BTM_Pix

It is a complex problem with a simple answer which is to just not fucking do it Sadly, the level of reasoned debate in our parliament is several notches below the typical episode of Jeremy Kyle.

If you get tired of waiting for them to do it then maybe have a look at using Toshiba FlashAir wifi SD cards which will enable you to do it ? The current ones are 90 MB/s so far more usable than the older systems like EyeFi cards.

Yes, this one (shown here on my GX80). Also an Angenieux ironically enough. Even got the servo zoom working on it with the aid of the trusty £10 Sony NP battery sled and a cable!

Its a combination of a few different elements of that. Exclusivity of event access given to certain agencies would be one aspect of it and in cases where that isn't the official case it is becoming the de-facto one by virtue of a combination of preferential pre-allocated positioning and the number of accreditations granted. So if you take football as an example, a small agency would be given one accreditation and have to take their chances where they are positioned and cross their fingers the most important action of the event happens where they are sat while the larger agency are able to cover the entire field from four or five positions guaranteeing they get the shot. Subscription based distribution of images favoured by those agencies also means that per image payments are becoming rarer as its so much easier and cheaper for a newspaper to illustrate a story with any number of images as part of their subscription plan than it is to deal with individual payments per image. If you combine both of those factors then it becomes economically unviable for a lot of agencies and photographers to cover events so where you might have had a typical match with, for example, 30-40 photographers covering it then even if you have two agencies with subscription models and multiple photographers at it the opportunities to earn a worthwhile sum is reduced to a very small amount for half of them. When the market opportunity for the images to be able to be sold into gets reduced to that extent then so does the market for the purchase of the gear to make those images, hence why I'm bewildered by Sony getting involved for anything other than vanity or completeness purposes in it. These agencies also have direct deals with the clubs themselves which also severely limits the opportunity to sell images from aspects outside of the 90 minutes such as training sessions and press conferences both by price (because again, these images are "free" for publications who have all you can eat subscriptions) and also by virtue of them having enhanced access to the stadium and the players. The same agencies also have deals with the organising associations of the tournaments so its a short hop to tie the whole thing together into a deal to being the official and exclusive supplier of images. Its worth bearing in mind that as with any editorial content, in sports photography it is often the most controversial images that will earn the biggest fees through syndication bolstered by exclusivity. Very often of course those images would be considered 'off brand' for players, clubs and organising associations so control of the brand image though exclusivity of access is also a powerful driver for this change. And then you get on to the TV rights holders who are paying literally billions of pounds to broadcast the events and who are also very keen on protecting and polishing the brand as well. If there is a fight in the crowd at a football match or a streaker runs on the pitch etc then you are very unlikely to see that on your TV screen as the broadcasters choose what goes out so it irks them that photographers (who pay zero of course to cover the event) don't also turn their lenses away from a disturbance but are very much likely to turn their full attention towards it and start firing away. With the super fast distribution of still images from pitch side these days those unfiltered scenes can be on newspaper sites unhindered within a minute and be damaging the 'brand'. Taking all of that into account leads to a logical conclusion that TV rights holders will eventually do a deal with a large agency to give them live access to the TV images for frame extraction and editing (transmission of out of camera images to remote editors is already standard practice anyway) as soon as the image quality is there. Will the pictures suffer ? Yes and no. The TV companies have the best coverage positions and quantity of coverage of anyone in the stadium so they can produce arguably more interesting content anyway. What you will lose is the individual aspect of choice with which a photographer will create the image as you will be stuck with making something out of what you are given so if the TV framing of a piece of action is wide then so will your 'picture' of it and if its in tight then so will your version of it be as well whereas you might well have chosen to do the exact opposite in both cases. One thing that will also advance its introduction in football at least is the phasing in of the VAR video refereeing decision system which is used for supporting or overturning decisions made by the on field referee. As these are normally the contentious and hence newsworthy incidents such as was it a penalty, was he offside etc, the images from the numerous cameras that the system uses arguably capture the peak moments of action and frame extracts are increasingly being used by newspapers to illustrate them with. I'm going to give the whole thing probably three or four years tops (particularly in light of the 8K at the Tokyo Olympics) before the balance tips, which is why I've wound down my involvement in it virtually completely in the past six month.

It covers S35.

Don't get me wrong, I don't mind a bit of technical jousting and whatever myself but at some point all this shit has to mean something tangible in terms of an image. The amount of A/B/C/D camera comparisons that I see getting chewed over that use completely different lenses on each camera bewilders me to be honest, like the lens is somehow incidental. I've posted this before with regard to making a Cinecorder but I'm definitely going to get rid of a few bits and pieces and buy one of these Angenieux 25-250mm if I can find a decent one.

I think its safe to say 'mojo' in this particular area of the forum

I dunno. Once you've taken that step of walking along in public talking into any camera it is debatable whether there is any self-consciousness left that can be challenged by a mere bracket being attached to the camera

I think if you match the white balance and exposure between them it gets a lot closer. I personally prefer the Zeiss image largely because its a more subtle settled look overall with enough (and smoother) separation to the background without being as jarring as the Nikkor is though I dare say this would be the case with the Nikkor at f2.8 as well.

To be fair, the mic/flip up screen thing can be easily solved with a £10 flash bracket set like this which gives you the flexibility of having it coming over the top from the back or from the side.

If you got that on the day of launch then you really are an old git How did you get your camera announcement press releases in those days Grandad?

There is a specific new fangled term for cameras that do 24 fps with an electronic shutter though. "Video Cameras" I think it is what they refer to them as Joking aside, thats actually the broader point here as stills extraction will eventually prevail in all of those disciplines and sport will probably be the first to fall entirely. To bring it back to the topic of the thread, cameras with 8K capture will accelerate that.

The front page is a decent resource for press release aggregation so its useful for that. I do fear for the safety of the poor souls who have to share their lives and homes with the circa 90% of commenters who lose their shit whenever a story about Leica is featured.

Speaking as one of those pros, I have to say that this particular niche market will collapse in its entirety before Sony gain any significant foothold in it due to a combination of video frame extraction, rights issues and brand image control. The burst mode is a red herring if its using electronic shutter due to the environments its being used in and even if they got it above the 12/14fps of the D5 and EOS 1DXii with the mechanical shutter its not going to be anything more than fiddling around the margins. I have absolutely no idea why Sony came to what is a dying market in the first place and then approached it in such a half arsed fashion when they did. Its not far off 2 years since the a9 release and there wasn't much latitude for a gradual roll out of the eco system around it even when it was released let alone now after all this time. I can see why those such as the Northrups who don't do this for a living can look at an a9 and come to the conclusion it has everything a professional sports photographer would need and that it will surely be adopted because it does slightly more here and there but its too simplistic a viewpoint that honestly betrays a lack of understanding of the speciality. One could even say it lacks nuance.

I think once you accept that DPReview an Amazon owned company, which basically makes it an Amazon message board masquerading as a legitimate user driven community, then you should just let stuff like that wash over you. By contributing any expertise or insight to those forums then you are effectively just helping build and add credibility to a stealth advertising platform for Amazon (for free!) which they will always ultimately exert control over in the way that fits in with their agenda of selling gear. Thats why in your situation they turn a blind eye to people being attacked rather than the camera. As I mentioned earlier in the thread, the fact that the 64/24 year old filmmaker/dentist/banged to rights scam artist is one of their respected contributors should be enough reason for people to ask themselves if they wan't to belong to a club that would have someone like that as a member.

As I say, specs don't always translate into something breaking into the market when it comes to working professionals, particularly one thats dominated by two systems. And 'systems' is the key word there as Nikon and Canon have not only the equipment range (including the boring stuff to do with image transmission) but also the infrastructure with service centres and on site event support to keep it all working. Incidentally, when you use the mechanical shutter on the a9 (which you would do to minimise the banding with the ES from pitchside LED ad boards) then the a9 is a rather less than stellar 5fps. With all due respect to the Northrups, I think they have some ideas about what a professional sports photographer needs and does without much if any practical experience of ever actually having done it. For one thing they look far too healthy, wealthy and happy to have done it

If the details of that are in their official press release then it must be in a white font. A small one. On a white background Seems some of those features are only coming in the summer v6.0 as well rather than the more immediate v5.0 https://www.nbc-2.com/story/39794865/sony-announces-9-camera-upgrade-through-major-firmware-updates Fair play to them for adding more functionality though. I presume its only Theresa May levels of myopic stubborness that stops them accepting its barely made a dent in the market they wanted it to but that it could still have legs as a bit of a hybrid powerhouse.

Get off the fence and tell us what you really think of it Was looking at the list of updates they announced in the new firmware for the a9 thinking "surely somewhere in that long list they'll have finally added picture profiles...." Nope.

Well I did actually shoot an international match with the Leica SL a few months ago but that's another story! To be brutually honest, nothing has come along in the mirrorless realm from any of the manufacturers (including Nikon and Canon themselves) that has come close to usurping mirrored versions for sport at that level anyway so in that respect it won't be much different. For all the specs of these cameras, you know full well that I'm still going to beat that drum and say it none of it translates into them breaking that stranglehold at the sharp end. The long lens issue is an unknown until Sigma produce their roadmap as I would expect it to be them rather than Panasonic that would service that end. They have a serious back catalogue to work from though and one thing that isn't talked about much is that they have always had to reverse engineer and make tweaks to get them to work with other cameras so it will be interesting to see how much performance boost they can get when they are involved from the ground up. Having said that, I have an SD Quattro with a 30mm ART that is entirely their design from end to end and the AF on it is absolutely shit so probably not

I'm still hopeful they can work together to add ProRes RAW to my original one as one last firmware hurrah. I'd buy the Ninja V in a heartbeat, not least to gain an actual viable monitoring capability !

There is some interesting bits of information contained within the (lengthy) share offer prospectus for Atomos from a few months ago. Aside from them licensing an SoC to JVC for upcoming video cameras (which may mean hello LS300 MKii ?), four new products for 2019 described as 'next generation' and some interesting data about how big the market is for external recorders, which is bigger than I thought. One other thing, though, which crops up several times throughout the prospectus as a risk factor is a dispute with RED. Elsewhere in the document it states that RED are in the same dispute with another party and, whilst it might not necessarily mean its to do with ProRes RAW and REDCODE it does seem a coincidence that the date of the dispute coincides with the announcement from NAB. Hopefully it will get resolved and if it is about ProRes RAW that it won't put the brakes on the development of it and expanding it to other camera brands and models. Full document here http://downloads.atomos.com/investor/IPO Prospectus.pdf

I have Panasonic's current full frame camera (the one with the expensive German overcoat) and I've got to say that based on my experiences with that and then adding in the four years subsequent development that they will have had by the time the new one is released that they will do just fine with it as a pure photo camera. The drawback of the current one is the limited range of lenses and the eye watering price of them. Both of those aspects will be addressed by the alliance between Panasonic, Leica and Sigma. What they will actually be offering with this camera is a mark II version of the Leica SL at less than half the price with a vastly expanded and cheaper lens line up. When viewed like that, even taking off the premium cost factor of adding the red dot, it is a competitive offering. If nothing else they will shift a bunch of lenses to owners of their existing full frame camera

Most of the 8K TV's I saw on demo in stores in Japan were Sharp ones so them being first with something a consumer can create their own content in 8K with doesn't surprise me. But I have to say I'm surprised at it being in this form factor of being an interchangeable lens camera as I thought it would be much more in the realm of a Sony RX10/Panasonic FZ2000 type of camera if not even a traditional camcorder format like a Sony NX80/AX700. Whilst the price seems very high for it to be a "consumer" product, its actually far less in relative terms versus the cost of the screen its intended to provide content for than it was for those early adopters who wanted to do the same for HD and 4K. And its certainly cheaper than Sharp's other 8K camcorder.

I hadn't but I've just watched it on YouTube They used to scare the shit out of me as a kid. My Dad preyed on this to keep me from playing in the electricity sub station (it was the 70s, we had a different benchmark for danger back then) by saying the loud buzzing noise coming out of it was from the daleks that lived in there.

Nah, you only need a flight of stairs.