BTM_Pix

Thats a real let down isn't it? As you say, all the ones I've seen seem to operate panels no problem but no consolation. Its not just the batteries either, the chargers can sting a bit price wise as well. Cheapest way in that I've seen are the batteries where you get the direct tap charger included. Though whether I'd budget for a fire extinguisher to go with it is another matter! http://www.ebay.co.uk/itm/FENTION-FS-BP150-V-Lock-V-Mount-Rechargeable-10-4Ah-150Wh-Battery-Charger-Kit-/361957152174?hash=item544653d5ae:g:rsQAAOSwmCVY9dAy

That Slingstudio system that they're talking about is very very interesting. I've just been tearing my hair out trying to devise (i.e. cobble together) a more cost effective version of multiple Terradek Vidius and switching system to do some (very) small scale multi camera live outside broadcast stuff and going backwards and forwards with different permutations of small hardware switchers, software switchers and no name hdmi to rtsp encoders. This thing seems to do it all as one integrated and much more cost effective system. https://www.myslingstudio.com

Yes, he's pricing the NPfs at $30 a piece by the looks of it. So 2 hours means he's using 2 x NPF at $30 each and the adapter at $50 so $30+$30$+$50=$110 And then every additional 2 hours of power is $60 (2 NPF x $30)

From the original post on Cheesycam, someone ran a test on another LED light between a real v lock and two NPFs on the adapter. Won't be absolute in terms of how long they will run this new Dacast of course because its on a different light but the comparative figures will be a good guide. The advantage of the NPFs is obviously cost but also that they'll do double duty as there are numerous low cost powering solutions for cameras like BM and field monitors/recorders that use them. From the original thread >>> "I did a test on the CN-600s with a Beillen 150 Wh V-mount battery, and it lasts 3 hours. The cheapest 150Wh V-mount battery I see on Ebay, Lanparte brand, is about $200, and the Beillen --also Chinese-- is about $250. The dual-NPF solution is much more economical. 3 hours v-mount=$200-250 2 hours NPF+adapter=$110 4 hours NPF+adapter=$170 6 hours NPF+adapter=$230" ------------------------- http://cheesycam.com/v-mount-adapter-for-sony-l-series-np-f-batteries/

Curious decision at that price point to use V lock batteries. I know Dracast do their own V locks so they'll be happy to sell you some to use with it but they're more than the price of the light itself. A cheap light for a pro if you've got v locks kicking about already but not having it use NPFs makes it less so for everyone else? Has anyone tried one of these NPF to V lock adapters? The no name ones I've seen on Amazon seem to be supplied with a suspiciously large number of spare fuses!

I'd be interested to see them side by side to be honest. The versatility of the LS300 has had me wetting myself but I'll reserve judgement over the image quality for a while. Yeah, I think this is where they should be heading myself at least in the short term. There is a big hinterland between the SLR form factor cameras and the FS5 etc Thought it would be an area for BM to dominate but they seem to be leaving it alone and going after the £5K+ area. Who knows, there might be a very good reason for that in that people like the idea of a production style GH5 but don't actually like the idea of buying one in the end!

I'd see it more as a refresh of the DVX-200 internally with the lens removed so they could get it into a price range closer to £3K than the £5K of the FS5. Might be easier for them to own a market segment of their own and bring an existing user base who are invested in the mount up with them than try and slug it out with Sony in a market where they wouldn't have a price advantage? An integral speedbooster would be the way to arrive at an attractive compromise if they could pull it off

It seems the quickest, easiest and probably lucrative thing riding the crest of the GH5 buzz would be to swap out the GH4 sensor from the DVX-200 for the GH5 one and take the lens off it. And not paint it red this time. I picked up a used LS300 a couple of days ago and its a very compelling package with the combination of sensor size, the versatility of the mft mount and some smart stuff from JVC. I've had native mft lenses on it (which you can use way beyond the 82% scaled coverage that JVC recommend for mft by the way), PL cinema lens, long Nikon primes with and without speedbooster and small Contax primes which it can magically turn into par focal constant aperture zooms complete with a rocker switch! All with the convenience of built in NDs, physical switches, XLR's etc So it can go from stripped down shot grabber to cinema style to sports and wildlife broadcast camera and all points in between within a few seconds. That type of functionality with the goods on offer from the GH5 like IBIS and 10 bit and so on would be a pretty incredible camera and theres no reason it couldn't come in at the same price or less than the DVX-200. With all of that capability, would the sensor size be an absolute deal breaker?

You know, I didn't really want to get drawn into responding at length to this - hence my earlier self deprecating response - and I don't want to now either to be honest but I'm just going to say I'm a bit bewildered at such a withering put down at the suggestion of how separating the sensor and the processor and being able to modularise the rest of the interface and control to shape it to the function. Surely its better for the user to be able to use the same imaging unit stripped totally down for, say, a drone or gimbal and then built up again to shoot in a compact form for other shots and then even put in an SLR style body because you want to go and shoot some stills than to buy separate cameras? And for the manufacturer, why miss out entirely on a piece of the drone market because you don't make a specific camera for it when you could just repurpose your sensor? Anyway, I'll just leave this here .... http://www.newsshooter.com/2017/04/24/sony-umc-s3ca-block-camera-a7s-ii-sensor-in-an-even-tinier-package-nab-2017/ Sony eh? Clueless pricks.

Funky, as in do bears funky in the woods. I always reserve judgment when I read reviews from people that say the EVF on x,y or z camera is terrible until I've tried it myself as I don't usually find them as bad as people make them out to be, relative to budget expectation anyway. I won't be doing that again after the LS300! I thought my eyes were broken.

Yes, there is this one called VideoLut It has an iPhone version https://itunes.apple.com/gb/app/video-lut-colorgrade-video-editor/id1082340556?mt=8 And an iPad version https://itunes.apple.com/us/app/video-lut-color-grading/id1170270352?mt=8 It has a bunch of presets and you can import additional ones of your own. The LumaFusion app is quite neat for editing as its allows a bit more picture control than iMovie. https://itunes.apple.com/gb/app/lumafusion-pro-video-editing-and-effects/id1062022008?mt=8 Whats good about iMovie though is that it does have a route into finishing your projects on FCPX (and by extension Resolve via XML) as it can use the desktop version of iMovie to act as a bridge between the two. Why they don't just let you put it straight into FCXP I don't know but the path exists albeit slightly convoluted if you need it.

I can't test this out with any real movement at the moment as its pissing down outside and much as I like to contribute, I'm not going to get soaking in the process! Anyway, here are a couple of stills I've just done using the 10-24 and for a comparison a speed booster Nikon 14-24 f2.8. That particular Nikon is one of their so called holy trinity that even has a big following amongst Canon landscape shooters so whilst its interesting to see how the Fuji compares to it at about half its price, this test at close distance and reasonably wide aperture (f5) is not in the 14-24mm's comfort zone (particularly as its on a cheap speedbooster) so ignore the soft edges as its within expectation under these conditions. It is purely there as a demonstration of a non corrected lens to show you how the native Fuji lens is being corrected. Here are the links to the original files. Fuji 10-24 https://mega.nz/#!lnZxkDKA!K_enymlxtptOM9oHg8NAHR-ZalNjpK-U8UZ53WlEr90 Nikon 14-24 https://mega.nz/#!Fm5QAbzZ!PXOFWjOpC6mKM6jDVMC_MPPGls904qqRCe3VGaJrPnw There is also a very short 4K video file of the 10-24 so you can see the correction being applied in video (and the crop factor for those interested in what happens to the X-T2 in 4K). The dip and correction in the first few seconds is a genuine physical movement as I had the camera on the work surface and was stabilising it with downward pressure and moved it slightly. As you can see, this is completely distinct from the behaviours shown in the other videos. Fuji 10-24 4K https://mega.nz/#!ZqBkAJSa!Cif-oIkckiplwdMX4IBe-w5vyncuXIbl48G5ldR-HWc Everything is straight out of the camera on the standard profile, manual focus and no OIS.

That bundle that I suspected JVC might do with the Atomos Ninja Inferno they are now doing. It's $1000 instant rebate and $150 credit against accessories. So it's $3500 for the whole thing but it's a few weeks wait for the 4k60p upgrade. I see no reason why they won't bring the same offer to Europe as they seem intent on the LS300 having a new lease of life. Or an actual lease of life considering how low key it's been thus far!

If you want a cheap and cheerful simple solution for a fixed shot, maybe this headrest mount might do the trick? Its adjustable so you should be able to position it tight enough to the passengers side. https://www.cameragrip.com/hague-chm-camera-headrest-mount-for-cars/

These seem about the cheapest http://www.biwin.co.uk As an alternative, though not strictly a cheaper card, but certainly an way to have cheaper media is to have a cfast to SSD adapter. There are commercial ones but plenty go down the DIY route. Here is some info about how to build one for £100 which will then let you pay less than half the price for a 256gig for example than even the cheaper cfast cards http://tomantosfilms.com/13682/cfast-ssd-adapter/ I suppose it depends on how much media you will be going through in a single day before you can offload as to whether the cost saving (which obviously only gets bigger when you add multiple SSDs) and the form factor are worth it. If you only need one 256gig card then it doesn't seem worth it. One thing to bear in mind though is if you do find yourself in an urgent need of additional media, you can find electronics shops in even most small towns that you can get SSDs from which definitely isn't the case with cfast cards! I'd be inclined to buy the £200 card from biwin and make the adapter as well. For £300 you're covered both ways then and even adding a 256gig SSD you'll still be quite a bit up on the deal compared to the larger branded media.

I'm travelling at the moment so haven't got those files with me to look. I've got the lens with me though for the job tomorrow so I'll take a few frames with it and put them up.

I haven't used it extensively or tested much with it but I haven't had anyone from the agency saying "What the fuck have you shot this shit with?" about stuff I have submitted with it. So on that basis ve got no complaints about it thus far!

That log stuff I put up was with the 18-55

That would explain a lot actually.

They all need to just stop fucking about to be honest. Just sell us the sensor and processor in a housing and let us buy two different body shells to slot it into. An SLR type and a film camera type. Have an esata interface so we can choose to attach a memory card interface or SSDs so we don't get ripped off by external recorder manufacturers for wanting to record RAW or ProRes. Put every single capability they've got in it and let us wake the features up as and when through paid add ons from the controlling smartphone app. Let us do it monthly, annually, permanently or even daily if we want to. It's 2017, people are used to these type of subscription and add on purchase models. And if this all sounds a bit like what RED were trying to do well it is but they never really followed it through properly. If they want to make more money from us, fine, sell us some accessories. Starting with a field monitor again stops us having to line someone else's pocket. And the big one is a gimbal. Who wants to have the hassle of importing some unknown device with no support when you could buy one from the manufacturer that would DEFINITELY work with your camera and provably more effectively because it would be fed data from the cameras own IBIS system. A manufacturer that does this will clean up. Blackmagic could do it (and the micro looked like it could be a shot at it) but the path they seem to be on is the same as everyone else and just making different versions of the wheel. So it'll have to be a startup or maybe an offshoot of RED that remains truer to what most of us believed they were going to do. I hope someone does it as I'm sure we're all fed up having to buy a bunch of surrounding electronics over and over again just to change the functionality. It's like having to buy a different smartphone to use as a calculator and another one to do a spreadsheet on when we all know the underlying structure is the same it's just the interface that changes.

Its difficult to say one way or another but of its constant then that would suggest a problem but when you do have OIS on for low shutter speed do you see the same problem? The only way to be sure is to put it on a tripod and use a shutter release cable (or the app or self timer) to take away that variable and shoot a page of text that fills the frame. Repeat that at shutter speeds from below, above and way above the reciprocal (use ND to keep aperture and ISO constant) with OIS on and off at each speed and also using both OIS modes. That way, you should end up with 9 samples and at 35mm for example I would go with the following 1-3 - 1/15th with OIS Off, On continuous and On Shooting only 4-6 - As above using 1/125th 7-9 - As above using 1/800th Because of the suspected cause of the issue perhaps being the timing of where the OIS is in terms of its measurement cycle when you press the shutter, I would say that you should probably run multiple passes of 8 and 9 as these are the most likely to fail. If you test it in this way then it should eliminate the lens itself having an issue as you will be running it in perfect conditions off a tripod and with a remote release. It will also aid your case in getting a straight replacement if there is a fault as you can demonstrate it easily. If there is no fault when running the test then for your own piece of mind, I'd remove it off the tripod and try the same test handheld as if doing that brings the fault back then you should be able to see the point at which it's happening. My guess is that that point will be test 8...

The usual rule of thumb is not to use it unless your shutter speed is below the reciprocal so, yeah, with a crop sensor that would be 1/80 at the long end of the 18-55. At 640/f8/200 iso that you shot that then you are obviously well above that threshold where OIS would be required and it can certainly have an effect on sharpness. But its not always the case as it seems to be timing based on where the OIS system is in its measuring cycle when you press the shutter, which is why there seems to be conflicting reports about it. One thing that does seem to have an impact though is if you set the IS mode to 'SHOOTING ONLY' then it will only engage it on a half press or shutter release as opposed to it being continuous. So if you are going to leave it set to ON on the lens then setting the IS mode to 'SHOOTING ONLY' in the 'SHOOTING SETTING' menu should give you a bit more of a chance. My problem is the other way in round in that I have to remember to switch the OIS to 'ON' on the lenses when I'm doing video as I very rarely use it when shooting stills as its always fast shutter speed stuff.

Here they are dealing with someone who's asked for a mirrorless D5

I was leafing through this in a bookshop last week and found it pretty interesting. I held off buying it because there is a new edition due at the beginning of next month so I'll be picking it up then. https://www.amazon.co.uk/Filmmakers-Eye-Learning-Cinematic-Composition/dp/0240812174/ref=sr_1_1?s=books&ie=UTF8&qid=1492802217&sr=1-1&keywords=the+filmmakers+eye

I'm tempted to register there just to reply to him that the only way we'll definitively know if Canon are ripping us off is if we have to pay by Western Union and Canon tell us their mother is posting the 5DMKIVs back.