BTM_Pix

For H series shooters, Fujifilm make a pretty good electronic adapter for the lenses to mount them on the GFX cameras. It has full aperture and metering control, lets you use the leaf shutter in the lenses for faster flash sync but doesn't do AF. Which is a bit disappointing really considering the H lenses are all made by Fuji in the first place but I'm guessing its contractual. My H3DII-39 expired quite some time ago but I still have the lenses waiting for the day when I finally cave in and get a used GFX.

I think you are being unfair labelling every one on this forum as some sort of fantasist demanding that exact spec for under $2000 as the reality is very few of us would want the 10 inch screen

About two hours in I'd be like this

Yes, its the PBC that does the work driving the lens via the camera so it is exactly the same as it is now with the difference being that it translates the distance position from the AF adapter against the calibration points it has for the lenses. What could possibly go wrong

As there is no point re-inventing the wheel it will likely be commercially available focus motors from Nucleus as they have ones for both compact and cine lenses. The way it drives them is the same but the number of positions it can drive too is, quite often, more limited than the native MFT lenses but that is at the EF end. This is why I had to develop the calibration function and database on the PBC when you use it with the Pocket6K as you have a lens like the Canon 50mm 1.4 for example that has around 35 focus positions whereas the Sigma 18-35mm f1.8 has something like 120. The MFT lenses vary too but not quite to the same degree and you at least get feedback from them of the range so its far easier to deal with.

So he seems to be saying get a 2nd hand SL if you want a B camera for the SL2. Would've thought they'd want to sell more new CL and TL2s by upgrading the firmware to boost their video specs for that role really. Ditto the Q2 could do the job as well.

The Panasonic/Leica cameras don't support the lens being driven externally to a specific position so everything must be done with offsets. This is manageable of sorts but it only has two values to move the lens by which are by single steps or by 10 steps which makes trying to provide a smooth transition difficult. You can see how rough this is by using their own ImageApp to control the camera over wifi. Over time, it may be that they provide a better way to do this (and also by Bluetooth LE rather than wifi as its a better way to do it) but I wouldn't hold my breath.

As per the SL2 spec document, the battery (amongst other things) is made by Panasonic so whilst a different capacity it will likely share similar power management so I'm not sure it is a coincidence. No, it was just purely to run a test that would have a higher power drain than just idling but not one that is related to actually recording. I think there is some defensive power management going on related to starting a recording (or being in a ready state to start one) in different formats whereas if it is in stills mode and connected to wifi it will be draining faster than at idle but might not fall off a cliff at the same point. Or maybe it will fail earlier.

It might be interesting to do a non-shooting but higher than usual consumption test by putting it in wifi mode and connecting it to Panasonic's app and see what happens when it gets to a similar 20% level and whether it falls off a cliff in the same way. The suspicion would be that it is a similar pre-emptive measure that is happening with the SL2 because they are aware that battery performance becomes erratic when it gets to 20%.

The lens control protocols of those cameras don't lend themselves particularly well to direct positioning but having said that neither does the Pocket6K and we managed to develop a solution for that in the PBC so it will happen but not immediately. A universal version that supports motors would be ahead of it in the queue as it can be used for both manual lenses on cameras that don't have particularly appropriate external control like the Panasonic but also of course for manual lenses on BM cameras.

Most people tend not to stick with their first love but in this case I would've thought it would be a given that you would.

The cameras themselves are already streaming from the scene so a lowish res additional stream would be viable or even a full res one for encoders using multi bonded cellular uploads. An enterprising small company with a good stock of Araldite could build a witness camera into an encoder to enable this setup with all the existing cameras out there.

In light of what has been going on covering protests recently, I think ENG cameras might have to have secondary dash cam type of units onboard to provide both the broader context and provenance of what we are seeing through their main lens. If I was out there covering the current protests I'd have a 360 camera in the hotshoe already.

I'll do a proper post but for now here it is (obviously in a "project" housing) surrounded by clues. There is a bluetooth element to it. There is a single presenter/operator element to it. There is a control per feature element to it. There is certainly a customisable element to it. There is a no need to bring a computer element to it. There is also an optional expansion element to it. The main clue of its purpose is actually the Araldite ....

Yes, it will work on any of them. Its funny you should say that. Give me a minute to set up a tableaux of clues.

Well there is a possibility that it could do some damage in the pants region if not calibrated correctly. But as this will lead to not being able to have kids then the money saved on raising them can be ploughed into buying more lenses etc so its actually a feature rather than a fault for this audience.

I've managed to shave a couple of seconds off my best lap at Brands Hatch on Assetto Corsa as well so I'm completely in the zone right now To be honest, the lockdown has actually hindered this project quite a bit due to not being able to get some of the parts for prototyping. The actual lockdown project is for the ATEM and that will be available to buy next month.

Yes, its the evolution of that concept. With a bit more fancy pants stuff thrown in

Yes, see here

Remember it ? All the usual caveats of "absolutely not its final form" but thought I'd show a (very) rough glimpse of its (very) rough format. Things have been quiet on it publicly because as I said in the very original thread that what was first shown was merely a jumping off point and it pivoted into what is now a very different product. As you should now be able to guess from this image, it is doing something a little different and offers both AF-S and AF-C modes for, lets just say, more than one focus target The purpose of this thread, aside from the update to prove its not slid into Sony A7S-III territory, is to provide little updates on what is happening as we edge towards release of the actual product particularly as the previous thread is a bit defunct in terms of what its final form will now be. I'll put up some video samples soon, although @Andrew Reid has had some over the past month so should be able to vouch for it actually working I won't be getting too much into the detail about whats going on under the hood until later on and I will be doing a blog post with Andrew to provide more insight nearer the time of pre-orders which should be in August. FYI, the cables you can see are powering the PBC and not going to the camera so no camera mod is required ! So, for now, fire away if you have any questions if you have any interest in it but if you can please just keep it to general operational stuff.

Hang on, schoolboy error. You're supposed to ask some question you've lifted off another forum and then post the links in your follow up question. Back to The Spam Academy for you.

Belittle away, I have no emotional investment in the FZ2000 As I say, I got it for specific jobs (small vignettes of pre-match build ups at stadium and for live streamed press conferences) where the overall feature set of it was more appropriate for what I personally needed in a versatile allrounder, particularly the faster lens with the longer reach and the additional ND. I agree about the XC10 codec but for my purposes the FZ2000 was fine as, for the small films, I would shoot in 1080p (which also avoids the bugbear of the crop in 4K) so the 200Mbps ALL-I was perfectly adequate and for the press conferences the 4:2:2 10-bit HDMI output was more than adequate for the livestream encoder it was being sent to Like I said originally though, all the output I've seen from the XC10 still keeps it on my radar when the price is right.

Not much visibility of a USB cable and power bank on the Cine section of their promotional material either.

And why they make absolutely ZERO reference to having to power it from USB on their website, their brochure or even specification sheet. https://uk.leica-camera.com/Photography/Leica-SL/Leica-SL2/Downloads

Not that I'm aware of. I used the FZ on quite a few work jobs but it was all field edited fast turnaround in LumaFusion so it wasn't really practical to be using V-LOG hence why I still haven't bought it. Not sure whether installing it activates a monitoring LUT either. I think I should give it a go with EOSHD Pro Color when I get a chance. Yeah, £500 is my alert point but they show no sign of getting down to that level. Probably one to watch out for on CEX though.....