BTM_Pix

I don't know how they get away with the pricing to be honest. If you look at just Premiere on it own, the payments are roughly equivalent to leasing a £600 product where at the end of the term you send it back and get a new version of it (though in this case you are also getting a new version of it throughout the term) and start the whole process again. If it was a printer or computer or some such then its not a bad arrangement (though we could seriously debate the valuation of £600 for Premiere ) but the big issue is their biggest rival sells the equivalent outright with the same upgrade process for not far off a year's lease payments. It becomes "better" value when you go for the full suite but, even then, it seems so far out of whack when you now have a compositor like Fusion being included with Resolve for a few months "lease" payments on the Adobe suite. Over 3 years, the full suite, is not far off being the cost of the outright ownership of FCPX, Resolve/Fusion, Affinity Photo (Photoshop clone) and the MacBook Pro to run it on. I understand why so many users have the suite (as its no point having a different tool than the one you prefer to use irrespective of if its cheaper) but just that for me I'd be having to pay that monthly fee through very gritted teeth With regard to location/portable editing, LumaFusion is getting even more powerful with the integration with the Gnarbox (and actually might prove the reason to buy one) and the update to export XML. With an upcoming update to do external programme monitoring (via the HDMI adapter or even Airplay) it opens up even more options for people who need to have a more comprehensive editing setup while travelling. Not only using your hotel room's TV as a (very uncalibrated) monitor but with Airplay support you should theoretically be able to use another iOs device as a second screen monitor too. Quite apart from it being probably the best video editing app for mobile usage, I actually really like LumaFusion as an editor full stop.

You are certainly not doing this transition to Sony by halves are you

For $10K I'd be expecting a drone to be carrying me and the camera. And some luggage.

Tiny footprint though. As a fixed remote operated camera with a small Panasonic pancake on it for a second angle, I think it has some utility for $199 but yeah even at half the price they ask for it here its a no go. Even at that price though its the cheapest way to get an MFT camera with a mic input !!

I don't know whether they have designed them to do this but here is how I use the mounting clamps they provide with Amaran M9s as a bridge to connect my two together. Being able to break them down into singles (two of them will just about fit in the carrying pouch for one) and then use them individually or combine them to make something bigger makes them even more useful. You could definitely extend this out to connect four if needed.

He was marvellous in Phantom Of The Opera but yes his latter work has lacked that same Spark and failed to Inspire.

And your postman is currently in post-production on his debut short film My daughter is on holiday in NY at the moment so I just sent her a message asking nicely if she might pop in BH and pick one up for me. Well, I thought she was. I wasn't anticipating a reply with the time difference but got one straight back telling me that she is already back and that I clearly do not follow her blog posts

Why don't they offer anything remotely like that price outside of the US? There are enough people with M43 lenses kicking about that might be tempted at that price to pick one up as a B cam. It would also do the company a world of good in laying a foundation for the brand to the potential buyers of their new camera.

I remember this mod from back in the day and I seem to recall they had something similar on the horizon for the HVX200 before they sold up. Something like that is waaaayyy beyond my competence level.

The 120 is definitely 50mbps as and the HDMI output is max 1080p when recording 4K 4:2:2 internal as @Anaconda_ says. The HDMI port is definitely 2.0b The problem with JVC is they often seem to spread their documents about across a few different corporate branded sites/distributors so its a bit of a hunt to find them http://www33.jvckenwood.com/pdfs/B5A-1634-00.pdf http://www33.jvckenwood.com/pdfs/B5A-1634-10.pdf http://pro.jvc.com/pro/pr/2017/nab/gyls300_inferno.html

I completely forgot about that lens. Exception to the rule but some exception though. In a Canon mount with an MC-11 on a full frame Sony that would give a ton of fast options in combination with the crop mode and clear image zoom. The Fotga remotes with the zoom rocker make it quite decent to be fair. My upcoming remote lets you store clear zoom positions so you can press a single key for a specific focal length change like changing a prime

Its a bit of different solution but something like this might be useful. Connect it to the HDMI output of the GH5 and it will wirelessly stream h.264 1080p to connected devices such as laptops, tablets, phones etc for monitoring using an application like VLC. As VLC can also record the incoming stream to the MacBook, this will give you a playback option on the MacBook that doesn't involve swapping the SD card and as it is compressed you will not have any issues playing it back. As its compatible with anything that runs VLC it also means that instead of the MacBook you could use a large screen tablet for play takes back wirelessly straight from the camera.

If you’re trying to emulate f2.8 Full frame then the Sigma ART f1.8 give you exactly that on an APS-C or via a smart speedbooster (to retain the AF) on an M43 camera though. The size and weight penalty of using lenses like that with a speedbooster comes with the territory if you want that sort of spec as full frame f2.8 zoom lenses carry the same penalty. The compromise between fast and flexible is exactly the same on full frame cameras because their zooms max out at f2.8 as well so anything faster will need a prime there too and, again, the speedboosted lenses can match that speed. Its only when you get to the daft stuff like 400mm f2.8 that bozos like me have to buy that you can’t get equivalence. But carrying one of those around isn’t as stealthy as you’d like to be

Which is why they have not been usurped for my day job. But for video, they need to get a move on. In 4K, my D500 has got a bigger crop than an Iowa corn field.

The problem you’ve got @kye is that it’s not just the lack of a single camera that covers everything but that all the criteria is actually spread between the different manufacturers. Sony have got the FF and low light, Fuji have got the lenses, Canon have got the AF, Blackmagic have got the RAW, Panasonic have got the IBIS and Nikon have got....to get a move on. Unfortunately, due to many factors, it’s unlikely that any of them are going to become the strongest in all categories in the near future and hence unlikely that a single camera to excel in all areas is going to happen either. Until then it’s just a question of picking the most acceptable compromise today and if you’re changing system, gambling on who is going to get closest over time. Sony probably have the most pieces of the puzzle minus the RAW and if Sigma can make some improvement from Sigma on their AF then they bring better and cheaper lens options so you’d say currently it was Sony that ticked most boxes. An out of focus shot is still going to be out of focus irrespective of whether it’s heavily compressed or RAW so it sounds like that should take precedence for you for what you want to use it for. That would point to Sony being the current best least worst option for you but based on the track record of these companies and how they drip feed functionality, if RAW really is what you’re after, you’d have to take a view on what you think would happen sooner : Blackmagic improving the AF to a good enough level for what you want it for or Sony offering RAW video on any camera outside of their F/FS line? Based on the philosophy of those two companies? Mmmm.... I know one thing though, as many of the things you want to shoot are life events and holidays and family growing up etc, don’t waste the opportunity of capturing those moments while waiting for a manufacturer to come up with a camera that has it all because they are dancing to a different beat. Oh and buy a camcorder

As I say, it's way better than it should be for the price and the pan bar is smart but obviously manage your expectations at that price. But the same could be said for heads at a few times the price of it as well in my experience. https://www.amazon.co.uk/dp/B01MYPV01O/ref=cm_sw_r_cp_apa_0VHjBbW506PVC

The person showing it to me didn’t mention that. He mustn’t have been on the advanced sales training course.

I saw a fridge in a shop a few weeks ago that had a dark glass door on it that when you tapped it became clear and showed you what was inside. We can't be far off someone doing an electronic variable ND in a square filter format if that sort of tech is finding it's way into consumer products. Without the having to tap it to change the setting though obviously.

I had an Apple Newton and I'm not sure what was the bigger death knell for it fashion wise - me buying it or Steven Segal using it as a recipe book in Under Siege 2. My patronage also saw off Windows CE, the PalmPilot and the Compaq Ipaq so Light will be encouraged by the fact that I haven't bought an L16

And tears in your eyes no doubt !

The Sony 1.4 ?

Add another 10% to that

Yeah, I probably should have read the 'magnetic mount' part before offering up solutions to a problem you weren't actually having But if you don't want to have a magnet near your camera to hold them (and I can think of a couple of reasons why I might not want to) then you nowat least have two additional clunky solutions available

I don't own the H.264 version. Logic would tell me that it would be worth it and I do regret it a bit to be honest. The non-battery H.265 version is the same price that I paid for the battery version of the H.264 and on balance it would've been better as I could have made a lower profile battery solution anyway. I might actually end up with one of them as well now that I know they work for what I need them for as extra channel inputs for cameras are never a bad thing. I know, right? I think these are the perfect storm for camera tests. Cats and colour charts in one go.