Ok, probably not, but I will need to be persuaded. My need for new stills cameras is really more of the same, the G9 Mk1 and EM1x being favourites. Both do more than I need, so as good condition second hand ones come up, I will jump-to a point as they are also reliable.
In video, there is also little I need past 4k/10 bit/422 inV-log, ProRes or B-Raw which several can handle, often down sampled to 1080 anyway. Newer cameras would only add versatility in internal recording and memory options, not quality.
I remembered this today, a clip I meant to get back to and forgot;
https://www.youtube.com/watch?v=Wyj4d6fQ2U8
So, I have cameras, plenty of cameras and they do lots of cool things, but what do have in lenses?
Set 1
DZO Vespid 25 and 40mm with MFT and L-mount adapters and an L-mount IRIX 150 macro. These are my premium cine lenses covering 25-80mm and 150-225 in various formats. The Vespids walk the fine line between quality and character, the IRIX is just clean perfection with reach and genuine macro.
This image took my breath away while testing. The 40mm shot as an 80mm on MFT.
Set 2
Sirui anamorphic 2x 24‘s in MFT and a 50mm in L-mount. The most “cinematic” lenses I have, anamorphic and still sharp. I rarely think of these, but to be honest, every time I use them I get a buzz. The matching 24’s were a deliberate choice to match a pair of lenses, the 50 was a whim that paid off and bought my L-mount cameras into play with a longer lens.
Anamorphic is not an every job option, but when you do commit, it adds so very much more.
Set 3
35, 50 and 85mm L-Mount Panasonic S-Primes , a Sigma 28-70 as well as my 9, 8-18 and 12-60 Pana-Leica and 12-40, 17 and 45mm Olympus MFT lenses. My AF and hybrid set, all very capable with stable and clean optics (but different looks). I use these more than I probably should, because they are just so convenient. I have no doubt I could do most of my commercial work with them, but I am also glad I have options.
Stills glass has its place. The Sigma 28-70 is possibly my most under used video lens.
Set 4
MFT mount Hope 25 and 50mm, and Vision 12mm. My backup clean MFT cine lenses for more stable, less interesting performance. These three are all very stable, very consistent and handle nasties well. Whenever I want that cleaner, safer option especially with flare, I go this way over the Vespids.
In various tests compared to the Vespids, the Hope lenses performed well, sometimes even better.
Set 5
L-Mount Spectrum 35 and 50mm, my backup full frame cine lenses. These are more about character than the Hope glass. I see little space for these now, but will hang on to them rather than sell them cheap and regret it. The 50 is a clean and sharp lens with a cool lean, the 35 is more of a “dirty” and warm character lens.
Hard to discount these lenses, but the Vespids are a safer bet.
Set 6
My legacy glass including a F series 25mm half frame Olympus, Nikkor 28 f2.8, Pentax 50 f1.4 and possibly a Zeiss 85 f2.8, but that is a loaner for now. I also consider my Olympus MFT lenses part of this set as they render a very organic, timeless look.
50 year old Nikkor and other glass still gets it done. There is an undeniable look to older glass.
Character(s), safe bets, some creatives, some spectacular and versatility.
Do any stand out?
The Spectrum 50, Vespid 40, Hope 25, Sirui 50 and 35 Panasonic S-Prime are all favourites of their sets. If there could be only one, the 40mm Vespid would be it (with 2 adapters over 4 formats for a 40/60/70/80 range)