BTM_Pix

Its great to see this happening but, of course, I did beat them to the punch for incorporating the Nucleus wheel into a phone app by over five years so I feel seen 😂 What isn't so great, though, is it has the frequent propensity for it to zoom the camera in to a very specific (and unusable) 13.9x during movements of the focus wheel. When it works its good but I'm getting this issue at fairly regular intervals. I'm using an antique by their standards iPhone 12 Mini so it could be that. Anyone else tried it and got similar issues ?

Sony RX0ii in the top mount of a Pocket4K/6K and wafting the whole thing about will get comparative files for someone who's willing to put the miles in to make a bi-directional converter with.

The camera integration tips the balance for me towards the ATEM family, particularly with the release of the new Micro Studio 4K G2 camera. For under $4000 you can have four of them that are timecode locked and they can be fully controlled from the ATEM not just for colour and exposure but focus and zoom (with the inexpensive powered zooms from Olympus and Panasonic). With the integration with Resolve, the ATEM ISOs and these cameras give you three products to sell to a client from one job. The 1080p live stream The 1080p master recording of the live stream. A re-cut version of the live stream in either 1080p or 4K. The last one is interesting because with any manufacturers camera you can just bring in the ISO recordings and re-cut them in Resolve (as the ATEM generates a Resolve project with the cuts in it) but with the BMD cameras gives you the option to bring in the 4K BRAW recordings from the cameras own recordings. When used with the ATEM, the BMD cameras can provide a 'video mode' output through the HDMI for the live switching whilst simultaneously recording their own 'cinema mode' versions to SSD. This is a great option for doing live videos for bands as they get the 'video' version for the live stream and the possibility of a more cinematic looking version from the recut BRAW files. The ATEM Mini Pro ISO is a bit limited so I would definitely recommend going for the ATEM Mini Extreme ISO not just for the extra four channels but also the additional media player and the SuperSource function which offers a lot of creative and practical possibilities. The drawbacks with the ATEM are in the animated CG and video player aspects. The former you can get around fairly easily with software such as Uno Overlays etc and the latter can be addressed using BMD's HyperDeck record/playback devices. The cheapest of these, the newish HyperDeck Shuttle HD, is interesting in the role of producing live sports as with some inexpensive additional hardware splitters you can coax it into being a very decent instant replay system complete with tactile jog/shuttle control. For around $6500 then, you can have an eight channel switcher with ISO recording and streaming, four timecode synced RAW shooting 4K cameras with full remote control and three channels of instant replay. Unlike the Tricaster TC40 that I used to own (which was nowhere near being even half the functionality of this system let alone how much more its modern equivalent will cost) it will also all fit comfortably in a Peli 1510 case rather than an 8u flight case and is a fraction of the weight ! Another thing that people tend to overlook about the ATEM Mini series is that it has an excellent fully fledged Fairlight mixer in it with EQ and Dynamics on every channel including the Master channel. Its mind boggling really how much of a value that is as they didn't really need to make it that comprehensive ! Don't get me wrong, the ATEM system isn't perfect but it is a very good eco system to start a business around. And you never know, maybe one of these days someone might release a product that integrates a few more things to make it even more useful......

BM acknowledging that adding OLPF to your 12K camera reduces the issue and gets you Netflix approved. The issue that they were primarily addressing was for LED screens in VP rather than a gang of wedding guests in herringbone suits though.

I have a bunch of these Weeylite S03 RGB lights. They are very flexible in terms of what you can do with them and the app used to control them is very good when it comes to creating those sort of effects as it has a bunch of different presets which you can then modify yourself. Lights can be controlled in groups or individually via the app and you can save your own scenes for later recall. They are around $20-25 dollars although depending on the size of the room you might want to consider something bigger from the range that has more output. https://viltroxstore.com/collections/rgb-lights

Maybe a nod to the fact that within the next five years it might well only be old duffers who want to buy "real" cameras so they are looking to mirror the Morgan sports car approach to the mid-life crises. We'll all be cutting about taking images on our faux 70s cameras wearing a tweed hat and driving gloves. This will be us at IBC 2026

I had a play with one in Japan last week. If they had one in stock then it may have been a challenge to not at least go and have a coffee and a serious think. Particularly considering my off again/very much even more off again relationship with the S5ii during that trip.

Sat having a quiet afternoon pint and browsing this thread. What a great thread it’s been and I hope we can all wake it from its semi slumber.

Cool. I’ve saved you some money then. Unfortunately, since the Japanese manufacturers’ secret accord that was signed in a basement whiskey bar in Kabukicho, small cameras with mic inputs have been thin on the ground. Nikon weren’t invited though so if you don’t mind something left field and obsolete, the V1 can be had for cheap.

EOS-M ? Bigger sensor for not much bigger footprint and generally available for sub £150 including the stabilised kit lens. Thats just it as a regular camera but of course there is room to grow with RAW video though that’s far from compulsory. Ditto room for expansion with the lenses both their own and also some interesting cheap options from Meike and 7Artisans etc. Plus adapters for EF either speed boosted or with variable ND. For most people the EOS-M is all about Magic Lantern but outside of that it is a great option as a very cheap compact but expandable larger sensor camera.

In 2024, I will be releasing five new products. Two for live production, one for virtual production and two for music production. In 2025, I will be having a series of long naps and returning to capturing images.

I’ve been using the S5ii a lot over the past week on my trip. The slow start is completely getting on my tits now. However, there is a logic to it of sorts as you’ve seen on the GH6 to do with it obviously being in a sleep mode instead of being actually off when you switch it off. I can’t be arsed doing a proper test on it but I would guess it will do a fast start from Off until about maybe about an hour later when you will be back to the “is this thing dead?” startup time. It would seem logical to suspect that the slow drain is happening when it fails to put itself into full off mode when it is sleeping. Another thing about the drain issue is how iffy the power gauge is for the battery so you don’t know the real status of how much it has drained. I ran a battery until the camera shutdown and then accidentally put the same battery back in the next morning and hey presto it had about 20% showing. I’m not enjoying this camera to be honest. The brave new world of Panasonic AF isn’t all that either.

Call me cynical but …

I have had two T5 drives go rogue on me. Google “T5 Mac Won’t Mount” and you will see it is a common issue with not much consensus how to fix it. In my case, the only devices that could recognise them afterwards were the BM P4K and 6K, a SteamDeck and the files app of my iPhone. The latter one can give you a path to recover the files by copying them on to your phone and then back out to another drive/SD card. After doing that and then formatting them again they were able to work again but I don’t really trust them for anything except transfers when I still have the original media. They are also very finicky when it comes to cables and the only really reliable way I’ve found is using a USB to C cable as C to C is an issue with mine. To clarify, I have used them in the FP but the issues came after them being in the Mac. Obviously the number of reports of the issue also suggests it’s nothing to do with the FP ! Samsung have their own utility software you can download so you might get some joy there but if you have an iPhone or iPad around then I’d try that first. I have had no such issues with the T7 drives.

Apropos of not much really but looking at this in the camera shop today it’s interesting that here in Japan it is marketed as the G9 PRO II but not in the US/EU/UK etc Maybe there is hope yet for a smaller bodied non ‘PRO’ version.

The startup time on my S5ii is long to the point of me always thinking the battery is flat. Really annoying. I’ve had the unexplained drain as well with a battery that was in for a few weeks. Oddly enough, I’ve just pulled the camera out of my bag to see the lever has moved itself into the ON position whilst travelling (another annoyance as it’s too easy for that to happen) and of course I was fully expecting the battery to be flat and it is still full. So the secret to not draining the battery when it is off might well be to leave the fucker switched on !

They have a used GFX100 and a used Sony Alpha 1 for roughly the same price. I thought I’d have got the former but the latter is creeping up on me now. I’ve decided to resist both. But I’m here for another 8 days so who knows. It’ll be in an S1H body no doubt 😀 Noted !

Yeah, when they see you walking in they start rubbing their hands and when you walk out with nothing they end up stroking their chins! GH1 falls into that no man’s land of being too old for their customer’s to find appealing but still not yet old enough to be considered appealing as a retro purchase for them. Basically it’s in the same ballpark as the base level Ford Sierra! Hard Off have one in red with the 14-140 but it’s about £180 which is a bit steep I think. Like I’ll have any money left anyway once the demands for twenty packs of Instax film a day situation kicks in tomorrow

Live from Tokyo She even wanted it in hipster brown with the retro case to match. The man who served me in MapCamera knows me from all my previous visits of excess and was expecting me to ask for a Z9 so was a bit weirded out !

In response to the rise in video conferencing during COVID both Panasonic and Sony release bridge applications to allow a lot of their cameras to show up as webcams. The Panasonic one will work with your GH5 but if you are buying something dedicated then it also works with their earwig exit aperture compliant G100 MFT camera which is a good value nowadays. https://av.jpn.support.panasonic.com/support/global/cs/soft/download/lumix_webcam.html Sony’s version is a bit more broad as it also includes the compact fixed lens cameras as well as a lot of earlier cameras that you can now pick up used at a good price including some FF options. https://support.d-imaging.sony.co.jp/app/webcam/en/download/

Instead of filling it with six seconds in one go, if you do it in one second bursts with a gap will the buffer clear in time to keep going after the sixth? And what length of gap would it be to enable it to do that ?

Stop making me want to buy stuff. My family will be planning an intervention at this rate.

I found the breaking point. Fuji Instax Mini Evo. I don't actually own one so will have to buy it when we get there. A bit of a Pyrrhic vvictory then but in the battle of wills with your kids you'll take whatever win you can.

I don't think anyone is questioning the future of Panasonic though ? It is where they are at and/or heading within this specific format that is under discussion as they are in rude health within the FF market. Again, the camera (which as I've said umpteen times looks very good) and the form/format are very different things. The idea of a compact system that offers the "optimal balance of high image quality, compactness and lightweight in cameras with interchangeable lenses" to quote the actual MFT organisation itself is surely challenged when it becomes the same size as a full frame system from the same manufacturer. We need to examine the word 'dead' in the context of what it actually means to a camera system. It isn't 'dead' as in the absolute discontinuation of all MFT products. Which means it isn't yet 'dead' in terms of the stated ethos of it as a format by the MFT organisation as, if nothing else, BMD have just released a camera that actually fits within those aims. We also don't know whether Panasonic might also have a camera up their sleeves (or in their pocket) that will more closely align with that ethos. I'd say that a more appropriate word, as it currently stands, would more likely be 'moribund'. In a hippier time, it might be described as the 'scene' being 'dead' (man). Indicating that what it was is not currently what it is. But what it is might well work for many people so thats all fine too. I was using it to provide some light relief to this thread 🙂 And to show my own innate hypocrisy and how you can't really rely on the meanderings of a random old fella on the internet. I emphatically agree with both of you that the notion of all MFT cameras having to be small is both a nonsense and ludicrous. Which is why I haven't actually stated that. Equally, the notion that all MFT cameras having to be the same size as a FF camera is also both a nonsense and ludicrous. There is room for both. Its just that Panasonic haven't released one for three years which was the ill fated (but actually not without its merits) G100. With the 12-32m kit lens it was around £600 before it was discontinued and it really did fit with the ethos of MFT as we originally understood it and how the MFT organisation still describe it. It showed that when motivated by hatred (Sony's dominance of the vlogging market) that Panasonic could still do it despite the intervening four years prior to that (the G80 launch) they had been making ever bigger bodies. Time marches on, of course, and things change so if the price that has to be paid now (physically and literally) to move the story along from the G80 (which unlike the G100 had IBIS) in terms of video spec then so be it. Of course, Panasonic are not the only MFT player in town so maybe Olympus will offer that alternative. Yes, the extra reach of the 100-400 on MFT would need the Sigma 150-600 to equal on FF L mount which results in a significant size disadvantage. This is an example where it makes sense both as a format in general anyway but also as a camera itself, if the price to pay for that performance has to be that form factor. Thus far, it appears that it must because there is no alternative with that spec. Maybe I will pre-order one after all 😂

The size of the arsehole when said earwig has been created by Panasonic's MFT design team.