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And through window 5 we have the Tilta Nucleus Nano integration to give you wireless focus control without gears, motors and additional power. They work in tandem so you can now have full aperture and focus control from a gimbal. More tomorrow. You can test it next week when we do our election special from Waterstones cafe!

I've seen this pop up in my YT feed a few times now, and this rig that Tom Antos just posted looks pretty sweet... His YT post (yes, these are a thing now) says:

I guess I have been through the try many many lenses thing and I had pretty much settled on my kit (Canon 17L tilt shift, FD 24 1.4L, FE 55 1.8. EF mount 150 2.8 macro, Adaptall 300 2.8 and a Canon EF 20-35 2.8 L) with the others remaining just being because i like "stuff". I have recently given away a few old lenses including some that were quite nice (Nikon 50 1.8 AF) and sold a few others so it now is pretty much if i buy it will i use it? This 28-80 would need to be pretty good for me to buy at any price (the old me before getting some really nice lenses would have got it in a heartbeat). These days my income is limited too which does not help.....I still wanna get things like a new Sony flash (sold my old one when my A7s broke but now I have another A7s I need one) and a FD-E and EF-E speedbooster (for my now back up NEX-3N)....I really want to see if the 17 tilt shift will work with a speedbooster FF too on the A7s. I like to try things people tell me I can not do but that ends up with me accumulating a lot of junk/stuff.

Oh, I understand now. EC Gen.4 is at the theoretical limit of smoothness, acting like a pass through of source material. This means that if the source material is of sufficient bit depth (for sparse regions), its like the conversion is transparent. This allows for Pre format stacking to support formats like HLG and Cine-D (which will see a major improvement with Gen4) - two V4 cubes stacked is identical to one summed, unless they are intricate 33x with bad interpolation (AE - bad, Premiere - good, Resolve with tetrahedral - very good). Nodes following thereafter may introduce artifacts of their own (the final space is only as clean as the most problematic link in the chain), but EC as yet doesn't cover creative looks etc. One may use the EC gradient chart to verify that each new grade step is not introducing problems in the wider space. @Mark Romero 2 Thank you - what camera do you use?

@kye that s my actual problem, since i want it to be rectilinear but also wide i used a Tokina 11-16 wide angle which was pretty cool, but it was version 1 which did not work well with the booster. @tweak thanks, so 8mm would be fine i think. I also thought about the Peleng since i know it well from the skateboarding days.

Here's a quick comp of a test i did a while back The lamp clips, 2nd row down 12/10 and 8 bit. Clipped waveform under that. So this is sensor clipping. The top row and the bottom row show highlight reconstruction. The DNGs have the non clipped highlights rebuilding clipped (Red) The 12 bit and 10 bit are basically identical, both linear format and that final stop of light in the DNG has tonnes of tonality before clip. The 8 bit with it's linearisation has much less latitude in that final stop (because it has a better distribution in the mids). The knock on effect is that, like the shadows which go green, the highlights go magenta. As @Lars Steenhoff mentions i do wonder if this is a bug/issue or just a side effect of the lack of tonality. But the take away is that 10 bit is the same a 8 in the shadows but does have a better highlight. cheers Paul

Some info from my old post - https://www.skateboard.com.au/article/20-93527-1/best-fisheye-setup-for-gh/ I have a GH5 and a Zcam E2 these days and an 8mm fisheye with the 0.64x speed booster gives a tiny amount of vignette, but very easy to crop out if desired. Regular speed booster 0.71x will give you no Vig.

If you're looking for very high performance sports photography gear but on a tightly constrained budget then it is hard to look past the Nikon D500. Especially as they're going for such attractive prices secondhand now. Plus the Nikon 85mm f1.8G is an exceptional buy as well, a very good lens for quite a low price indeed secondhand.

A fix is coming... https://www.macrumors.com/2019/12/06/apple-plans-fix-16-inch-macbook-pro-popping-sound/

You can also do that by choosing 172.8 degree shutter with 24p/23.98p.

I found a clip where I tested the stabilisation of the GoPro, it has my face in it, so you can see how the DCTL corrects the Protune clip. Protune Flat/Native: DCTL: Normal contrast/saturation adjustment in Davinci YRGB mode: As you can see the DCTL corrects for the yellow skintones, also the jacket of the lady in the background is supposed to be red, which is not what you get with normal contrast/saturation adjustments. I believe my DCTL/LUTs can really make your life easier when shooting GoPro Protune Flat/Native.

Looks beautiful but must weight a ton!

Really? I've bought a few lenses from Japanese sellers over the years and every single one of them has been junk and not as described. Obviously not all Japanese sellers are bad but I've been burned enough to be very wary. Yeah, I'm sure the 24mm f/2 and the 85mm 1.8 would be fine. A lot of people prefer the basic 50mm 1.4 over the 1.2 L, so I'm sure they're really good. I haven't used an FD lens that I hated. Luckily, I am finding that I should be able to intercut the FD 50mm 1.2 with my EF 28mm 1.8 in a pinch. Canon 28mm 1.8 Canon FD 50mm 1.2 L modified to EF... Other than a quick correction, both of these were SOOC with just the default Rec709 conversion in the Resolve Raw Panel. I think with a few contrast adjustments, I can get them to match pretty good. With that said, I'll probably be on the lookout for some nFD lenses and try to build a rag tag set over the next year or two. I've never owned an UWA for FF, so the 17mm f/4 could be an interesting lens. Yup!!! It's absolutely nuts! We've discussed a couple times how nice of a lens it is but I can't believe it's +$2000 nice... you can probably find a Super Speed for that money. You forgot to add my aging eyes and total disregard of skill, talent and craft.

Hardwired is always a good backup to have!

Sigma can’t go wrong as long as they thoughtful consider user feedback. The NVMe suggestion should be taken seriously. It makes perfect sense for the form factor and the cDNG uncompressed format they are offering. It’s clear they want RAW in this camera and they can only do uncompressed at the moment. Which means high bitrates and large files sizes. NVMe sticks tick all those boxes plus form factor and price per GB. I can see why Panasonic went with dual SD card slots on the S1H. Why didn’t sigma just go with XQD or Express and offer 12bit uncompressed internal?

I just experienced this myself. On a static face at 105mm f/4, face detection will rack all the way from infinity to macro. Damn lucky I was able to cut to the GH5S shot in the edit while I switched over to manual! I tried this once on a pro job, and it damn sure was my last! I need to do some more testing, like changing f/4 to f/8 (to mimic the DOF of my GH5S at f/4) and see how it fares. But really, it just is quite unusable! I bitched on the Facebook forums, and Nick Driftwood said I needed to use +2 Speed and +2 Sensitivity. Well guess what, that was what I was using! ?