BTM_Pix

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.

The Ultimatte 12 HD Mini in particular is very interesting. As they all include frame stores so they can be used 'in line' as it were with a camera, then with the 12 HD Mini being €500, it brings the cost of a four camera fixed virtual set system down to well under €3000 depending on what ATEM you get to switch them with. OK, it won't be an all singing all dancing system with tracked movements as the background will be pre-rendered and static, but for a lot of applications that will be perfectly acceptable. Incredible value for money.

Yeah, I agree, tech company ships product that doesn't quite work yet isn't anything new. The hair raising one was the Neon, though, claiming that it supported Dolby Vision (which it didn't) and they didn't have clearance to use Dolby Vision trademark. Its the latter that would have caused the bigger issue as it left them wide open to a lawsuit from Dolby, who are a company that do enjoy a lawsuit. I'm tempted to say he sailed off into the sunset but, of course, with his track record of providing false information to maritime authorities, it would be difficult to know where he was going 😉 https://www.news.com.au/world/coronavirus/australia/millionaire-fined-after-allegedly-fleeing-covidravaged-nsw-on-superyacht/news-story/6adc305d55df77209dd07bc72a4df4ff

In May 2022, just over six months after her appointment as CEO, Estelle McGechie was fired from Atomos due to her being unwilling to re-locate to Australia. At the time, it seemed a bit odd because you would have thought that her appointment to that senior role would have been contingent on her re-location from the get go. According to a suit that she has now filed in the US, she claims that there was more to it than her relocation. A lot more. In addition to her claims about gender discrimination and a toxic corporate culture at Atomos, there are also allegations that there was 'rampant illegality' at the company with regards to shipping out 'dud' products to fraudulently inflate sales figures to meet projected targets. One example product mentioned in her filing is the CAST switcher add on for the Ninja V range which was shipped without any functioning firmware. The other product mentioned is the Neon grading monitor which shipped with know deficiencies that rendered it outside of the capabilities detailed in its marketing literature and packaging. The CAST product interests me because I've been surprised that for something that is such an appealing product (turns your Ninja V into an ATEM) there has been very little buzz about it since it was launched and comparatively few reviews on YouTube and certainly none from the past few month. Possibly now not as surprising as I'd originally felt. The share price of Atomos in the past twelve months certainly wouldn't have been bringing a nice warm glow to investors anyway, but this latest news has knocked it further. Needless to say, Atomos have refuted all of Estelle McGechie's allegations so it will be interesting to see how this pans out. Full story here : https://www.afr.com/rear-window/ex-ceo-alleges-rampant-illegality-at-ellerston-regal-backed-atomos-20220831-p5be2q

Well it looks like Nikon are up for a fight over this. https://www.slashcam.de/news/single/Interne-RAW-Aufnahme--Nikon-haelt-RED-Patente-fuer-u-17452.html "Nikon disputes the validity of the RED patents, arguing that they were applied for too late at the time and should therefore not have been granted. Nikon points out that RED already offered a camera for pre-order at NAB 2006, in which the relevant codec technology was integrated, but it took more than a year before a patent application was filed. The patent, which was only registered after the fixed one-year period had expired, was wrongly granted from Nikon's point of view, since the patent office had no information that the technology had already been implemented and offered for advance sale" Seems they are going down the route of "the only thing we've violated in the Z9 is a patent that should never have been granted in the first place". Not to mention, of course, the defence of "how can we be violating a patent when we can't get our arse in gear sufficiently to actually deliver the fucking camera anyway". At this rate, RED could probably sue them for infringing their patent on painfully delayed availability of cameras after launch. Although, as I've said before, I do wonder whether the lawsuit and the tight availability are actually linked.

There was a previous request for it on here and a download link was posted in the thread. The link works but the file has been deleted. However, the user that posted the link is still active on the forum so perhaps give them a shout to see if they still have it.

The first comment underneath the first video is by Simeon Pilgrim from nikonhacker.com who asks some pertinent (and unanswered) questions about how this is done. If you follow the trail back to nickonhacker.com you would imagine that, despite there not being a huge amount of activity on there in recent times, that something as significant as this would be generating a huge amount of discussion amongst the Nikon hacking community during the past two years since the video was published. But there really isn't. Which is pretty unusual really. However, in the description for the first video, it states that : "From our study, it can be done by yourself , as long as you have the right password file installed in XQD card" Now the upgrade process for ProResRAW on the Z6/Z7 was purely software, evidenced by certain Nikon service centres doing a sub one hour while you wait service to activate it if you took it there personally. Going back to nickonhacker.com, the very last post in the Z6/Z7 thread is this one : This tallies with the description of the video that said "as long as you have the right password file installed in XQD card" It is this key that will have been generated at the service centre and it will be based on the serial number of the camera so is unique and not transferrable to another camera. And it is worth noting that the title of the video is "DIY enable RAW...." rather than "DIY add RAW". So, based on all of this, what you are seeing in those videos is a camera that already has the license having the functionality disabled and then re-enabled through PTP. In that sense, the "DIY enable RAW...." title is technically correct if obviously a little misleading. What would be needed to make this work from scratch is the way to generate the "HDMIRAW.KEY" file which, after a two year gap, either doesn't look like its been achieved or, if it has, then it is happening in private with someone potentially profiting from it.

Incidentally, JJC also do a bundle kit with the same cable to provide a wireless solution for the FP for about €34 so it might be worth paying the extra €16 to get that facility as well.

Sigma's official trigger input cable is called the CR-41 and connects to the mic port with a split input to still allow to connect a mic. Its about €50 and could be used by grafting it onto a pistol grip. However, JJC do a compatible version that comes out to a cable rather than a switch and its about €18. JJC also do a pistol grip for around €22 that you can then plug that cable into to complete the process. The good thing about the pistol grip is that you can then use other compatible cables for different cameras so it isn't tied to just one brand.

Sony added S-Cinetone to the A7sIII in the v2 firmware update.