BTM_Pix

You don't need the app to do the hack, any web browser on any device can do it. Have a look at the original thread that I did for it with instructions and example html files. I'l check which specific TC and adapter when I get back later in the week.

I have the original T and the prices of the TL2 are tempting. The CL is the one that people are after so the TL2 seems to have dropped in price at a higher rate than normal for a Leica. I wouldn't be without the Visoflex for it though so I'd budget for one of those if I was going at it from scratch which puts it into CL territory. If its for stills then the faster fps and higher mechanical shutter speed of the CL would also swing it. Video wise they are much of a (limited) muchness but the bigger LCD of the TL2 and the CL not having an HDMI port swings it the other way. I'd be tempted to hang on for a used FP-L with the EVF-11 over either of them though.

The problem with the L mount alliance (aside from the clearly reluctant Leica not fully playing ball over compatibility of adapters) is that Sigma have created a really comprehensive set of high quality affordable lenses for it and not put OIS on any of them, aside from the long telephoto. Its annoying as I have Leica full frame and APS-C cameras that could really have benefited from it but the most obvious beneficiary would have been my FP. Thats what makes it bewildering really as Sigma would have took away a big objection about their own camera had they put OIS in any if these lenses. As the junior partner, I suspect they might have been blocked by the other two.

As I say, the Cinelike D definitely works as I did it on mine a few years ago. I also used an old school Sony camcorder TC on it which is a good option to extend the range. I put it on a magnetic filter adapter for easy on/off. Top is internal wide, middle is internal long and bottom is internal long with the TC so you get quite the range for minimal extra carry. The LX10/15 gets overlooked because of the ubiquity of the Sony RX100 range but its a great performer and far cheaper, particularly, as you can testify, as a used option.

I'm away at the moment so can't test it for a week or so but it would be worth having a go with an extract from the FZ2000 file formats as there is a possibility that the 100mbit HD will work or you might hit the jackpot and get the 200mbit.

The Cinelike D hack definitely works on it.

With regard to the actual product itself, it is actually pretty impressive. It can play/record media from its internal SD card, local USB drive or across a network which makes it a very flexible addition for anyone using an ATEM, particularly as it provides the capability to do a 10 bit 4:2:2 ProRes master recording from it. On the playback side, being able to cue up a library of pre-recorded clips to play in live to the ATEM is a real boon for streaming but it also useful in the field as you can connect it to camera to record a ProRes clip to SD card for hand off or for playing back into a broadcast. As it weighs next to nothing and can be 12v powered it can then be the modern (not to mention available) version of the screen less Ninja Star if you only need 1080p. The fact that is also includes a teleprompter function is an unexpected but welcome bonus that adds to its overall utility. On the downside, at $495 it is probably at least $100-150 overpriced (and for some situations you would likely want two of them) but what isn't currently overpriced due to supply chain issues ? The price does need to be kept in perspective though as Blackmagic are offering systems at prices that are an absolute fraction of what a similar setup would have cost not many years ago. With the ATEM Extreme ISO and a couple of these HyperDeck Shuttle HDs, you have an 8 camera system with ISO recording of every channel, virtual set capability, two channel play in or one channel play in and a master recorder and you can fit in all in a backpack and broadcast live to and from anywhere for under $2K. Incredible really. On the issue of it not being able to be used with Resolve, I don't find that to be an unreasonable expectation to be honest. Plenty of similar devices in the audio recording market (the modern digital portastudios) can also have their controls switchable to become control surfaces for DAWs to acknowledge hybrid working. In the case of the HyperDeck Shuttle HD, this would be entirely appropriate too as the workflow promoted heavily by Blackmagic is to switch cameras live on the ATEM and then finish in Resolve using the generated XML file with the master camera files. Having the jog/shuttle transport controls in Resolve would therefore be very useful and would mitigate the slightly heavy price.

If you have your HDMI output set to monitoring mode then it does. However, if you have the HDMI output set to recording mode then not only does it not come out of the HDMI it also doesn't work then work in camera either.... I'm assuming that it is an intentional limitation rather than a bug but without any user guide supplement then I can only assume.

Hang on a min....

Its the catch-up version for the FP of the new features added in the FP-L recently so the two biggest inclusions for me personally are the false colour metering and the selectable parameters function when switching between stills and cine. I've installed it and had a quick look at the false colour monitoring and as expected its a pretty big new function to have. Interestingly, you have to assign it to a function button on the camera (I've put it on the right button of the control wheel) and unless I'm missing something (quite possible) it is a momentary switch rather than a toggle so it overlays on screen only for as long as you have the assigned button pressed in. I tried it being assigned to the AE-L button to make sure its not a quirk of assigning it to the control wheel but its the same performance. I actually prefer it being momentary rather than a toggle in most scenarios but I would definitely prefer to have the toggle option too. On the upside, if you hold down the assigned key, it doesn't block any other controls so you can simultaneously use the aperture and shutter controls and dynamically see the effect. I haven't got time at the moment to look into whether this provides a solution to the "quirky" RAW exposure in video aspect so hopefully someone else can have a look at it and report back. It is available from here https://www.sigma-global.com/en/cameras/fp/?tab=support&local=firmware Full release notes : Ver.4.00 2022.04.20 * 1 Only for compatible lenses. * 2 To use this function, it is necessary to update the firmware of the compatible lens to the latest version. * The following settings are affected: Shooting Mode, Shutter Speed, Aperture, Exposure Compensation, ISO Sensitivity. ・It adds the “False color” function where the exposure status on the screen is displayed in different colors, allowing users to easily see the exposure status of any part of the frame. ・It adds the “Focus Ring Control” function that allows users to change the movement of the focus ring to either linear or nonlinear. ・It adds the “STILL / CINE Link Settings” function that allows users to select whether or not they want to link key exposure settings between STILL and CINE modes. ・It allows the “Screenshot” and “False color” functions to be assigned to “Custom button functions”. ・It changes the specification so that the countdown before a shot in self-timer mode (2 seconds and 10 seconds), and the exposure time for long exposures (bulb shooting and exposures of 1 second or longer) are displayed on screen. ・It adds a function available in STILL mode where information from the attached lens (focal length and shooting distance) can be displayed on screen. ・It adds a “Clip Numbering” function in CINE mode that allows users to change the clip numbering of the “File name / Number” in the “SYSTEM” menu. 【For Blackmagic Design Video Assist 12G Series users】 Blackmagic RAW recording using the HDMI output of SIGMA fp updated to Ver.4.00 may not perform correctly without updating the Video Assist firmware. This issue has been corrected in the “Video Assist 3.5.2 Update” released by Blackmagic Design Pty Ltd on February 16, 2022, so please update your software accordingly.

That is a hell of an update. I bet you all 27 people who have managed to actually get hold of a Z9 will be thrilled. I'm thinking of downloading this update as a precaution anyway on the off chance that, by the time I am able to get hold of a Z9, Nikon's circumnavigation of RED's patents has proven not to be quite as watertight as they must clearly believe it to be. My fanciful idea of getting one in Japan in October looks to be completely doomed based on Yodobashi Camera's site.

Lets not be too hasty. I think this idea probably warrants a ten page thread of attrition about what codec you are going to use before you put pen to paper.

Some frame grabs from different focal lengths of the Tokina 18-200 EF boosted on an OG Pocket Cinema Camera.

I think perhaps a lot of the similarity aspect might be to do with there being so much more received/perceived wisdom about the best way to expose and colour footage etc now than there was a decade ago so a lot of people ploughing a very similar furrow. Back then people were finding their own way and working within what they had in camera a lot more, particularly as the then £250K DaVinci colour correction suite had yet to be released as a free of charge piece of software, so there was a lot less fannying around in post. At some stage, helpful advice and shared experience morphed into dogma and many people end up singing the same song. An example of which would be a sizeable amount of Tokyo Rain Cinematic videos you'd find on YouTube now would have a substantial amount of slow motion in them as that is the common expected aesthetic. Also, life was a lot less shit ten years ago so there's that as well.

Don't think its necessarily the cameras myself. Its mainly the move away from slowing down, seeing the composition rather than just the opportunity and using the lost art of putting it on a tripod. Too much running, too much gunning and not enough cunning these days.

Backstory here for the lovely 10 year old Tokyo footage. https://www.eoshd.com/news/tokyo-test-footage-attempting-a-ridley-scott-with-the-hacked-gh2-and-olympus-12mm-f2/

As per the shitty links that he edited into his post (and every other one he's made on this forum) after it was posted, this is the most applicable video to what was happening.

I thought they added HLG video in version 1.6 ? Has to be in Manual exposure, 10bit MOV format and the lowest ISO is capped to 320 according to the manual. Maybe they hide it as an option if you are not in Manual and 10bit MOV ? It wouldn't be the first time Panasonic have hidden a picture profile.....

My favourite line from the description is : It will not work for everyone (no app or box does). I was curious about the reviews, this one on Play store caught my eye : It actually works!!!! Not fake like the other apps. I just wonder how many spirit decoder apps one has to go through first before thinking that maybe its a load of old bollocks. My limit would be less than one so credit to that user for having the patience to do the heavy lifting for everyone else so that they can now buy the real deal. Maybe you can review lenses that can spot unbiased reviews on YouTube? Probably need to start with something like this though.

His "Miracle Box" app for communicating with spirits seems to be doing quite well for him. He just needs to be careful that the spirits he's communicating with don't have names that can inadvertently lead to creating phrases that are so hilarious that they can bring the facade of even leading TV programmes about it crashing down.

Silent mode being switched on is usually the culprit for this with Panasonic cameras.

How's that been working out for them ?

He does supernatural investigation videos too. Maybe he got a tip off from the other side that the end was nigh for camera reviews. Equally they might have told him to repent.

This is an interesting video from the host of one of the more long running camera review websites. I don't know whether he has recently found God or recently found himself off the favoured reviewers list but for whatever reason he has decided to spill some of the beans about his fourteen year history in the game. I say some of the beans as, although he gives specific detail about one source of revenue (the affiliate deal with B&H), he leaves it up to the viewer to extrapolate an estimate of the overall total when including the other streams such as Amazon, advertising and sponsorship etc. He also holds back much in terms of too many specifics amongst the war stories of complementary trips, free or heavily discounted gear, passive agressive editorial control and so on. However, there is enough there to put the picture together about his own activities as well as more than enough hint of how his own discomfort with it have caused him to reign it in whereas a great number most definitely haven't. Obviously, most of us will file this under "absolutely not shocked at all" My own view of Steve Huff was that he seemed personable enough but that he seemingly never came across a product that he didn't like. Which is an obvious red flag. On the generous side, you could say that that was due to him being so enthusiastic about gear. Or, on the less generous side, you could say that he lacked sufficient judgement to differentiate between good and great. Or, most cynically, you could say he was just simply "at it" and every new wow equalled more affiliate clicks. Clearly, the money that he has declared from B&H shows that he was obviously "at it" to a certain degree and I don't think anyone would do a public confessional video if they too didn't accept that they were "at it" either. But the majority of his income was based around the website rather than YouTube so the degree to which he was nakedly "at it" compared to some of his latter day peers was likely a bit more of a side effect than the whole raison d'etre of the new wave of teleshopping hosts. I was quite interested in footage he had in there of earlier promotional trips and how wide eyed giddy many of the invitees seemed to be. I bet the marketing arms of these companies absolutely wet themselves when they realised how easy and cheap it was to drive sales without so much as a half page ad buy in a magazine. It seems if you didn't feel generous enough to give a free camera away to an attendee then just massaging their ego with the invite and a discount on retail was enough. I hope that the what I would politely describe as "whining cunts" who trail our very own host of this ad-free and affiliate link free website around social media posting shitty replies to his posts watch this video. They want everyone to be polite nice guys who keep their criticisms of manufacturers to themselves while they show them slow motion B roll and make them feel better about their purchases. Well, here's one of your politest nice guys and guess what? He was at it. For years.

Barring a complete U turn from Sigma, it will definitely be L mount as they announced they will not be developing any new SA mount cameras when they joined the L mount alliance. https://www.sigmaphoto.com/article/to-our-customers-using-sigma-sa-mount-cameras