BTM_Pix

They don't get a lot of love compared to the other brands and I've got absolutely no frame of reference to compare them against those myself. All I can say is that for me they are very smooth, pretty fast, imperceivable breathing, massive focus throw, heavy as fuck and the very antithesis of stealthy. So, all in all, a PL lens I was under the impression that they were re-housed Sigmas (the first RED zoom and the 300mm prime certainly are) but following this thread they appear to be Tamron and could possibly have had a smaller form factor if Mr. SHOCK AWE CAPITAL LETTERS STORM FORCE ALPHA MALE BIG TITANIUM SHIT WITH FINS ON hadn't have requested otherwise. http://www.cinematography.com/index.php?showtopic=75054 EDIT>>> FORGOT TO ADD LINK !! http://www.cinematography.com/index.php?showtopic=75054

25mm RED Pro Prime

Seems like a decent list to me !

A quick look at it in action from the final testing this week. This is it being used in the reduced interface mode (selectable on startup) which gives you the option to run without focus or zoom individually. The reduced mode is particularly useful for running on really small devices such as the Pixi 4 phone here whose reduced footprint makes them ideal for rail mounting for hands off side operation/monitoring of the camera settings.

Its the gateway aspect of the E mount that appeals. Leaving aside the additional similar options the E mount range offers to Nikon users, having access to the Batis range no longer means you have to get a Sony body to have Zeiss lenses with AF. The adapter itself is only a few mm deep anyway so if you put the EF lens adapter on it its a negligible difference between putting Nikon's FTZ adapter on the camera really. Being able to also use the TechArt PRO opens up a lot of possibilities for fast, affordable and very compact full frame M mount lenses from Voigtlander and 7Artisans (28mm f1.4 and 50mm f1.1 are less than £650 for the PAIR!) and of course gives them AF, again for similar overall footprint than the FTZ adapter. So whilst there is obviously a ton of wonderful Nikon glass out there it is worth bearing in mind that only 4 Nikon lenses will go directly on these cameras without an adapter and it is going to take them a long time before the majority of their most renowned ones are available in the native mount. Funnily enough, despite being so heavily invested in the Nikon system, its actually only the availability of this adapter thats slightly enthused me about buying one of the Z series !

You won't find it in the stock profiles, but if you would like to use Cinelike D and Cinelike V the instructions on how to enable it are here. Once you have enabled it, use the C1 etc profiles to save it so that you can recall it I have also attached the most recent version of the html file that you should use to implement it (ignore that its called GX800 TESTER as it will work for the GX80/5 as well) GX800 TESTER V2.html GX800 TESTER V2.html

I meant their E to Leica M one which you then use other dumb adapters on to also mount R, C/Y etc Useless for AFC but great for getting one shot AF for blind old gits like me !

That looks like the original TechART Pro stacked on it as well I'm presuming? Which would mean Z cameras have not only picked up the lens lineup of Sony and Canon but also have AF of a huge array of manual lenses. When you throw in the ProRes RAW output upgrade thats quite a week !

The other interesting yet seldom mentioned function it does is having the option to shoot in 1080p I was dragged along to watch Aquaman last week (pro tip, always go and see the 4dX versions of films you'll hate as at least you can enjoy the ride). I watched the credits to the bitter end because I was fascinated by how many people were involved in making it. I've tried without joy to find the figure online but I doubt a guess of 600-700 would be too far off. Sobering in one way but inspirational in another as just getting a 2 minute piece together as a one man band is a big achievement !

I'm going to make an analogy to recording music because it has already been through the democratisation (for want of a better word) process that film making is going through. This is a local band from my town making a half decent album in 1967. Great room, great mics, great mic placement. Because they'd got those aspects so right, it didn't matter anywhere near as much that they had such limited capabilities of a console like this to fix it in the mix. My phone has more recording and mixing capability than they had available there but unless I take that same approach to acquisition then I can tweak away forever without really being able to get anywhere near it. That isn't necessarily about having to have a world class room and world class mics but it does involve approaching the craft of it in the same way but also making an artistic decision about what it is you are trying to capture in the first place. The same is true for image making. I think it is great that we have the colour grading tools available to transform and even potentially rescue footage that you would ideally have shot under more controlled circumstances but I certainly hold with it being something to enhance or finesse a solid base. I actually find one of the Pocket4K's most interesting yet hardly ever discussed features is the ability to record with baked in LUTs as I think creating a virtual film stock and taking the time to learn its response inside out and making those commitments to the final vision when shooting will ultimately yield better and more consistent results over time than the time draining options of noodling around with RAW all day. To offer a parallel to this, for work I have to shoot jpeg with very limited latitude time or manipulation wise to make anything other than minor tweaks. Due to this, I have the same 'film stock' on the multiple cameras I'm using and I'm completely familiar and comfortable with how it will react to the multiple types of lighting that I have to shoot in in terms of colour balance and dynamic range, how far I can underexpose it to boost shutter speed etc so no image that comes off any of them is a surprise or a challenge to get it where it needs to be. As a consequence, images fly in and fly out with no delay, angst, analysis paralysis or regret. By contrast, if you give me a single RAW file, I can fuck about all day with it. Often with inversely proportional benefits.

The big problem with the immigration thing with respect to it being a reason for leaving the EU is that it is erroneously considered to be a thing in the first place. The UK, along with every other EU member, has always had the right to expel citizens of other member states after 3 months of economic inactivity. It has just never had the will, the means or the wit to do it and the more cynical amongst us would suggest why that fact was allowed to fly under the radar is that it better served the political purpose of some to weaponise immigration instead. Yet, somehow the anti-EU lobby managed to convince people that only by leaving the union would we be "taking back control" of something we always had control of anyway. As a result we've now got three million economically active EU workers in the UK (contributing around £2.3K each more per year to the exchequer than UK citizens by the way and providing 7% of our National Health Service staff) who have been portrayed as a "problem" to further the anti EU agenda and who have been made to feel about as welcome as a fart in a spacesuit. We'll need more of these mythical stronger border controls to keep these people in rather than out.

That link looks like it connects to your account admin page mate.

Accepting defeat and levitation is exactly what I've been trying to do by rising above the Brexit hysteria so you know how thats gone!

Hague are a UK company that make a wide range of internal and external camera mounting gear for car shooting at reasonable prices. Nice people too. https://www.cameragrip.com/camera-car-mounts-suction-pads/

How dare you try and drag the Brexit debate down to the level of citing sources that seek to bring facts, logic and reason into it. That is so last century. Joking aside, there is some very dark and troubling stuff involved in the whole debacle irrespective of which side of the vote people came down on. "We want our country back" was and still is one of the mantras of the Leave side but what the past 2 1/2 years has shown is that we don't actually know what that country is, how it works and who runs it. We are currently 60 million people with irreconcilable differences going through the messiest divorce of all time. Forget the division from the EU, it is the self division that will echo longer and louder after we've got "our" country back.

I think you meant "consolidation" rather than "consolation" as there is no consolation in this consolidation for me personally NHK have been broadcasting 8K at 120p which does offer a workable compromise if you want to maintain the 180 degree rule. There are also the main super slow mo cameras behind the goal that take that already produce fast shutter speed captures. The key to it is the additional angles that stills photographers can't produce and will actually provide some pretty compelling content. The Steadicam operator for example can get much closer to the action and isn't limited to the crap shoot of hoping the action happens where he happens to be as he can go to the action. And with the best will in the world, I'm never going to be able to levitate over the pitch to get the shots that the wire cameras can

Yes. The Kenko branded ones were (and might still be) something that some people used when they got FX cameras to still be able to use their DX lenses. If you want a modern still lens with an integral switchable TC then Canon's 200-400mm has one. Albeit only a 1.4x. And albeit it at £10K

Mine cost me more than that to be fair and as it has now developed a sticky shutter issue that makes it borderline beyond economic repair then I suppose I do by default now own a mirrorless full frame Nikon albeit an HD one ! I suppose I am guilty of having an outdated price perception threshold in my head of anything north of £3K being the realm of pro workhorse cameras and of MFT cameras topping out at £1K. A loaf of bread is still 2 shillings and sixpence though, right?

Many b4 lenses, including this one, have an integral switchable 2x teleconverter that will enable them to cover MFT when it is engaged.

No, we suspect many of the posters there eat vegan sausage rolls and as a nation we hate that shit.

On the upside, with it being a Hydrogen you will see a holographic version of yourself appearing and answering that question. I just had a look at the thread and well, yes... "......If you look at high end screen protectors from other places, who don’t necessarily make them for the Hydrogen One, (I’m thinking of a certain Brand, beginning with, D, but I, “can’t seem to remember their name”,) they’re not that much less, and probably don’t have all of the features." A brand that begins with D and wants to get away with charging you $40 for a piece of plastic and $50 shipping you say? Erm.....Dior? Daimler? Dolce & Gabbana

This guy is a parody news reporter but sums the lunacy of the situation up. Increasingly, the real news reporters are getting so exasperated dealing with the politicians over this absolute catastrofuck that a few of them are on the point of similar rants.

I'll dig something out over the weekend. I've got a few bits of M and R mount lens stuff that I've been meaning to put up as well from some recent scores.

I think the D5700 might be a winner as well if they keep the price to the sub £600 mark of the current one as I can't be alone in thinking the pricing of new bodies is getting a bit steep now?I don't know for certain but it strikes me that Nikon do seem to want to hit high watermarks with their DSLRs in each sector before they bow out rather than re-cycling the same old derivative stuff while they can get away with it. So it wouldn't surprise me if they did the same with this and put a no crop 4K in it.

It actually sits quite solidly in the hand if you use it with the screen tilted in the fashion shown in the pic in a look down configuration. But yes it is very much a lens with a camera attached rather than the other way round !