BTM_Pix

Yeah, maybe they should have approached Sigma and swapped some AF tech for some cooling tech ! I think there could have been an opportunity for them to do something creative with a battery grip style accessory that mounted underneath the camera. Something like a removable/sliding section on the camera bottom plate which the cooling elements and fan in the base unit could then utilise to get at the internals whilst still sealing them to the outside world. That would suit both sides of the argument by not having to have something elaborate internally which many people might not need but also offering a factory solution for those who do want to use the more flammable features of the camera.

I'll be sitting this one out as I've no intention of spending £4K on anything that doesn't have an engine or four wheels for a goodly long time. There have been a number of people in the past that have used removable heat sinks on the rear of their (usually Sony) camera for those with tiltable screens such as this Something like that may help, not least because you've also removed the contact of the screen to the main body and I suspect running it on external power instead of the internal battery won't do it any harm either. But all of these sorts of solutions remind me very much of the payoff line at the end of a famous UK public information film from when I was a kid on how to mobilise the family to deal with a burst water pipe.

Sounds like this camera would turn them into an omelette if they did.

If you have Handbrake you can just do a quick transcode into something you know your computer deals with OK. Bizzarely enough, as it Vimeo is usually terrible for me, it streams OK for me. This test by Ed David is going for a similar (minus film) comparison about motion cadence amongst other things so might be worth a look for you

Is this in Vimeo or did you download the file ?

This is what I've gleaned on the issue over the years... To test motion cadence effectively you need to mount the two cameras on a dual mount tripod bar and ensure you have ,if not the same lens, at least the same focal length one on each. For a test subject, you need something that can move of its own accord so you will see motion within a static framing but also that has enough movement to exit the frame so you can pan to track it and see the effects on a moving framing. The ideal subject for this when it comes to testing motion cadence is, by common consent, a unicorn. The ideal speed for the unicorn to be moving is from a slow walk up to a gentle trot. Most unicorns are lazy but skittish, so a few party poppers will enable you to encourage this range of movement. On the camera itself, make sure that the power draw isn't effecting motion cadence by using a fully charged battery and that you have mojo set to 10 or boost if your camera has it. Depending on the brand of camera that you are using, you should also ensure that you have fully topped up your Koolaid levels. 😉 On a more serious note, this is a decent thread with some informed discussion about it and also contains a link to a side by side video between real film, Alexa, Red and the Sony F65. https://cml.news/g/cml-raw-log-hdr/topic/16427778?p=Created,,,20,1,0,0::recentpostdate%2Fsticky,,,20,2,0,16427778

Have you tried your Hasselblad HC lenses on it or did you not get the adapter in the end ?

Did you offer them a fair price for those other lenses on that counter 😉

I think expansion of the L mount alliance is more a question for Leica as they are the gatekeepers as far as I understand.

Hopefully they've all had the cameras long enough to have done something a bit more in depth with them because with Canon seemingly going so far against type and piling the spec on, there may be a lot of devil in the detail with regards to potential caveats in the different modes. Big day for Canon fans though. And fans of shock faced based thumbnails.

I have noticed actually that after ages of Squarespace, WIX and Monday.com plaguing me with ads on YouTube that most of mine in the past month have been from Canon so maybe they are really embracing marketing through the "Yo guys, smash the like button" avenue. To paraphrase Travolta, tomorrow might be a case of this.

They are currently €1300 new from CVP, ProAV, WEX etc so it depends on how many accessories you've got with it but one thing in your favour is that no one seems to have any in stock. So if someone wants one then they will currently have to be looking at a used one so your €1100 is not unreasonable. Another thing in your favour if you are just looking to swap it out for an EOS-R price wise is that the price of those second hand will likely get a cheaper tomorrow as people chop them in for the new models. So even if you get less for the Pocket4K, you'll be paying less for the EOS-R.

Indeed.

You can actually use micro four thirds lenses on them too. Not necessarily that useful for native electronic lenses from Panasonic and Olympus but a lot of 3rd party mft mount lenses like Meike cover APS-C . Also useful for not having to buy two PL adapters in my case.

Whether it was down to Nikon themselves, Atomos, the patent lawyers or all three, the delay in getting the ProResRAW functionality from announcement to actually being deployed has really set them back with the Z series. Then having to return the camera for a £200 hardware modification was adding insult to injury really. If they could have released it at the time of the announcement, it would really have given the Z cameras a massive boost as there wouldn't have been anything out there at that time to compete with it but it just lost all momentum the longer it went on. And of course by the time they finally did get it out, the world had moved on a bit and its just gone stale and it might be a long way back. I obviously have a ton of Nikon gear stretching back over decades of using them so I should've been the person to buy a Z6 or a Z7 but I've never really been that close to getting the credit card out for one. They don't need a complete change of direction but they could shake things up by diverging and making a small full frame cinema camera, particularly as the Z mount is very adaptable physically and electronically. They won't do it of course.

1) Are they going to make a new DVX200 based on the GH5 internals ? 2) Are they going to make an L mount EVA1 ? 3) Have they had a refund from the market research company for that new vlogging camera ?

Don't worry, The Washington Post are on the case.

As I say, the shot in the lift is a very, very extreme example. The effects will vary greatly depending on the frequency of the light and the shutter speed so its not a constant. Looking at the exif of the lift shot, it is 1/1000th of a second, which will exacerbate it greatly and the type of light is an unknown variable. I'll do a couple with just a regular vanilla LED video light as well so you'll know not every day is a yellow and green band day with this camera! More tomorrow....

By which I mean at least 10 hours as something has just cropped up and I'll do it tomorrow.

To be fair, the lift example really is as extreme as its going to get so don't take that as an indicator of its general performance every time it sees an LED light. I have a Philips Hue light strip which is usually kryptonite for electronic shutters so give me 10 minutes and I'll come back with something.

Its fair to say the electronic shutter doesn't always fair brilliantly. This train was only pulling away from the platform rather than speeding through it and the distortion is obviously, erm, "somewhat" apparent. The bigger concern you might have in your application though is with LED stage lighting as the banding can be pretty horrendous as this quick snap of a sign in a lift shows. Suffice to say, there were no yellow and green stripes on the printed page !

I certainly don't think that an 800mm lens of any sort, even a diminutive size as this one appears to be is, the sort of thing you carry in your bag on the off chance. If you need that sort of reach for your subject matter then you'll have spent some time preparing and setting up for shooting it whether its bird watching, wildlife or sport so you really do have to mean it. Logically, you'd say that on that basis you'd be prepared to take the hit weight/size wise of a faster lens to make sure that effort wouldn't be undermined but that doesn't mean there won't be a big market for it. Who knows, there might even be an entirely new market for it as people have never really had a pocketable 800mm lens before so it might usher in a new era of extreme long range street photography.

What these have on their side is that they look really compact, or at least can travel compact due to the push/pull design. If they are really cheap then they might be worth a look but I think they'd have to be sub £400 cheap, which I doubt they will be. Intriguing though as I can't imagine Canon putting these out unless it could perform so they could be surprisingly good. Or more likely surprisingly adequate.

On the face of it, that 800mm f11 lens is a weird move as its more akin to one of those £50 ebay jobs but it is weird enough to make me curious. I still think f11 is going to be a drawback from a subject separation point of view though, even with it being 800mm. I shot a lot of sport with the Sigma 300-800mm f5.6 before it attempted to kill me at Le Mans and even at f5.6 the extra reach was often offset by the lack of separation. Shutterdial lets you search Flickr based on exif so if you look at examples of 800mm shots at f11 on this link https://www.shutterdial.com/#/search?s=Any&f=800&a=15 And then compare them to shots at 800mm at f5.6 on this link https://www.shutterdial.com/#/search?s=Any&f=800&a=11 You can see how, whilst its not impossible to get decent separation, you need to be a lot more careful with your backgrounds, which may not always be possible.

Hahaha....don't worry, with the scripting possibilities that it offers there is the potential for some ridiculous levels of titting about ! Yes, it also transfers the .RAF format. Just tested it on an X-T2 for speed and it takes about 5 seconds to get it across. Thats the beauty of these cards really in that you don't have to deal with the cumbersome and sometimes restrictive wifi functions of the cameras themselves and the vagaries of the different apps. You can also set them up in the app to automatically copy the jpeg only, the RAW only or both as soon as you've taken them. There is also the option to not automatically transfer any so that you can do it selectively from the app.