Tim Sewell

In recording studios they have monitors that try to mimic the way the recording will sound through a clapped-out transistor radio on the kitchen window sill. Maybe we should all have a TV with the default setup to help grade in a way that would give our desired output on such a device.

That's fine - but you're going to need to spend a *lot* more than 2000.

Cracking stuff Panny!

Yup - same here with my VL300. I also have a SL200 for which I bought after-market fans to retrofit. They're still in the packaging.

To be fair, film kinda relies on you nailing exposure and such too.

The problem with film cameras is the rapidly dwindling number of people who know how to repair them and the scarcity of spare parts. I have a lovely, almost mint, Olympus OM-2 SP (for may years my dream camera). Unfortunately it has a power issue that is relatively well-known but very fiddly, more fiddly than I want to attempt, to fix. I've been looking for a year for a company that can do it for me at a reasonable price, but to no avail. I also have a Canon 1V - once their top-of-the-range pro model - that I picked up non-working for £50. It turned out that all it needed was the batter contacts cleaning and it worked perfectly. A great bargain for me, but with the knowledge that if anything else ever goes wrong with it it's unlikely I'll be able to get it repaired. So my point, laboured as it is, is that while there might be a good supply of cameras (although for the desirable ones that comes at some eye-watering prices sometimes) they're mostly one-shot deals as the expertise that supported the market is disappearing as people retire/die.

Tim pool is a cynical hack who'll espouse or promote any batshit idea that he thinks will get him clicks. I used to follow him on Twitter under the heading of 'seeing what other views are' and saw his videos attempting to incite anti-immigrant feeling in Sweden, under the guise of 'news-gathering'. He's a money and attention whore and best ignored. He is in no way a credible journalist.

I was surprised, to put it mildly. I had been hoping for just push AF (the fly-by-wire on the 17-55 is miserable), but I fixed it to the camera - with the button pushed during mounting to activate Advanced Mode) and after an hour or so of fiddling around (the documentation says something about it taking some time to calibrate itself) it just, kind of, *started* doing C-AF. Don't get me wrong, AF in general isn't great on the FS5 (don't know if the Mkii is any better) but it's usable in some circumstances and, with this lens at least, slightly faster than with my one and only native lens. Plus it has the locking EF mount, which is excellent.

Hopefully it will be. I just bought the Metabones Cine Smart adapter, mainly so I can use my EF-S 17-55 2.8 on my FS5 Mk1. To my surprise, it actually performs better than my native 16-70 f4 lens and, once it had finished calibrating, even offers face detect AF. My guess is that if it works on this camera it will work on the FX6, even if Metabones have to issue a firmware update.

I have noticed that my FS5 creates JPEG thumbnails for every clip, but the clips are there as well. Are you using dual cards? Another thing I've noticed is that without my having consciously chosen it, the camera will put my 24p clips on the A card, and my 60p clips on the B card, or vice versa, when I was expecting exactly the same clips on both cards.

Rich man's toy.

Nice B-roll bro'.

EditReady 2 on Mac should do it - slowly. https://www.divergentmedia.com/editready/support

Even more flabbergasted - I mistakenly looked at the price of the S5 to compare. This new one is considerably *more* expensive than the GH5S.

This could have been interesting but: 1. Too expensive. It's around the same price as the GH5S, yet has no screen, no evf, no battery and - presumably - no strap or charger. So WTF, Panasonic - should be cheaper, if anything? 2. The reason we always get for the lack of internal NDs in hybrid cameras is a lack of space. No NDs in this - why?

I picked up a FS5 (with the raw upgrade, which wasn't even mentioned in the ad) for £1200 a few weeks ago - that's cheaper than I got the FS700 for back in 2016.

I like the new theme, although the dark version is a little too dark for my eyes! One thing I've noticed, both with the old theme and the new one, is that on my device (iPhone XS in portrait) the posts listing is only covering around 3/4 of the viewport width horizontally. It'll be an error in the responsive media queries in the CSS - don't know if that's something that's worth having a look at - it's not a showstopper, but is slightly off.

Love my Super Taks - all I'm gonna say.

Loving this on my FS5 mki (I haven't actually shot anything in 4K yet as I like the 10bit 4:2:2 FHD so much) - mapped to the zoom rocker you can actually get a smooth zoom on the rare occasions you might want to use one.

I think Canon and Fuji make their own sensors don’t they? And the DPAF on Canon cameras is all their own work (and still much better than Sony’s).

I try to do this at least once a week. The feeling of relaxation that comes over me as I wander around shooting a little bit of this and a little bit of that is a fantastic antidote to the week's stress.

He wants to experiment with underwater stuff, so it does need to be an action cam, really. Drums! That one’s coming down the road at us as his 5yr old brother is mad about them.

My middle child, 11yrs, has always like taking photographs - and he has a very good eye! Recently he's watched some Jesse Driftwood videos about transitions and other editing stuff, plus he's gotten into TikTok and the outcome is that he's downloaded the Resolve free version and is asking for an action camera for Christmas. I'm naturally inclined to encourage this new direction (although you would have thought I'd have learnt my lesson after the Great Electric Guitar Debacle). Any road up. I'm sufficiently knowledgeable about the action cam scene to know that GoPro these days is more marketing than substance, so - given my budget of GBP200 - if it's the choice between a couple-of-generations-old GP model or a more up-to-date off-brand camera that ticks the necessary boxes I'd happily go with the latter. Any suggestions?

It’s probably, as @kye alludes, down to the pandemic. Most potential GH6 customers are on their uppers with, currently, no realistic prospect of getting up off them. A release now, even if it’s the second coming of M43, is going to see mediocre sales. Then, once the small-biz and well-heeled enthusiast market is in the buying mood once again who knows what advances the competition has ready to drop?

"The mid- to low-end cameras pole-vaulted, from 1/3" to FF35. This is because at 1/3" they had no bokeh, and FF35 gave them bokeh. But I wonder how well they would have been satisfied with a bunch of S16 cameras, seriously done. The jump to FF35 is an artifact of history: "Oh, we're already making FF35 for still photographers, so we'll just add video to them." Someone doing a clean-sheet design, what would they have come up with as the ideal sensor size?" From user combatentropy over at DVX, where they are having a similar discussion. http://www.dvxuser.com/V6/showthread.php?368299-Putting-lenses-into-perspective