BTM_Pix

On a purely aesthetic level, the 907x had me in much the same position. Looking at that pic again, it might still have me ! I'm downloading this v3 as I did with v2 just to be on the safe side in case they don't prevail ! The exciting thing is if Nikon do win they can get the internal RAW into their lower tier cameras pretty pronto. Canon have really dropped a bollock with the 3rd party lens and adapter stuff too as who knows when they could just switch them all off. I'm not going to get all crazy and sell the 200 that I've already got 😉 I'd likely not part with the Fp even if I was. The EVF is on the Japan list. Which is code for " I'll likely get a used Fp-L there while I'm at it too as the EVF is bundled in and I can shamelessly claim to have 'saved money' ". Might not be such an easy purchase there actually as whilst the rest of the world is largely underwhelmed by the Fp/Fp-L it is very much a beloved piece in Japan.

Its got enough about it to be the 201st and last one. Certainly has for me. As addicts, we often joke about a forever camera but to be honest I've actually reached that point where I am genuinely going to make the next one be the last one. I've not been in any rush so I've been hanging on waiting for Japan to re-open its borders so I could get this mythical forever camera on my next trip and for quite a while I thought it was going to be the GFX100S but the longer the closure has gone on then the more the Z9 has become the one I'm after. In September last year I'd booked a trip for October this year but it was too early for the re-opening by about a week so had to be cancelled and I'm now looking to go in September 23, at which point they should be in stock there and hopefully even available used to save a bit more money. They are currently around £3.4K new there versus £5.3K and as I'm no rush I'll certainly hold off for that sort of saving. The Z9 makes the most sense for me out of the new era cameras as I've got a large collection of F mounts to use with it but even so, particularly with this latest upgrade, even if I had to buy a few Z mount lenses I can't imagine needing anything more than this camera offers. Well, except for some talent of course.

Nikon have released another firmware upgrade for the Z9. V3.0 offers what appears to be the equivalent of the JVC LS300 virtual zoom functions, 60fps stills, improved flicker reduction and bluetooth timecode. Full details here : https://www.nikonusa.com/en/nikon-products/mirrorless-cameras/firmware-updates/index.page So another great update for a camera that is so rarely sighted that it wouldn't surprise me if you have to send it in to their Bermuda Triangle service centre where the upgrade will be performed by the Loch Ness Monster and her assistant Big Foot.

Existing thread created whilst I was typing this. Ignore

Yeah, I've always had a bit of a hankering to have a go with the Production Camera but never quite had the purchase impulse intersect with the price at the right time ! Not every piece that I've seen posted with it has been fantastic, of course, because no camera ever has that but I've always felt that is has one of the higher wow to meh ratios of any camera. That is quite likely to be related to the skill of people who are using them, of course, as it is has always been quite niche anyway and obviously not without its quirks that have to be worked around. But 4K RAW, ProRes, cheap media and global shutter makes it a really appealing option at the £600-700 they can be had for. Form factor leaves a lot be desired though.

I find sticking to the Cut page and using the SpeedEditor controller is the way to go. Really speeds the basic assembly and keeps you away from falling down the fannying about rabbit hole until the last minute and treating that as a final process. Hopefully it will work with the new iPad version as it is BLE as well as USB-C. Usually find them sub €200 on eBay (without Resolve included) and they are a bargain for what they bring to the process.

Not sure if its available from launch but Resolve is coming to the new M2 powered iPad Pro. No indication of how fully featured it will be compared to the desktop version (the Cut and Colour pages are illustrated as being available in this screenshot) or price or codec support etc but it will be interesting to see nonetheless. It will actually have to go some to compete with LumaFusion which is the current state of the art for the iPad and which has been becoming ever more feature laden over the past couple of years. LumaFusion has actually had an FCPX export option for a while (and is very much an app favoured by Apple in their marketing and presentations) so I'm curious about why Apple are now putting Resolve front and centre in their announcement when it will presumably offer the same functionality for a rival desktop editing system to their own. Irrespective, these new iPads are further blurring the lines between desktop and tablets for content creation whether one is mobile or not. Full details of the new iPads here : https://www.apple.com/uk/ipad-pro/

Difficult to be definitive as there will be variances in camera and lens but, in my experience, EF to E is the most reliable converter type for AF (outside of the native DSLR to Mirrorless adapters from Canon and Nikon obviously). It also makes a cheaper introduction to first time E mount camera owners coming from an EF based/adapted system. Outside of AF, the appeal of this for me would be as an intermediate adapter with ND for Y/C, Leica M and Nikon F mounts.

About the camera though... Good news for all E-mount owners in general but very relevant for the FX30 is that Meike have announced an EF to E mount version of their drop in variable ND adapter. Turns the FX30 (or FX3 if you want full frame) into a very compact Cinecorder for $199 https://meikeglobal.com/products/mk-efte-c?variant=43529048326372

Yes

Obviously, there are no words in this situation so all I can say is take your time and stay strong for Zara and your Mum. All the best.

That is the power specification for the USB-C charging input. The IS and IEC numbers indícate conformity of the battery for fire safety and battery charging standards. The R code is the registration with the Bureau of Indian Standards who run conformity assessment schemes.

Just as an FYI, as the user just banned on here had listed an FX6 amongst other scam listings, it does seem to be a camera on Ebay that is particularly appealing to scammers. If you search for the FX6 under completed listings like this link then there are some very suspicious prices. https://www.ebay.com/sch/i.html?_nkw=sony+fx6&_in_kw=1&_ex_kw=&_sacat=0&LH_Complete=1&_udlo=&_udhi=&_samilow=&_samihi=&_sadis=15&_stpos=&_sargn=-1%26saslc%3D1&_salic=1&_sop=12&_dmd=1&_ipg=60

Exactly the same for all of this user's other items that have been listed for sale on here. One for @Andrew Reid to have a look at as the entire posting history of this user is made up of these ads with photos lifted from eBay. Oh except for the one that poses this question : "Is it possible to hack into Samsung and check if NX2 is going to be released? Any thought would be appreciated"

And as if by magic, Viltrox have now released one 😉 https://viltroxstore.com/products/viltrox-ef-l-mount-adapter-with-positive-lock-for-ef-ef-s-lens-to-l-mount-cameras

They bought Fairchild (original BM cameras) and Truesense/Kodak (Digital Bolex) too but the lineage of the Arri stuff is definitely from Cypress as both the D-20 and the Alexa had a Cypress sensor https://web.archive.org/web/20101230013456/http://www.businesswire.com/news/home/20101220005251/en/Cypress’s-Industry-Leading-CMOS-Image-Sensor-Portfolio-Designed Its a bit of stretch for that press release to be claiming those were jointly developed with onsemi as they didn't actually buy the sensor division of Cypress (which was predominantly FillFactory who Cypress themselves had acquired previously) until a year after the Alexa had been released and six years after the D-20 was released. In that respect, its a bit like BMW claiming they developed the original Mini Cooper because they now own the company that did. FillFactory were based in Mechelen in Belgium and as onsemi offer CMOS hardware design jobs listed at the same site then I suspect that, as with the previous cameras, the current Arri sensors are still physically being developed in Belgium rather than the US, albeit with funding from the US parent company of course. https://onsemi.dejobs.org/mechelen-bel/hardware-design-engineer/1025F288A9BF4AC584B993271B8E9BC2/job/

No, no, no, not at all. Its just a covincidence 🙂

Well...I, erm, might have a couple more. X, F, EF-M. In my defence, I am pretty old and don't like to throw anything away. I haven't been in a camera shop since March 2020 which I think that qualifies me for some sort of chip from Cameraholics Anonymous.

All of the cameras that I already own ? Pocket6K, Sony A7Sii, Sigma FP, JVC LS300 and (at some point) the Nikon Z9 to name an example from each mount. Which I own. Why would I want to adapt it and lose the ability to quickly use native EF and EF-S lenses with IS, aperture control and, in my case with the AFX, full autofocus ? I can do the latter with the AFX and motors which is fine but I'd do that anyway with the adapter. If it was a quick swap to go between PL and EF like my RED which is four bolts then fair enough but that mod for the P6K is not something you'd be wanting to do every day, let alone on the go. I don't live in the US though. Here in Europe, they are €150 and I'd need five of them, hence €750. https://www.amazon.es/Fotodiox-Pro-Adaptador-Compatible-Positivo/dp/B07VZNSCCZ I don't disagree about the locking mount but by far the biggest issues I have using focus motors with EF (or any other mount) stills lenses is with ill fitting gear rings and not using a lens support on the rods. With a cine lens like these then the gear rings aren't an issue and as the absence of the lens support also causes issues on my native PL cine lenses on my native PL camera then I would use one irrespective. I keep stressing in this that for me personally the EF mount is the more appropriate because I have different needs in terms of having it on different cameras but I recognise that if the majority of its use would be on a PL camera in that environment then I'd go with the PL version.

Synth reviewers on YouTube are plagued by copyright strikes when they demonstrate filter sweeps as someone has managed to convince the YouTube content review clowns that they own the copyright to the sound of a filter sweep. If I could convince YouTube that I own the copyright to the phrases "Hey, whats up, its your boy..", "with that being said", "lets get into it" and "I have been sent this for free but..." then I'd be rolling in it.

True as you can adapt PL to all of them. The adapters are considerably more expensive of course but unless you’ve got a few lenses and a couple of different body types then that wouldn’t be a massive issue. For me personally I’d want to use them on a native EF mount, E mount, L mount, MFT and likely soon Z mount cameras. Even using the cheap and cheerful Fotiodiox PL adapters that would be around €750 to bring that versatility whereas, because these are manual lenses and so only need the dumb adapters, it would be around €80 to adapt the EF version. I do have a PL mount camera but it has a swappable EF mount (as does the only other cinema camera I would envisage buying) so, for me personally, the EF still wins. Of course if someone envisages getting a PL mount camera without an interchangeable mount down the way then all bets are off !

Sorry, yes, I was keeping my comments in reference to the Mini. From the HD model upwards, there is a Holdout Matte input. There is an 80% price jump from the Mini to the HD though so it increases the cost of a multi camera setup considerably but it is still very good value for money for anyone needing the facility. With some thought, dual background and foreground elements could be coaxed out of Unreal.

The internal foreground layers are only stills so it can't be done directly on the unit itself for motion. Also, unfortunately, the Mini does not have the Holdout Matte function so even a static version is not possible with that one which is a great pity but I get why the cheap one can't have all the bells and whistles. That doesn't mean to say that Unreal can't be used in combination with some automation to do that where you would then just use the Ultimatte as a very good keyer to put in front of it. Again, multiple cameras would then also be possible with a little bit of automated integration with a switcher.

I'm not sure I follow. The public reason given by Atomos for firing here was that she wouldn't relocate to Australia but this is obviously something that she is contesting. Do you think the public reason given was the whole story and sole reason ?

You would have to check the extent to which the rear element protrudes on the lens that you are going to use to ensure that it doesn't hit the lens element of the speed booster. If you look at this Vazen 50mm for example, it has quite a large protrusion and Vazen state on their website that it will not work with all native EF mount cameras due to this - which will likely obviously make it a no go for putting it on a speed booster as well. You can see the comparison here of the protrusions for different mounts of the GreatJoy anamorphics and, whilst they don't make the same statement about native EF cameras they do state that it won't work with speed boosters. Its a conundrum because the EF version is the best option to buy this lens in because it can be adapted to all the other mounts so it immunises you against changing camera body types (or makes it more versatile if you have a few different types anyway) but it will only work on either a full frame cameras or with a dumb adapter on an APS-C camera if you don't mind not being able to reduce the FOV. Buying full frame versions will cover you if you do move to a full frame system but if you have no intention of doing so then I'd look at APS-C versions.