BTM_Pix

The most salient point about Ringo (especially in the context of this analogy) is that he was the best drummer FOR The Beatles even if there are some who maintain he wasn't the best drummer IN The Beatles

I'm not sure how such a personally subjective term as "Mojo" can reasonably be expected to be attributed to a piece of hardware. There are finished images you like and there are finished images you don't and I'm fairly confident that the the least significant consistent part of the whole process will have been the camera. Skilled people find the right ingredients for that whole process by making sure ALL of it is complimentary. The capturing device does not exist in a vacuum so in and of itself it can't really be considered to have whatever passes for Mojo. The Beatles had Mojo aplenty but they also had Ringo on drums remember so its always about the sum of the parts. Everything in front of the capturing device from the lens type, focal length, aperture, lighting and, lest we forget, what the whole thing is actually pointed at makes the final image have Mojo. And as I said earlier, ALL of that comes from the internal circuits of the creator NOT from the internal circuits of the capturing device. Trying to define which particular camera is going to offer instant Mojo (when it is merely an interchangeable part of the whole) isn't, in my opinion, isn't anywhere near a definitive process. If you buy any camera on that basis then I'd definitely say it was a case of buyer beware. Or Caveat Emptor as we say in English contract law.

Interesting. I just went into a large camera dealer in London and was surprised to be offered one from stock as they've had pre-orders cancelled by people switching to the A7iii.

In my experience, the most significant part of the mojo of most cameras still resides within the circuitry of whoever is operating it. I've made enough bad images with good cameras to recognise it. Prefix it with "Then" and it will be interpreted as such but honestly I'm just not going to engage any more with this. Its no coincidence that every thread that I open that you are involved in might as well start auto playing the theme tune from Rocky. English may not be your first language but antagonism might well be.

The only thing I'll be doing "immediately" and with "brilliant logic" is completely disregarding this and any other orders you might feel like giving me altogether.

He didn't ask ME directly to be fair, I was just offering it as a possible meaning to what Jon meant. Which it was up to Jon to confirm really.

I think the ES that @jonpais is using is "Errata Sendorum", which is an old Latin phrase used in English contract law in reference to failing to deliver an SLR Magic Rangefinder

I'm having this hearty sausage and bacon on toast and a mug of tea. It has to be hearty as it is so cold here in London that it is literally blue outside.

First question has to be what are you having for lunch ?

Just a guess but is it possible that you may have been a member of The Bangles in a former life?

This community based rental service might be an interesting proposition as it grows. Renters are vetted, your gear is covered by insurance and its already got a strong network in Belgium that they look to be expanding as they are opening a UK version this week. I have NO affiliation with it and have NEVER used it so do your own research but its worth a look. https://motiontribe.io/en-uk/

I think you doth protest too much about this camera. You want one really don't you

Definitely a case of crossing that bridge when you come to it with regards to what to use when commissioned for a Netflix Original production. The only Netflix spec that I have to concern myself with meeting is the £7.99 a month payment

Netflix requirements says 4096 wide so whilst its not on their approved list of cameras, its 4096x2800 sensor is within their spec.

So, I managed to brave the elements and get to the BVE show and have a look at it. First impression is that it was much smaller than I was expecting it to be. Took a snap of it next to a 5D MKIV for comparison and weight wise it was similar too. The interchangeable mount is interesting and the one pictured is the locking EF with in built ND and they also have a speedboosted EF and PL. The crop factor with the speedboosted mount is 1.3 but 1.8 without. That surprised me as I just assumed it was 1.5 to be honest. There is an E Mount adapter too (which wasn't on show) and that option has become more interesting now with the Sigma E Mount ARTs and Fuji doing their cine ones in E Mount too. The dual iso is 800 and 3200 and they told me it's pretty clean at 12800 as a consequence but the proof of that etc... The rear module gives you all the additional SDI connectivity, V Mount battery capability, external power tap, XLRs etc but it the camera is still operable without it if you want to keep the weight/form factor/price down. It has full size HDMI on the main unit so you can connect whatever EVF/Monitor you want. If you go for the grip then it also holds a battery as per the RED handgrip its obviously modelled on but unlike the RED it uses regular Sony NP batteries rather than an expensive proprietary type. The grip does feel like a cheap version of the RED one (cos it is!!!) but its great as a way to keep the cost down power wise as you save the cost of the rear module and the V locks. Power time via the grip is about 30 mins apparently. Talking of non-proprietary, it also uses regular SSD media and does internal ProRes. However, the RAW format IS their own format (but can be transcoded with their own tools) but I'm not sure if its a supported format within Resolve? Talking of BM, I was told that Kinefinity are pitching the camera as a direct competitor to the Ursa Mini Pro though its more RED form factor to me. With regard to support, the plan seems to be swap out units at least during the initial period and I think that's fair enough. Its worth bearing in mind that for those of us who were outside of the US when being early adopters of the RED ONE it is no different. First impression is that if you are in the EVA-1/C200/URSA Mini Pro then its certianly worth looking at Kinefinity if you have a distributor in your country. People are very wary of the support aspect but to be honest, the distributors who take it on are WELL aware of that and so, conversely, you might well end up getting BETTER service as they seek to overcome that objection. Bottom line is that if this camera had a different name on it then there would be a LOT more buzz about it. Full details of packages here https://www.proav.co.uk/cine/cameras/kinefinity

This thread though

I shoot in 8 bit. The 2 extra bits I don't have are talent and skill. Those are the bits I need most to be honest.

I think they're showing it at the BVE show this week. I'm in London on Thursday so might pop in to have a look. That is if all public transport hasn't been cancelled and a state of emergency declared in a pant wetting reaction to the suggestion of snow.

Cheap EasyJet flights to Zurich/Geneva are your friend here. Generally found prices to be not far off dollar equivalent. Toppreisse.CH is worth a look.

The Cinelike D response that you are seeing is similar to when it is applied to the LX100. It does something but it isn't Cinelike D. And the something that it is doing isn't particularly appealing! My feeling about it is that there is possibly some combination of highlight/shadow curve that can be set so that when you apply the Cinelike D command it actually does replicate how it looks on the other cameras but I've never got round to it time wise to explore it further. The V-LOG repsonse that you are seeing is is accepting the command but just reverting to Standard rather than actually actioning it to be V-LOG.

I think I should buy one quick before they realise what they've done here and discontinue it. Can't believe how much is in it that could torpedo sales of their higher end models. Maybe it does signal the impending belated arrival of Nikon and Canon into FF mirrorless but nonetheless this is a serious offering in its own right. With the E Mount release news from Sigma as well, the whole Sony system looks a lot more interesting to me personally this morning. Fuji's long lens roadmap only has 200mm f2 on it (which isn't enough even on a crop) and at a higher price than the Nikon/Canon equivalents so I've run out of road with them. Sigma's long stuff is actually more than capable so if their conversion to E Mount service extends to non-ART lenses as well then Sony have definitely got my attention now.

Thought to myself, "I'll go to the X-H1 thread and talk about some of the assumptions about Fuji AF being substandard versus my contrary experience of of the AF using the X-T2 for some very demanding tasks and also my tests of the Face Detect AF on it last year and....." Well, then I opened the thread....

Beanz Meanz Linez (Skipping)

Maybe one of the custom launchers might work for you? They're primarily designed for seniors but they're equally practical for de-cluttering and making things more useful for those of us who only use a few apps. https://www.maketecheasier.com/best-android-launchers-for-senior-visually-impaired-users/ As for hybrids, the BlackBerry Key One gives you a good option of Android and real keyboard.

Well, that escalated quickly. Thanks to Saturn in Berlin leaving a GH5 unattended I was able to do a quick sniffing session and the app does indeed control the angle increments so I now have the command to do it. Its a bit of an unusual structure so I suspect the camera needs to be in the specific mode to accept the offset parts of the message but its something to go on when I get back. I'm not convinced it will work on the GX but you never know. At least I can include it in the device for GH5 owners if nothing else. Cheers. Yes, I've been busy with real work but also with making big changes to the controller. No, the camera hears the command and then does absolutely nothing to action it. Might as well tell a teenager to clean their room.