a "poor mans" moco?

I'd be trying to take the battery off board. A long cable or at least to the base of the head. And yes take the plastic sunshade off (it's four hex keys I think) and just have the filter holder if you only need the trays. Or do you even need filters? Id' not have a slide either, just mount direct. get a single rod mounted on top for a follow focus if you need it. (no handle)

Hard to know if you haven't tried it on the rig at that weight. It will be front heavy too.

JB

Sounds like your'e doing a "poor mans" moco?

Exactly.

Hard to know if you haven't tried it on the rig at that weight. It will be front heavy too.

JB

Yep, and the 6K Pro would be even heavier at the front unless I built it out at which stage it'd be the same weight as the ursa! I could use a long safety dovetail and bring a lighter package backwards to match the centre of gravity closer to the front.

Another benefit of the 6K Pro is the gyro in case I need to stabilise any tremor from the slide (though how well the takes will cut together after stabilisation is anyone's guess).

Appreciate your time - I'll sleep on it and see if I can jerryrig some weight onto a lens to match the Orion, then test on the emotimo.

Appreciate your time - I'll sleep on it and see if I can jerryrig some weight onto a lens to match the Orion, then test on the emotimo.

You could also ask the Emotimo people? They seem pretty responsive.

JB

Ordered a 6K Pro. Not like it's a bad camera that will suddenly stop being useable if a new one comes out next month. But at least I've got options for this coming shoot and can test well in advance to see what the emotimo is capable of weight/balance wise. Have picked up Set A of the Orions (40/65/100) as well which, when seen on an invoice next to those, makes the P6K Pro seem like pocket change.