BTM_Pix

It depends on the range really. A 24-70mm is definitely 3-4 primes for me but something like the Canon 35-350mm is a different animal. Leica used to do these two lenses They are referred to as MATE (Medium Angle Tri-Elmar) and WATE (Wide Angle Tri-Elmar) and are “zoom” lenses with fixed focal length stops. The MATE is stepped at 28-35-50mm and the WATE at 16-18-21mm which on their intended use (Rangefinders) were used with a specific ad on viewfinder that was so clunky it is known as the Frankenfinder. They are not fast but are compact and have focal length stops that make sense so are very much a bag of primes (and very much more useful adapted on to an EVF body). Some Panasonic fixed lens cameras (LX10 and LX100 spring to mind) emulate this by allowing you to use the zoom ring to increment to fixed focal lengths and it is a good feature especially on those with return to position on power on functionality. I *think* some of the Sony RX100 do this as well.

It lets them hit attractive spec points like 3x optical zoom and 12x zoom when using the digital shenanigans. Although the 3x optical zoom is actually 3x switch as the intermediate points are digital and if you are in D-Log2 then it’s a hard switch as there is no digital zoom. I think 45mm equivalent would’ve been better from a practical point of view but 2.25x optical zoom and 9x total zoom doesn’t look as good in the marketing. Even though 20-190mm equivalent is still not too shabby ! A good practical look at the challenges around shooting with it in this video.

This is the wide angle adapter. Wouldn’t take much of a leap for them to have a wide angle adapter in the unpopulated area where the tele lens sits behind. Or make one with removable magnetic tc/wa adapter set to choose which one you want (or not) in front of which lens. I expect Ulanzi will have such a set out within the month 😂

The niggle with the P4P comes with the tele lens. The first being that 60mm equivalent might actually be a bit too tight for some purposes. It has an alluring shallow depth of field that vloggers will be drawn to using for filming themselves but it’s just that too tight to be held at a distance that will give a decent framing. The second of course is that it can’t use the new D-Log2 as it’s got a different sensor which means another step in post in swapping in correction LUTs on shots that use it. This is compounded by the utterly ridiculous limitation that you have to stop recording and manually change profiles. So if you are on the 20mm enjoying your bonkers 17 stops of dynamic range you can’t zoom through to get a tighter shot without stopping recording and selecting the lower profile. The answer is to always stick in the lower profile )or even a standard non-LOG one) but DJI really need to have a firmware update to allow a way of automatically transitioning if you are using DLog-2. It will still require the recording being stopped (automatically though if they implement it) and the extra step in post of making sure you have the correct LUT for each type of shot but it avoids the titting about with the small touch screen to change profiles, something which will be become very old very quickly. For me, I’d keep it in the standard Dlog profile for general use and treat the D-Log2 as more of a special case when I need more stops than a church organ. The lens though is not something that can be solved with a firmware update and for some people (not me as I am as averse to my own face as other onlookers are) it will be an issue when they start using it in earnest.

The LX10/LX15 is a solid little camera. The big differentiator (aside from price) over the Sony 1” cameras is the f1.4 aperture at the wide end. That comes with a couple of caveats in that it doesn’t stay f1.4 very far into the range and shooting in 4K there is a bit of a crop. It takes my cinelike-D hack and I also put a magnetic filter thread on mine that enables you to put ND on it and/or in my case a Sony 2x TC that you can quickly pop on and off to extend the range. These are some grabs from mine. The top panel is lens at it’s widest, the middle is maximum zoom and bottom is maximum zoom with the TC on. If you want to have one with a natural long zoom range on it then their other 1” from the time the TZ100 has a 10x optical zoom. Can also take the cinelile-d hack.

Well, as expected, it’s an incremental release that reflects developments of the intervening nine years. Not listed there but included is S-Cinetone, Slog-3 and custom user LUTs. Not much that it doesn’t have really. More details here https://www.bhphotovideo.com/c/product/1985961-REG/sony_rx10_v_digital_camera.html Price is £2K which in the overall scheme of things is about what I expected because previous versions weren’t particularly cheap. Might not be for a camera for everyone but for someone it could be the everything camera.

Well it’s been a while but, as they say in their trailer for the launch, the wait for a refreshed RX10 is almost over. A lot has changed in the nine years since the last version so it should have a significant bump in features but, equally, it will likely get a significant bump in price (from an already pricey base point) that we’ve seen everywhere else in that intervening period. It certainly has the potential to be more than enough camera for more than enough people otherwise they wouldn’t bother bringing a new version out but equally it could also just be a grab for them. The internal ND of the Panasonic FZ2000/2500 gave it the edge for me over the RX10 so that’s one area where Sony might have come back at it but, then again, Panasonic show little sign of refreshing the FZ2000/2500 so there may be no need. All in all it might be something interesting or a head scratcher.

The Guerilla Film Makers series of guides is getting on a bit but offers some solid insights into zero budget that are still very relevant. https://guerillafilm.com/books/

Elements of The French Connection and The Day Of The Jackal (original version) were shot were shot guerrilla style without permission. Escape From Tomorrowland was shot completely surreptitiously inside Disney theme parks. Of course Chubby Rain* is a classic of the genre where even its star Kit Ramsey was unaware a movie was being made around him. Chubby Rain* also established the principle that without deduction, profit percentage, deferment, ten percent of the nut then, for cash, every movie costs $2,184 to make. * Obviously a bit tongue in cheek but Bowfinger is a great movie that does offer the proposition that if you want to do it then do it.

It allows you to operate the camera fully remotely so it is fundamentally the same thing. To be honest, if I was going to use such a thing then having a compact palmable remote is more appealing than walking around looking like I’m holding a crucifix like the Luna option. But it’s one more thing to carry so there is that. The head tracker is very smart and for people doing instructional videos it is excellent - even if it does look like you are carrying ET in a papoose when you are out and about. I guess the drawback is that it is excellent for seeing what you are seeing but falls down as a concept when doing the other 50-75% of what vloggers do which is getting their own face in reacting to what they are seeing. One issue might be trying to be discreet as you have to look at someone and ET sat there swivelling to do the same does draw more attention and gives off a mobile surveillance unit vibe. It such an eye catching feature though that I would expect DJI to be emulating it soon.

That’ll have been Arsenal fans thinking they were going to win the Champions League. There was a similar book in the early 80s by Douglas Adams and John Lloyd called “The Meaning Of Liff” which used the names of places and assigned them with a definition of a new word. AITH (n.) The single bristle that sticks out sideways on a cheap paintbrush. BANFF Pertaining to, or descriptive of, that kind of facial expression which is impossible to achieve except when having a passport photograph taken. ELY (n.) The first, tiniest inkling you get that something, somewhere, has gone teribly wrong. etc. I have just got a new passport which has a terrible Banff that I will now have to endure for ten years.

I think a lot of people feel the world was a brighter and more optimistic place in the 90s and 2000s so it’s a way of putting their current selves back into that time. Easy to write that off simply as nostalgia but I think at this present time it’s actually a deeper thing as a coping mechanism.

I’d have urged caution in buying the Luna before DJI released the Pro version of the Pocket 4 anyway but now the P4P has been officially released in China then I would definitely hold out for some comparisons. One of the major USPs of the Luna is the excellent removeable remote screen but it seems DJI have an interesting solution with a small external remote for the P4P. Its a bit of a swings and roundabout in that it is more convenient with the Luna but it’s equally true that if you drop the remote then it’s game over until you can locate a new one. Insta threw everyone a curveball (shills included) by releasing the Luna far earlier than expected and it’s worth considering that this was in part motivated by them discovering their major USP was about to be countered with the P4P solution. Oh and the 17 stops of dynamic range of the P4P is interesting too.

Looks like someone has made the ultimate A/B tool for your matching experiments. https://www.cineluxcinematools.com/sixteen

Well it looks like they really need these new models to be a hit. Full story here… https://www.redsharknews.com/gopro-8k-going-concern-warning

Your mileage may vary for your particular speed booster but if you look at the options for MFT on MetaBones versions they are transparent about which lenses may have restrictions with their products. For Nikon lenses, for example, there are limitations for their modern E range lenses (as distinct from their older lenses for their E Series cameras). This is a typical set of available options for the manual only lenses. Fungus optional. https://www.ebay.co.uk/b/bn_16098984 For completeness, here is a rated list of fast Nikon AF lenses. https://phillipreeve.net/blog/the-rated-list-of-the-fast-nikon-af-s-f-1-4-f-1-8-f-2-0-f-mount-primes/ The EF Art ones are excellent but are chunky fuckers.

As you aren’t bothered about the AF aspect then Nikon F mount lenses adapt easily to EF so you could open up that path. The issue is that with the f1.4 requirement you’re looking at fairly pricey options in both vintage and more modern versions. Similarly, M42 and C/Y to EF adapters open up other paths for you. To be honest though, in my view, the path of least resistance to get fast manual focus glass on to MFT cameras economically probably lies in native MFT lenses from 7Artisans and TTArtisans. More size appropriate for what you have in mind for them too.

There are actually good answers to the 10x question for each FF mount. Sigma 20-200mm is an answer for E mount and L mount. Sony has their own 24-240mm too. Nikon have a 10x near miss with their 24-200mm and an over the top 14.2x 28-400mm. Canon has their 24-240mm too and if you don’t mind mimicking trombone playing while zooming then their old 35-350mm EF is a great bargain. I actually have one of the latter and the range is great.

Yeah the Fp stuff was my gateway to him 😂

I thought the title was slightly clickbaity but I’m glad I clicked on this one. There are a lot of “Arri look on your xyz camera” videos but I think this is a far more interesting take on it. The question is are you doomed to never match it because it is baked in (not least the IR cut filter) and it can’t be reverse engineered in post? Can anyone who has bought the Arri license for their supported Panasonic camera chime in with their thoughts?

I originally read the title as “This Guy Makes Any Camera Shite” and thought my cloud account had been hacked. I enjoy watching Brandon Li’s stuff, particularly the self shooting ones. Self shooting as in shooting on your own as though someone else is shooting rather than self shooting in the vlogging context. Tripods basically.

I’ve also had an email this week trying to get me to rush down to London for the MPTS broadcast show lest I miss their headline speaker…..erm…. Michael Gove The irony/shamefulness of having him as an expert speaker when his most famous contribution to political discourse in the UK was this.

It’s the Frank Sinatra of camera review retirements then.

Amazing spec really. Looks like it could be my forever camera….

Turns out I didn’t dream it. https://www.shutterdial.com However, what I did dream )or maybe they’ve removed the function) was that you could search by specific camera on addition to the focal length/aperture.