BTM_Pix

I've quoted this before during the G9ii saga but, yes, its right there on the front page of the Micro Four Thirds association official website. That was the point at which they changed from being "Alternative Music" to "An Alternative To Similar Types Of Music". They went from being The Smiths to being Coldplay basically. He is absolutely churning the content out at the moment for some reason. If you went for this version of the Zfc you could live in both an under $1500 world and a Barbie world simultaneously.

Primarily because of the grip so if you add one to the Fp (and most people do) then it narrows the gap. If you add the EVF into the mix then the optional one for the Fp (which I love by the way) makes the a6700 the winner. But has IBIS, internal 10 bit, s-cinetone, AF that is on another level to it, tilt screen, gyro data for post stabilisation etc. And maybe even AF of M mount lenses 😀 Again, its not an either or situation so for some people the Fp will be a better pick because it is smaller, has RAW versus compressed, has a bigger sensor and they might not care about AF or stabilisation at all. I am that someone a lot of the time with the Fp but, on balance, I think I'd be taking the a6700 as an all rounder in a lot of situations over it if I had one. As @MrSMW mentions, the A7Cii is then also in the mix if you want the option of both FF but also APS-C for compactness.

Its not compulsory 😄 Or even either or. I was just making the point that M mount is a route for keeping lens sizes compact and in proportion for both small bodies but also in general for those occasions where you want to remain discrete. For everything else or all other times or somewhere in between you can use the E mount with native lenses. With the a6700 being APS-C then this gives you access to smaller AF lenses than FF. If you use the Sigma ones then they are exactly the same size as the MFT ones so you gain the bigger sensor and the better balance as the camera has a bit more heft and of course the step change in AF and internal 10 bit. Admittedly, it might go on fire but for those first ten minutes it will be a dream. Well, here is interesting and an object lesson in not taking everything says on the internet at face value ! This is the Nikon version and as the Sony version also has a mark 2 version then I had presumed that this would be included on that one too. However, it doesn't explicitly state that it does or it doesn't so it would have to be confirmed by someone who has the new version and if it didn't at launch has it been addressed with firmware. So, unless someone chimes in who actually owns a v2, I'd take it that the Sony version likely doesn't have continuous AF-C in video mode. It certainly does in stills mode but thats moot for most people (I use the original version with an A7Rii purely for stills as a (very) poor mans Leica M10 with AF).

Panasonic showed their hand with the G9ii about how they view the new generation of MFT cameras really. Depending on your point of view its either an S5ii with a tiny sensor or a G7 in a massive overcoat but the net result is the same in that its just not size appropriate to where everyone wants to see MFT. So the "new" GX85 will not be coming from Panasonic. But it is there in cameras like the a6700 or even the Nikon Z30 both of which have excellent fast primes from Sigma to balance the body size with the lens size but more importantly can shrink that further by deploying the secret weapon of the TechArt adapters to open up the M mount lenses. Even on the Fp, using M mounts like the 35mm f2 7Artisans I have here produce very comparable total package sizes than if you were using MFT lenses with similar speed. The huge difference with using E or Z mount cameras is that with the TechArt you get full AF of these MF M mount lenses as well as being able to do the same trick with an intermediate adapter for other compact lenses such as the Nikon Series E stuff. With the e mount you can also use the wafer thin MFT to E mount adapter to mount any existing MF MFT lenses on to it like Meike cine primes etc. If I was looking for an upgrade to a GX85 then I'd be giving the a6700 with M mount a serious look.

I suspect sailboat man and plane man likely have much the same "its all relative" outlook about their purchases when they consider that you've paid nearly $100K for a telly. More power to your elbow for being in the position to do so and buying whatever you want though, as you can't take it with you. George Best had the right idea.

This also happened to me on here by the way. Someone was asking about the Contax Zeiss 35-70mm f3.4 and I was lamenting the fact that I'd gone for the wrong option short zoom and should have bought that one and saying that I didn't think anyone on here had one. . Meanwhile over in the lens thread a good 15 months earlier, there I am posting samples from my, erm, Contax Zeiss 35-70mm f3.4. Its a disease.

I will be using the Sony VPL-GTZ380 in the presentation when pleading my case to the wife regarding the €2100 LG Cinebeam that I've got my eye on. "Listen, it could be a lot worse love".

My bank account would vouch that my second Sigma DP3m is testament to the latter.

As I'm quite interested in getting a 4K laser projector, that Sony VPL-GTZ380 mentioned earlier piqued my interest so I might have a look into that as it could.....hang on...let me google it.....christ on a fucking bike. I mean, seriously, genuinely well played for being able to afford to buy that but christ on a fucking bike.

That could be the motto of this forum.

>EDIT Wrong thread.

It does both zoom and focus position.

A couple of things the LX10 has in its favour are the integral automatic slide away lens cap and the lens resume option. With the latter enabled, when you power on the camera it will automatically return to the last used focal length so its like having a prime attached in that respect. The caveat I suppose is that if you have it set to a longer focal length for your last shot then that might not what you want to happen on power up but its a selectable option anyway. The speed of operation of the camera lens wise is also helped by the dedicated aperture ring and the control ring which defaults to being the zoom barrel but auto switches to be a focus ring when you have it in manual focus. It can also take my Cinelike D/V hack as well which is a bonus if you want to match it to other Lumix cameras. Beware of the crop when in 4K though (36mm vs 25mm equivalent) and also that the full 5 axis stabilisation only works in HD mode so in 4K you are "limited" to OIS. As per previous discussions about the LX10, it accommodates ND filters and WA/TC adapters easily via an affixable filter thread adapter. If you are looking to trade reach and some functionality for a slower lens then the 10x Zoom version of the same camera is called the TZ100. Doesn't get much discussion but its an option for travel when the standard zoom range of the LX10 might be a bit too limiting. It takes the Cinelike D/V hack too.

Quite fascinating, not to mention revealing, videos on how Sigma manufacture their lenses and FP/FP-L cameras.

Getting hold of a BM Shuttle on loan from someone would be the way forward as it does both uncompressed and ProRes so you could evaluate the difference between the two formats and whether any gain would be worth the disk space and hassle over something like say a used ProRes only option such as a Ninja Star. If you go for the BM Shuttle then there were cages available for it at the time but questionable whether you could find one now ten years on. https://www.newsshooter.com/2013/07/22/review-geardear-cage-for-the-blackmagic-design-hyperdeck-shuttle/

Make sure you get one that can record non-compressed up to 84958p as you wouldn't want to be tied to any outdated format. Also ensure it adds LOL to the metadata at the end of each recording.

When the UK was in the EU, it used 25p too. Following the overwhelming 4% landslide will of the people advisory vote to leave the shackles of the worlds largest trading bloc that also happens to be under 30 miles away, the sovereign UK was able to make its own rules. Following Brexit, the pound devalued greatly against the dollar and Euro so that 25p was now only worth 23p. Free from the Brussels overlords and WEF puppet masters and defying economic reality, the UK therefore adopted 23p as its new standard. However, there is a strong movement to exert the virtues of Brexit by exceeding anything that those banana straightened obsessives in the EU can do by going past their paltry 25p by a further 20%. This movement is championed by an MP called Lee Anderson, deputy chairman of the Tory party, who is so identified with the quest that he is now known nationally as “30p Lee”. You should google 30p Lee as he’s a big fan of alternative facts as well.

Just when you thought the Z mount could not get any more adaptable, along comes an adapter to let you mount Fuji X lenses on your Z mount camera with full AF, aperture and OIS functionality. Price is around $299 and available on back order / pre-order from Amazon. APS-C only of course. https://www.amazon.co.uk/BORYOZA-Adapter-Fujifilm-Micro-Z-Mount/dp/B0CPBRTMTX

You asked about two specific cinema cameras - neither of which has stills capability - so what worthwhile opinion was there to influence when you weren't revealing 70% of the requirement ? You have absolutely wasted the time of every well meaning person in this thread that was giving you very considered opinions not only on the two cameras that you originally requested a comparison of but also on many different similar alternatives that you might like to consider. You then compounded this by encouraging more input on different types of camera that you knew would only meet 30% of your needs and would therefore not be suitable. There were two points at which you should have mentioned that 70% of what you wanted this camera for wouldn't be covered by a cinema camera - the first time was in the original post and the second time was when anyone mentioned any other cinema camera that doesn't do stills. If you had mentioned the stills requirement then you would have got responses for at least these three high end hybrids. Sony a1 Nikon Z8/9 Fujifilm GFX100/II The first two of these you did get recommendations for (the a1 was the very first reply) and interestingly didn't respond to at all when they are the only two cameras that have been mentioned in the thread that fulfil what you knew that you needed. And, lo and behold, the last one is the one you've now bought. I even said in my recommendation of the Z8/Z9 that "Naturally, if you do decide to shoot the odd still with it then it rinses every cinema camera out there at that particular task". Did you not think that might have been an opportune moment to say "actually, I have to admit that I do need a still capability" instead of letting the debate go on a few more pages with people blissfully unaware they were wasting their time on the finer points of cinema cameras that would in no way be able to meet your requirements ? If you had come to realise that it was a hybrid that you needed throughout the course of the discussion in the thread then thats one thing but to know that from the get go and not state it then or at any point subsequently is another thing entirely. I hope you enjoy your GFX100II and it will certainly service the real needs that you have now revealed that you actually have pretty well but you owe an apology to everyone on this thread that you have clearly abused the goodwill of.

I'll give you a proper answer later next week when I've got a bit more time. There might even be some images involved.

Its secondary to its stills use and hence there isn't that much example footage from it, but the Q3 has 8K video. Which is the expected nod to it arriving in an arguably overdue refresh of the S1 range in the not too distant future. My guess is that is what this gathering is for rather than a GH7. Unless its the bi-annual meeting of the Shocked Face Clickbaiters Association.

Not sure what you mean here but in my post I was just gently pointing out that you had posted a link to a FedEx package tracking page rather than a link to what I presume you meant to of some footage from an Ursa12K ?

They shot a parcel tracking web page in 12K ? Thats some resolution overkill right there.

I'm not into conspiracy theories anymore really (for which I blame the chemtrails and 5G masts activating the molecular mind control devices implanted in my brain by Bill Gates through the COVID vaccine) but if I were then I'd consider whether there was any external influence to this. The Hong Kong of today is very much not the same carefree Hong Kong that is depicted in those videos so, whilst to its viewers these videos act as a time capsule of more innocent times of photography gear "reviews", there will be others viewing it as a time capsule of a far more liberal time that they would rather suppress. Of course, the videos are also a body of work for one of the presenters who fled Hong Kong for political reasons as he discusses here. The broader issue highlighted by these videos being removed from YouTube, in common with content on other streaming services, is that if you value a piece of work then get a physical copy of it. With that, I'm off to download and burn a DVD compilation of Max Yuryev's weightlifting style auto focus tests.