BTM_Pix

Or £826 if you, erm, don't go to that desk at the airport when you get back. Not that anyone would dream of doing that of course.

Blue passports though and so, so much sovvvvrinteeee. Base price is £2473.02 So, the legal* import cost would be £2473.02 + 0% duty + 20% VAT. £2967.00 total. Versus £3299.00 Its our old friend the £300 again. * I've seen an awful lot of European people queuing at the tax free counter to buy cameras in Japan over the years but, curiously, never seen anyone rocking up to the Customs counter at European airports on the way back to declare their purchases.

I think the hard of thinking voted for the UK to leave the union rather than the actual continent, although they might actually think both things happened. The UK price is £2699.00 including VAT. The import duty for digital cameras is 0% and the VAT is 20%. So the price is £2249.16 excluding VAT. Dollar converted price for buying one in the US at $2599 is £1970.00. So to legally import the camera into the UK after buying it in a shop in the US would be £1970.00 + 0% import duty + 20% VAT. Which is £2364.00

I've managed to obtain the full breakdown of this hidden socialist import duty racket that makes cameras so expensive here. Its an absolute disgrace.

Nikon Z6 III Digital Camera Body Key Features: 24.5 megapixel partially stacked CMOS sensor for exceptional image quality Expeed 7 processor, from the Nikon Z8 and Z9, enhances power and speed 8 stops with 5 axis IBIS + 8.0 stops VR and focus point VR for improved sharpness Offers high-speed performance, capable of up to 120 fps in stills and 240p in video Excels in low light with -10EV AF sensitivity for sharp focus in dim conditions 13+ stops of dynamic range, with ultra-fast data readout for capturing detail Supports 4K and 6K RAW in-camera recording for high-quality video capture 240p slow motion capability for dramatic, detailed 10x slow-motion footage Compatible with N-RAW and ProRes codecs for professional-grade video editing 6K oversampling for 4K UHD video ensures an enhanced, high-quality final image Subject-tracking technology accurately focuses on people, animals, and vehicles 3D tracking precisely follows fast-moving subjects like birds, motorbikes, and planes Dual card slots support CFexpress Type B or XQD and UHS-II SD memory cards EVF maintains a 60 fps refresh rate for a smooth view during shooting and playback Pro-quality audio is enhanced by an external mic input suitable for line-level recording 5760K dot hi-res LCD, 4000-nits EVF with DCI-P3 colour gamut and daylight brightness High-resolution vari-angle display with 2100k resolution for flexible shooting angles A sealed body for weather resistance able to operate in temperatures as low as -10°C $2500/£2699

This might become more of a pressing issue for more people on Monday when the Nikon Z6III is launched so it is quite prescient for Color Finale to be releasing the new version of their Transcoder product. This now allows you to import N-RAW files (as well as BRAW, ARRIRAW and cDNG files) directly within FCPX without transcoding. (Yeah, that seems a bit of an anomaly that it doesn't need transcoding when the product is called Transcoder but it does now function as a standalone version too if required.) It works up to 8K on N-RAW so it works for the Z8/9 obviously but I'm guessing the Z6III won't be 8K but then again we didn't expect Nikon to buy RED so who knows really until Monday. Price seems to be an introductory $139 (usually $179) but there is a fully functioning 7 day trial available too. It remains to be seen what the performance is like so that 7 day trial will be invaluable to asses how it works with your particular flavour of Mac. Full details here https://colorfinale.com/blog/post/cft2-announcement-05-24

Laowa have announced a range of T1 cine lenses in FF, APS-C and, yes, MFT format today that will narrow the gap for GH7 owners looking to emulate the “hang on, is any of this in focus?” look of the larger formats. Well, not exactly a full range when it comes to MFT as it currently only includes 18 and 25mm and not the wide option of the others. Full details here https://laowacine.com/product/laowa-argus-t1-cine-series-mft/

As much as that ? What an honour.

I think you might be surprised. Shooting baked in and not noodling around in Resolve has a great appeal to many people who have either tired of the noodling or are entirely put off by the noodling. And its not particularly about a skill deficit either. A lot of stuff I've seen people doing in Resolve has gone from node trees to node forests and I think a lot of people will appreciate and be more productive with a more straightforward approach. So, its not necessarily about the profile per se in terms of how it shapes up vs V-LOG, its about it being the authentic starting point for those ARRI looks and having the choice to just load one up and get on with it. Yes, this is entirely possible with Panasonic's own V-LOG luts so there is nothing new here except the question of do these ARRI looks look better if I want to shoot baked in ? The jury will be out on that for a few months. I'm guessing that in terms of ARRI's thinking that their working knowledge of GH cameras could be based on previous iterations of everyone using Cinelike D and then moving onto vlog-l and not enjoying the experience of it being 8 bit and not having monitoring LUTs and then drifting back to Cinelike D or tweaked profiles etc. Their expectation of what people will be doing with "flagship" cameras likely doesn't take into account that people with non "flagship" cameras are now aping those practices. The landscape has changed with the GH5 onwards and then even further with the takeup of Resolve in recent years but when the camera costs less than even their most basic manual follow focus unit then I don't expect they've been keeping more than a weather eye out on that area of the market.

Reservations opened this morning at MapCamera in Tokyo. Even with the tax included price, it equates to around £1375.00 as opposed to £1999.00. That feels a lot more "right" to me for an MFT camera. Incidentally, importing this into the UK will be the tax free price (£1240) , plus import duty (actually zero for commodity code 8525890000 digital cameras), plus 20% VAT so a total of just under £1500.00 so its a significant saving. Although UPS/DHL/ParcelForce will probably slap on a £500 "handling fee".

I think a big bonus for this for GH7 owners will be being able to use Arri's free online Look Library tool to preview and download pre-made authorised LUTs to get fast and painless results in camera. A bit of a downer for the LUT peddling bros though. https://www.arri.com/en/learn-help/learn-help-camera-system/image-science/look-files#/ict/looks/view/sw/ref/3/a/0/b/4/fav/r55i

I worded that clumsily. I meant the consumer priced version of the VisionPro, which is "from £3499" when it launches in the UK next month.

That BM aquascooter looks pretty wild and you'd hope they are producing the lens system as a separate swappable option for the 17K camera rather than it just being a single unit. Its certainly got the resolution to make the most of shooting VR and commercially if you are one of few people shooting for a content starved device (and consumers) like the Vision Pro then it makes more sense maybe than being A.N. Other shooter of "regular" content. Its a risk though as you'd be gambling on this being the trigger for more widespread adoption of a very expensive device that has received far higher praise for its technology and conceptual aspects than its actual utility. Of course, the "consumer" priced version may be just around the corner but, again, thats a bit of a risk and the whole thing is very chicken and egg. The R7/3.9mm dual fisheye is a very different proposition entirely though. I think this is something where you have to forget about a wider audience or naysayers ("Its too low res bro") and likely any commercial use, particularly at the current time, and look at your own needs and say will creating stuff with this please me ? From content that I've watched on my Quest 2 that is made by its bigger brother R5/5.2mm combo then I'd say, yes, it does please me, particularly considering the price differential. The R7 is a very capable and compact camera that is great for travel and this (along with events) is what I would use it for to capture nice looking immersive 3D memories. Years ago, I had one of the Sony TD20 3D camcorders and I actually thought it was pretty great for that stuff but then, like a lot of people, got sucked into the "I'm going on holiday to France, I simply cannot shoot anything that doesn't look like it was shot by Roger Deakins" bollocks. I just don't enjoy a packing list that reads "Swimming shorts, sunglasses, flip flops, sunscreen, three lenses, ND filters, matte box, follow focus..." for holidays any more. Thats why I've gravitated towards the Osmo (if indeed I take any camera) these days and I think this combo would give me some way to bridge the gap and make something more interesting. With the option, of course, of taking one of those small RF primes or zooms if I felt like using it as a regular camera. However.....despite being far cheaper than the R5 equivalent, the R7/3.9 mm has a combo price of around £2300 which is way over the top for me these days for a "that might be fun" indulgence but I certainly look forward to enjoying what other people do with it. In this video, Canon are advocating using it the 4K/30/25 fine mode for maximum quality (as its from oversampled 7K) but it would be interesting to see it what it does in the R7's 4K/60/50 mode.

Have you got a link for the comparisons ? I've not seen anything from the limited number of people that have one in hand that shows much of anything in LogC3 let alone an A/B against an Alexa etc. so I've been waiting for the like of CVP etc to get one to show that sort of comparison. I've seen one frame on Twitter shot in LogC3 that made me think "mmm that is actually quite nice" but I've read a comment from whoever it is that did that video you posted the other day that says its "confirmed" not coming to S5ii etc so my bubble has been burst on that front.

Oops, so you did. In my defence, I am an old man now!

Wow, that one had passed me by as it appears on their website in their shop but not under their product listings in the 0.7x section. I’d guess that as they state it only works with the FP/L and BM6K that it might also work with the similarly mechanical shutter free S9 as well. If so that would be a good option for people looking to shoot the higher frame rates offered in crop mode on the S9, albeit it at the expense of a much bigger overall form factor with having to use EF lenses and the adapter instead of the native L mount lenses. Although foregoing the electronic aspect and just using the EF mount as a bridge it does also offer good options to then mount F, C/Y and R etc. Good find.

I’d say that they are rare enough to suggest that they might not have actually been released at all! Plenty of online retailers list them but none in stock and suspiciously not a single review. I had exactly the same issue when looking for their Leica R to L mount speedbooster. Bear in mind though that when you look at the detail both adapters were reasonably restrictive - particularly the Nikon version - in terms of the lenses that you could put on them so this may have contributed to them not selling in sufficient numbers to make it worthwhile continuing beyond the initial batch. I do actually have an L mount speedbooster but it is the Kipon BavEyes for 645 lenses and they also do them for Hasselblad V mount lenses, so medium format down to full frame is the whole extent of what’s available. The only real options for faster than your 18-35 is to pick up the Sigma f1.4 APS-C primes which are excellent but a marginal gain for the additional outlay. I have the Metabones C/Y to E mount speedbooster which works well so the other option is to change bodies to a Sony APS-C to use your Contax selection. The only APS-C bodies in L mount were the Leica T/TL/CL (I wanted the R to L speedbooster for my Leica T) but these are now discontinued so it doesn’t look promising in terms of Metabones or anyone else looking to develop speedboosters for L Mount. It could change if Panasonic or Sigma release an APS-C body but I wouldn’t hold my breath on that. Of the two, Sigma are more likely to as they already have the lenses to support it and that full frame Foveon looks to be so problematic for them to achieve that an interim APS-C version may be a possibility.

So, we're back to those kind of incentives now ? I'd have settled for a free camera myself.

Its being used as a shorthand for there being a specific V-LOG RAW to LOG profile for ProRes RAW in FCPX. In practical terms, without seeing the camera, I'm guessing if you select ProRes RAW as an option then it prevents selection of ARRI c3 as an option or reverts it to V-LOG. The range of adjustments available - aside from the Nikon Z8/9 - in ProRes RAW is limited to ISO in most cases but also has white balance control with the Panasonic cameras. https://support.apple.com/en-gb/109504 The Camera Labs review of the GH7 shows it in action (time stamp queued up) I've never used ProRes RAW, though I do have a Ninja to use it with, but I'm fascinated by the optimisation it has in FCPX for processing and final rendering versus other formats that are outlined in these videos.

As will a tonne of non-ARRI shooters too. As I said, it’s a caveat (or a glancing blow from the cripple hammer) but not a massive drawback in practical terms.

A caveat to note is that the LogC3 can only be used in the compressed formats and that it is still only Vlog-L that is available in ProRes RAW. With it having ProRes HQ 4:2:2, this is likely not a massive drawback. Especially, of course, if you are a Resolve user and don’t want the extra transcoding step anyway.

Thats quite the surprise. The handheld Alexa dream finally realised ? I wonder if this is going to turn up on the S line cameras as well? https://www.prnewswire.com/news-releases/panasonic-licenses-arri-logc3-from-arri-for-the-lumix-gh7-302165254.html

This announcement has obviously been overshadowed on here by it being GH7 day but here is the live stream for the C400.

According to the man who leaves his kids inside so he can breathlessly announce a new camera rumour, this is the spec. He plans to live blog the actual livestream announcement so they'll be making their own tea tonight.