The entire article – like so much of the rubbish published by CineD – is so full of drooling fantasy that to debunk all the disinformation contained in the piece would take all day, so we’re just going to focus on a couple of the most egregious distortions of fact.
To begin with, the author fails to furnish a shred of evidence for the outlandish claim that anyone abandoned anything for the Lumix S series, let alone Sony shooters. A glance at CIPA figures and listings of bestselling mirrorless cameras at leading retailers quickly puts that fairy tale to rest.
The a7 III, which the author neglects to even mention, reigned supreme for several years and continues to be one of the most successful full frame mirrorless cameras of all time. (the a7 III has been the number one selling full-frame ILC for four years in a row).Among the top thirty bestselling mirrorless cameras over at N. America’s largest independent electronics retailer, there isn’t a single L-mount camera to be found – not even after narrowing our search down to full frame mirrorless cameras! The truth is, Canon and Sony share 70% of the camera market while Panasonic accounts for a mere 4% of camera shipments worldwide. Additionally, the author fails to mention that since the a7s III was released, it has remained one of the bestselling video-centric mirrorless cameras.
And just who is this ‘Hollywood stalwart’ the author is referring to?
Concerning lenses, E-mount has been offered by cinema lens manufacturers for years now, including SLR Magic, Zeiss, Fujinon, Schneider, Rokinon, Sigma, Tokina, DZOFilm and Meike. In fact, a search over at B&H Photo yields a couple hundred E-mount cine lenses compared to a mere dozen L-mount lenses. Meanwhile, there are nearly thirty RF-mount cinema lenses – indisputably a far more popular mount among photographers than the L-mount. Isn’t it curious that the author intentionally conceals from readers the fact that E-mount is far and away the most universal mirrorless mount?
If by tsunami, the author is referring to a fantasy in which the film industry is suddenly overwhelmed with demand for L-mount lenses, we’re sorry to have to disappoint him. For one thing, two shows hardly constitute a tsunami. If we turn our attention to the world’s most prestigious film festivals – Cannes, Venice, Sundance, et. al. – Panasonic cameras barely warrant a footnote. Furthermore, of the fifty-two feature films that premiered at Cannes 2021, Leitz came in dead last in a field comprising Cooke, Angenieux, Zeiss, Canon, Arri and Panavision – and adding the L-mount to their arsenal is not about to change that. Come to think of it, to the best of our knowledge, none of the mirrorless mounts by Canon, Nikon, Panasonic, Sony or Fuji are regularly used on high-end productions. Just the same, if we had to bet on any of them, we’d have to wager on RF, if only because RED has thrown its considerable weight behind Canon’s mount with the hugely popular Komodo and V-Raptor cinema cameras.
The Daejeon Chronicles 
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