BTM_Pix

There's a bit more detailed follow up to it here from the guy who did the video. Not sure of the veracity of the poster replying that the original battery being chipped is a probable cause of it as I think the world would be awash with similar tales but probably something other people with GH5s could chime in on regarding specific brands they're using.

Similar sounding problem here that was caused by a 3rd party battery

Curious to know why the price difference between the US and Europe (especially the UK) is much bigger for the D850 than it is on the other Nikon pro bodies.

I did say you'd have to get familiar with cleaning the sensor

There is definitely conservatism involved - and there has to be due to time and budget pressures - but I'd definitely argue the point about a lack of creativity to be fair. We're dealing with live events that we have zero control over in terms of positioning and light etc let alone action but we HAVE to get something worthwhile and that means you often have to be creative just to get SOMETHING. We're also dealing with trying to operate cheek by jowl with competing photographers - scores of them - all of whom you know WILL get a shot by hook or by crook and quite literally step on your toes to do so. So getting something different enough to stand out to a picture editor when he's receiving literally hundreds of images a minute from the same event demands a certain degree of creativity. It also demands creativity to keep yourself interested in trying to create something fresh of Cristiano Ronaldo for example when you and everyone else has shot a gazillion frames of him over the years in his various permutations of joy, sulk and pout I'd dispute we don't need the latest and greatest but, yes, we do only truly value them in quite a small range of specific areas like high ISO, AF and networking. Wide DR is something elsr that we do value though as we deal with a lot of uneven light in stadiums in both daylight (huge areas of dark shadow under big stands) and floodlight where the difference between the goal area and the rest of the pitch can be much bigger than expected. If you're struggling with exposure you have to go fully manual and continually ride it to stop even the best metering system making the wrong (often catastrophic) choice. As we deal in JPEGs rather than RAW we have to have it as right coming out of the camera as possible so more DR to be a bit more forgiving is important to us. I'm not being a defender of the faith for Nikon and Canon but we do need someone to come up with a package that can better than what we've already got if we're to jump ship. The trouble is people like Sony and Fuji keep turning up to a gun fight with a knife. Even when they bring a gun they seem to overlook the bullets. I have never seen any sports photographer pet their camera and declare undying love for it. On the contrary, most of the time they are being cursed so its not a fanboy thing by any stretch of the imagination that keeps us with them. Its just a fit for purpose thing. And its on them to make something fitter for purpose rather than us to try and work round it. Creatively or otherwise

No wonder you haven't bought a new phone in a while mate

Or better still, sell it on to me for a discount The fundamental problem you have really is what to do with the NX1 rather than should you trade it for a GH5. It has still got a decent value because of how good it is but even amongst those who know that, its undeniable that its probably reached peak value. Every day that passes is going to diminish that further because people will be less and less inclined to buy into what isn't just a discontinued camera but a dead system. It's a real shame because it is a great piece of kit that will probably be churning out great images for years to come but as a secondhand proposition no one will fancy being the one left holding the baby when it does give up. What hasn't helped that is just how good the GH5 is turning out to be. I suspect there are a number of people even on here who might have been thinking about taking a chance on picking up a used NX1 who have since succumbed to the charms of the GH5. As it is almost certainly only be video shooters (and only a niche of those) who would be after an NX1 now then that is your target market for selling it to dwindling further on a daily basis. So I suppose the proposition you have now is to choose to keep the NX1 and keep enjoying it until it dies or cash out while you can before it becomes almost worthless. In that sense, its not the NX1 vs the GH5 you have to decide between but its actually the NX1 vs the NX1. If you do decide to cash out then its just a question of putting it into the best camera you can get for that money, which the GH5 is certainly looking to be. If you are intent on holding out for the Sony then at least you'll have your NX1 invested in something who's value is diminishing slower.

I know what you mean... But.... The Hydrogen offers a medium for displaying holographic content. How much more innovation do you need driving than that

I wasn't being entirely serious. And yes, 10 seconds can seem like an absolute lifetime for a lot of things.

Luca Brasi will only be able to have a power nap with the fishes then instead of the full sleep.

Intentionally or is that just the point at which it stops because its overheated like their other cameras?

I think thats only when the thread was started about something specifically film/gear related to stop them being derailed. If the thread has been specifically started like this one that isn't about those things then I think Pete And Bernie's Philosophical Steakhouse is open for business.

I'm excited about the one that is supposed to cost £1000 as it lessens the "how f***ing much? for a f***ing phone?!"impact from the other half when I tell her I'm ordering a RED Hydrogen

Just playing Devil's Advocate here for a moment but multiple stores in multiple countries having multiple copies in stock and ready to go is either a sign of tremendous production levels or tremendous disinterest from people actually buying them A bit of context to Andrew's point about LCE is that they aren't a small shop in a provincial town but one of the only multi city bricks and mortar outlets still standing in the UK. If they aren't carrying them from stock in a city like Manchester which, trust me, has a fairly big chunk of the UK's pro sports photographers in its environs, then there is some significance there. Anyway, no 400mm f2.8 so its all moot

I just don't understand the half arsed way they've gone about it. Its not like they wouldn't have got a decent hearing either as the arse has dropped out of our market so much that we are skint enough to shill for anyone for a few quid and a long term loan of a body and lens Seriously though, even without the 400mm f2.8 (without which they are more or less dead), then at the very least they could've tried to get us to look at trialling using an A9 as our 70-200mm camera option alongside our existing Nikon or Canon 400mm to get us into the system. This is exactly what I've been doing with Fuji gear but to be honest Fuji are talking a good fight as well without really being that arsed. Worries me that if you can't get any support off them when you're effectively helping them by using it for real in these environments then what the hell will they be like when you need their help? All of it just makes me think they're happy to promote the potential use of this stuff to aspiring sports photographers but aren't really prepared for when someone actually using it at the sharp end of pro work. I have no idea why Sony would get involved if they weren't going to come in all guns blazing, especially this late in the game when budgets have collapsed. The best thing they could do in all seriousness is give them on 60 day loans to photographers covering major events and at least gain some exposure (ho ho) from people using Sony at that level. Even if it doesn't result in A9 sales to aspiring sports photographers it might do for models further down or in the pipeline. It does Canon no harm having all of those white lenses being very visible at major events. It also gets a conversation going amongst photographers to create some curiosity in it and encourage others to try it. Because, right now, I imagine the chances of a typical working pro sports photographer walking into a camera shop and buying an A9 is not very high. At all.

The odd thing about Sony with that camera is I'm not even really seeing them trying that hard to break in. I was sure that I'd have seen at least ONE shooter using them at the Champions League final, for example, but there were absolutely none. Asking around the press room and no one had been approached and offered one which I just found really odd. So, once again, the only freak shooting on mirrorless for the game itself (a few people use mirrorless for general build up shots) was me I'd have thought they would have approached us via our national and European press associations offering roadshows or open days or whatever but there's been absolutely nothing. The resistance wil always be about the glass of course when they do but even so its still surprising. One thing that is a bit of a misnomer though at least for sports photographers covering pro sports is the concept of a hyrbrid camera. The rights issues involved for motion versus stills makes it a complete non-starter and its expressly forbidden in our accreditation agreements. Rightly so of course as broadcasters pay literally billions of pounds to cover an event whilst we photographers pay zero ! Putting the camera into Live View mode is enough to set the alarm bells and risk ejection from the event. Its why stills extraction isn't a real thing at pro level either because the very act of filming is forbidden itself irrespective of if you then want to deconstruct it.

Sorry, I didn't mean you personally. I meant all of us

The company from Den Haag on that list should get themselves over to Amsterdam next week and set up in the car park as there doesn't seem to be anyone else showing them as far as I can see !

Well... Whilst Its true that the DR70d fits your usage now and you might not need the extra features of the F4, will that always be the case? Might you need the extra features further down the line is what you need to consider. Yes, its a multiple more in terms of cost in relative terms but in absolute terms is it really ? The £300ish difference is probably something you wouldn't think twice over if it was a camera body or a lens I would imagine. And if you do need those extra features in the future, how much will you get for the Tascam in part exchange ? About £150 if you're very lucky so you'll have already lost half the difference. When you look at it in those terms - if you will need the extra stuff further down the line and have to buy an F4 - then the real difference in price is only £150. Against that, you have to look at whether your a better use of your budget right now is to put into better microphones as the old adage of garbage in garbage out is very much in play here. In an ideal world you'd have budget for all of it but if you don't then its not exactly like you'd be recording onto an old cassette deck if you went with the Tascam so, for me, I'd go with putting the extra money into whats feeding it as that's where you'll feel the overall benefit more at this time. Its IBC next week so make sure you keep an eye on that in case someone comes up with a new model before you take the plunge. In the meantime, here is some viewing for you based on long term usage of a number of different recorders.

Do you know @Andrew Reid whether the distributor in Berlin actually have one for demo/rental ?

Just to clarify I wasn't endorsing the 70d over other options, just responding as to if it could fill the functionality required. With regard to battery life with it, I'm not sure whether this would be a massive drawback when you power it from USB. This video tests it running for 11 1/2 hours off a cheap 12,000 mAh block with all channels recording and with phantom switched on all of them. Again, not an endorsement for the 70d, just an FYI if you go that way.

Yes, it gives you options to record all four channels separately (which will give you the maximum flexibility), as stereo sets or as a mix.

If you are recording a music gig, for example, the sound that will be coming from the mixing console feed is reinforcing the on stage sound - hence why the formal term for live audio systems being Sound Reinforcement. Depending on the band this will invariably not be providing the full representation of the gig as, for example, the overall guitar sound will be lower as it will be missing the sound of the on stage guitar amplifiers, which can be quite significant. If you are doing a Kraftwerk gig then this is less of an issue as there is nothing naturally occurring on stage (sometimes physically in their case ) that isn't present in the mixing console mix. However, in all instances, you will be missing the room ambience (including the sound of the audience) and the mix from the console will always sound much drier. Hence, having a secondary ambient mic source, allows you to mix both. With regard to the DR-70D, yes this would work in this mode as the mic inputs are switchable to line level to take a signal from the feed box at a press conference. It is actually very useful in this role as with it having four inputs you can attach a receiver from a radio mic to enable you to supplement the provided feed with your own mic. In a press conference situation can be invaluable in the same way as the music gig example as whilst the persons(s) answering the questions always have microphones, it is not always the case that the journalists asking the questions are covered with a mic so you can end up with the audio from the central feed box having barely any level for the questions.

Coincidence that you should mention the D1x and Sigma as there was a thread on DPReview recently that I found very interesting. Its taken me a bit of hunting to find again ! It was actually about AF on the SD1 and this guy posted up a link to a gallery of shots he'd taken at the same event on a couple of the SD Merrill bodies, both of the SDQ bodies and, oddly enough, the D1x. The DSC file prefix ones are from the D1x. Its a flawed test for a number of reasons but, still, the D1x were definitely the ones that popped out to me when I looked at the gallery page. Original thread is here https://***URL removed***/forums/thread/4201570 Text of the specific post is here : -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Greetings Here are a few shots. 3 are done with the SD1 some with the SD15, SDQ SDQ-H and my Nikon D1x 5mp camera. The SD1 shots were shot at ISO 1600. https://www.flickr.com/photos/elitefoto9/albums/72157685581297124/with/35998503563/ I find the AF on the SD1 trying at times. I have a split image screen in one of mine for manual focusing. Here's what I've learned over the years. The SD1 isn't really for sport but can be done. I'll look for more image to post later. I don't have the 17-50 f2.8 but do have the 17-70 f2.8-4 and it works very well. To be honest my SD15 worked better when it came to AF. My Nikon D1x beat it and my D1x is 13 years old now and the IQ is really good. You can see it in the images. What I do know is you'll have to micro adjust the lens to get the best IQ. I also found that the older EX DG can't be shot at high resolution the lenses can't do it. Steve Chong uses this combo and say it works great. More later Roger J. --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Hahaha It actually auto-corrected it ! You can bet your life if I'd written Leica it would changed it to Leicester !