BTM_Pix

This is a great ongoing project that is scanning all the major music and recording tech magazines from what I would describe as the golden era for your viewing and nostalgic pleasure. http://www.muzines.co.uk/ I used to devour - and occasionally contribute to - these magazines when I was involved in that industry and whilst I've used the archive for research, I cannot get any kind of feeling going for reading them on a laptop let alone a phone. Conversely, at the weekend, I was at a vintage fair and bought a bunch of football magazines (yes it was Shoot! for those of a certain age) from my youth and they just blow away reading on a Kindle. Similarly, despite being an avid reader on the Kindle, I'm now reading a whole lot more books in paperback. Its not just for the experience either as there has definitely been a slow boiling frog thing going on with Kindle pricing over the past few years, as there has been with all digital media once they have you in their clutches. A shoutout to one of the magazines featured in muzines, by the way, which is Sound On Sound who have managed to have both a very healthy online presence and yet still sit on the shelves of newsagents for coming up to forty years now. https://www.soundonsound.com/

Sadly not. The cards themselves were way too expensive for my wallet !

I will likely be over there in a couple of weeks for more sorting so I’ll dig them out and have a go for you. The last time I saw the HV20 it had a spinning 35mm adapter on it so that might be interesting to re-visit! The big challenge might be batteries and/or charger though for it but we’ll see.

For anyone with a BMMCC (and a 3D printer) looking for the Digital Bolex ergonomics this might be right up your street.

Apple have of course discontinued that adapter so thats a no go. Looks like the 2005 laptop it is then ! The alternative is to buy a dirt cheap 2009 iMac (which have firewire 800 ports and there are plenty that are available around £50) and use that with a £10 dv to Firewire 800 cable. Probably cheaper than the adapters anyway and you can watch the footage being digitised on a very nice screen. Similar vintage MacMinis are also another similarly priced but more compact option. Both types also have enough power to edit the footage on as well for the full retro package !

Considering some of the steam powered machines we used in the mid late 90s to transfer with then I'd guess that as long as it has a pulse (and ideally an external drive to write it too) then it should be fine. Which one is it specifically ? I'm writing this on an early 2015 MBA and it has a Thunderbolt 2 port so you might be in luck and only need three adapters. 1394DV to Firewire 400 > Firewire 400 to Firewire 800 > Firewire 800 to Thunderbolt 2

Guess which of these two things that I have somewhere in that storage unit ? Yes, thats right, both of them of course 😉

By the by, if it is in the UK then this is handy to keep about your person should the boys in blue try to push their luck/ignorance over what is and isn't legal. https://www.met.police.uk/advice/advice-and-information/ph/photography-advice#:~:text=Freedom to photograph and film,photographing incidents or police personnel.

It depends on the country. If you are doing it in the UK then this is a good resource. https://filmlondon.org.uk/resource/filming-people Germany is a different story though. https://allaboutberlin.com/guides/photography-laws-germany

Plus ALL dongles ever made. Its not too bad really but the price of the Apple adapters are obviously more than the price of the cameras.

A rough estimate of how many cables and adapters you're going to need

I have an alibi.

A comprehensive run through from the excellent CVP here. The comments section includes this compliment to their thoroughness which you may find interesting @Andrew Reid

I bought an FZ1000 based on that review ! And then eventually moved up to the like the FZ1000 but on steroids FZ2000 (which I won’t bore everyone with banging the drum about again but it is an absolute belter). However, as much as it has an edge everywhere else (NDs, v-LOG etc) the lens on the FZ2000 at its longest end isn’t quite as sharp as the FZ1000, albeit it that it has a longer reach.

I had the consumer version which was the DX100 (as opposed to the DVX100) I think it came out in 98 and it was a real leap forward from the single chip Sony that I’d been using. I *think* that I gave it to my niece but I wouldn’t rule out finding it lurking at the as yet unexplored area of the storage unit!

And for the other 0.1%, may I offer you a very warm welcome to the forum.

Someone should probably write a song about that. Think it would probably do OK.

A bit serendipitous after me discovering my long stored DVX100 last week and getting all "you know what, this thing is so much more appealing to go and shoot with" before wishing there was something similar with a modern spec comes Sony launching two new camcorders. They are basically exactly the same thing but with the Z200 having 12G SDI and being able to use the MXF container at a later firmware update (albeit one that is bizarrely listed as being June 2025) and tick every modern spec box including Fully variable electronic ND AI Autofocus S-Cinetone and S-Log3 20x optical zoom 10 bit 4:2:2 4K60 Active Mode IS 4 channel audio Dual card slots At $4K and $3.2K respectively, they aren't exactly great value propositions versus rolling your own solution with a larger sensor mirrorless body and lenses (although good luck finding a par focal 20x servo zoom lens for your mirrorless) and yet... There is a huge upside in the operational value of having everything integrated when it comes to actually picking it up and going to shoot with it, particularly that variable ND and the 24-480mm zoom (which becomes a lossless 24-720mm with the clear image zoom). Yes, yes, of course you have to look past the sensor size "only" being 1" but its versatility and ease of use for past paced situations means this is an enormously powerful all round camera for making money with.

Ah, I was thrown by you saying in your reply that he had an RP. Guessing a typo then and you meant 7D. Anyway, fair point if he only has EF-S lenses. No this one .

Anyway, I'm following my own guideline and dipping out of contributing to this thread as the OP has already asked exactly the same question in another thread he started and despite two pages of earnest advice he hasn't bothered his arse to even acknowledge the contributions. After two fucking years.

He says in the opening post he has a 7D so that would mean EF which are compatible. I mean, that doesn't preclude him having an RP that he is keeping quiet about. He was looking for an improvement on his 7D which the RP most certainly is and in the real world examples on DPReview's studio scene it looked to my eyes that in the key area of ISO that he was after it wasn't completely shamed noise wise against newer Canon bodies. Although if he has the hidden RP then he can expect it to be exactly the same as that one. Now you mention the Z6 though, thats not a bad option as the original is now in that price range and there are numerous adapters to mount the EF lenses from his 7D on. Though none as yet for the RF lenses that he may have for the RP that he may have.

If you’re wanting to stay with Canon then a used version of the largely forgotten EOS RP can be had for that budget. If you look at the DPReview studio comparison tool then you will see how much more high ISO performance you will get over the 7D but also it stands up well against more recent and expensive Canon full frame bodies. You don't specify wanting to use it for video but the quite wild crop of the EOS R and RP in 4K mode can easily be worked around with your legacy lenses by using a speed boosted version of an EF to RF adapter which are available from around £60 for the 7Artisans version.

I’m curious as to whether this leads to what might seem to be the logical conclusion of swapping up to the Micro Studio 4K G2. I say logical conclusion but barely anyone has from what I can tell.

I’ll swap you mine for that RED Motion Mount. I’ll throw in the hot pants to seal the deal.