BTM_Pix

Defending a manufacturer's fuck up via the medium of advocating a 3rd party add on cooling device with rotating blades is quite literally putting the fan into fan boy.

I wasn't judging 😉 So the objective thus far has really been more a test of your colour matching skills in Resolve than how the cameras themselves "naturally" perform ? I'm not being snippy there by the way, as its obviously a legitimate exercise particularly if you are going to use both cameras on the same project or even just create a "house" style for yourself so you could use either camera depending on circumstances. But, yeah, purely for me personally, the random shots thing is better as embracing/acknowledging the differences in cameras rather than trying to equalise them is more interesting.

Out of interest @kye, what is your gut reaction when you A/B footage between your BMMCC and GH5? Trying to match them exactly is like trying to herd cats so if you just limited yourself to making a clip of the same scene from both of them to each individually look pleasing to your eye without reference to the other, which one do you find the more appealing ?

The reason for the lack of footage is that, as with the ProRes RAW output for the Sigma fP, the firmware for the camera has been publicly released but the update for the Ninja V hasn't as of yet. For the GFX100, it is slated to be released "in July" so there is a couple of days left yet before its officially late !

Can you just clarify whether you actually want to develop your own application or you need an existing application that does what you need ? Also, is there a specific reason why it needs to Android and why it needs to be cabled ? If you want to develop it yourself using the Canon SDK but retain a small footprint of an Android device and be wired then there are a number of small SBCs that can run Windows 10 that you would be able use to do that if you didn't mind putting the parts together. I would repeat though that if you don't need it to be wired then using the CCAPI protocol will be far easier to get a custom application working quickly. If you want something off the shelf, then have you looked at qDslrDashboard ? https://play.google.com/store/apps/details?id=info.qdd The list of supported cameras linked to on Play doesn't show the RP but the list is outdated and looking at discussions in their forum people are using it with the RP so it might be worth downloading it to see if it does everything you need (or at least close enough) to save you having to do something from scratch.

Unfortunately not. The camera can only have one role for the USB port at a time. If you just want simple stop/start control then you can use the Sigma CR-41 wired remote which plugs into the mic port. It has a mic input too so you don't lose the mic input on the camera when using it. JJC do a compatible version of it which is £14.99 which is less than half the price of the Sigma version. https://www.amazon.co.uk/JJC-Shutter-Release-Remote-Mirrorless/dp/B087RFY89R

I don't really understand why there hasn't been more structured testing of this issue by the people who have them because, like it or not, the heat management is too big to ignore. What is needed is a pocket sized battery powered HDMI recorder that can be connected to the output of the camera and automatically continuously overlay both time and ambient air temperature on the video recording and that will carry on recording regardless of whether the camera is switched on and outputting or not. That way, people can then use the camera however they want for the day in whatever usage patterns they usually use and in the environment they use it and they can then present the whole picture of what happens in their real world usage. No notes or measurements to take, just use it as they would normally and then analyse its behaviour later. And more to the point, prove it. Such a device would put an end to all of the noise that is being generated by the scattergun testing. Fortunately, I've actually developed such a device today 🙂 and here is a (low res) grab of the output video from it being used just now with my Sigma fP. Needless to say, as soon as - or if - @Andrew Reid gets his hands on a production R5 for testing then he is more than welcome to use it to run some real world tests.

Yeah, the Sigma Fp can now do it with the 12G BM Video Assist models. The Fp also has ProResRAW enabled now too but, well, Atomos have still not released the firmware update for the Ninja V so who knows when it will actually work.

If they could 8K RAW out of it over HDMI to the BM Video Assist and if that could then record it in BRAW then thats your £650 heatsink solution for the R5 right there 😉 They do have a relationship with BM because the C300MKii can already do BRAW with the 12G Video Assist but, yeah, I certainly think its a reach to think it will follow suit onto the R5.

Its another step in terms of having to process the footage but it looks like the processing times are far less onerous than with normal stabilisation plugins or apps and the results certainly look worth the effort. Yeah, that was always the rub with the SteadXP in that you had to use a faster shutter speed.

Its what they use in the FX9. Like having a built in SteadXp https://pro.sony/en_GB/insight/filmmaking-tips/pxw-fx9-tutorial-videos-video-stabilisation

A bit of an update. This is the one I bought for the princely sum of €17.99 https://www.amazon.es/dp/B08BKNJP7N And it works OK to be honest. Its certainly no worse or laggier than the far bigger and far more expensive one that I've been using so as long as you manage your expectations as I've discussed earlier in the thread then it is a useful tool. Another common drawback is the lack of an app that will give you monitoring tools but if your camera can route its own ones to the HDMI port then its not a big deal. Tried it with the Pocket4K (which can be quirky with some capture cards) and the Sigma Fp and they are both fine and of course benefit immensely from being able to have a slim, low cost, non-battery eating, very bright tilting screen when you are out and about. However, a big niggle with this particular one (though they all like clones of each other so it could be common) is that too much of the USB connector shaft is exposed so it can wobble in the USB OTG adapter which will cause it to lose signal as it isn't fitted flush enough to the end of the unit to support it. Considering the low cost of the unit, the low cost of OTG cables and that I won't be wanting to plug it into a USB port on a computer, my solution to this is going to involve moulding a bit of Sugru to bridge the gap and bind them together. Who am I kidding ? We all know its going to be Araldite all the way.

Thankfully, I'm no longer in the game of having to drop big money on 400mm f2.8 primes but if I was then £12K on a new Nikon that is on an ,if not exactly dead mount but one that is in its twilight hours, and that also would tie me into DSLRs for the duration if I wanted native performance would definitely give pause for thought. Without having a pro body, Canon and Nikon currently offer no transition path to mirrorless and the longer that goes on, the more chance that transition path will lead users to Sony. Particularly as, not withstanding whatever additional deal they gave to AP, the equivalent Sony system for a couple of bodies, 24-70 f2.8,70-200 f2.8 and 400 f2.8 is about 15-20% cheaper than the other two. That 15-20% is a big chunk of cash when you are looking at just under £30K for a system, especially at a time when the arse had already fallen out of publication fees even before COVID-19. Spread that saving across the many hundreds of systems AP were buying and it would have been a compelling deal for them even without any additional bung from Sony.

Two posts, both resurrecting years old threads to push whatever that Joyoshare software is. Go and spam somewhere else "Jerry".

Looks like it didn't last long outdoors in 8K for Toneh before it got Smokeh.

I've no doubt that this is a financially advantageous deal for AP but no amount of inducement would be worth jeopardising their core business of being able to push images to news desks around the world from anywhere in the world with the same speed and quality as their rivals. The fact that they have determined that they can now do this with Sony equipment to the extent that they will change over their entire inventory is a huge statement. Its also a big statement from Sony that they are confident enough to put themselves in that position of responsibility because them getting kicked out of AP will be a far bigger story than them getting in there. It might not be of particular, or indeed any, interest in the here and now to most people on this forum but the ripples of this particular pebble being dropped in the pond might well become very relevant in the next few years. Canon and Nikon have primarily only been concerned with what each other does for a long time which has only led to incremental developments to keep up with each other but they will have to react to this and take Sony far more seriously in what has been their own private battleground. Not least because this will have put every other agency on alert about whether they can get a similar deal out of Sony.... Lenses were one of the reasons that Sony were never really able to take a seat at their table because they didn't have the full arsenal particularly when it came to the long primes but that is very different now. Ironically, when you look at the lineup of RF and Z mount lenses, it is now Canon and Nikon that actually have the gaps in their lineup and have to play catchup with Sony when it comes to offering a complete system for anyone going mirrorless.

The electronic shutter in the original was a bit of a stick to beat them with as it was the only way to get decent fps but with the A9ii they've got the best of both worlds now that the mechanical shutter has been upgraded to a healthier 10fps. The silent shutter is becoming increasingly important to sneak shots during press conferences as they routinely limit stills to the first few minutes now because of the racket of the shutters.

Considering that the A9 was their first serious attempt at breaking in to the photo journalist/sports photography market and how that was hampered by a lack of some key lenses at launch, the slow mechanical fps and incomplete feature set regarding field work, its quite something to have gone from where they were to doing a deal like this in only three years. Honestly, a year after the A9 launch, I'd have put far more money on them not being in this market any more at this point than I would on them having got AP on board like this. Its the stills aspect thats the bigger deal than the video journalists really as AP have a lot of features, news and sports photographers who would thus far have been almost exclusively using Canon or Nikon DSLRs. Funnily enough, that last UEFA Champions League match that I shot was notable because for the first time I did actually see a couple of photographers using Sony A9s, although they were still outnumbered thirty or forty fold by the rest of us. I'd presumed it might have been UEFA's photographers using them as Sony are a sponsor but in light of this I'm wondering now whether they were actually AP photographers trialling them.

The broader point is what it does to the duopoly of Canon and Nikon in that field and what implication losing that stranglehold may have on their future camera developments, particularly Nikon. Having to try harder would be one implication.

Associated Press have signed an exclusive deal with Sony for the supply of imaging products for all of its news photographers and video journalists worldwide. This is pretty big coup and its the photography side that is particularly big news for me and it will make for very uncomfortable reading for Canon and Nikon. Its taken Sony a while to get everything in place to be a genuinely viable alternative to the big two for field work as its not just the cameras and lenses but all of the image transmission capability and pro support but it looks like they've certainly proved its all in place now if it passes muster for AP. https://www.prnewswire.com/news-releases/ap-to-equip-all-visual-journalists-globally-with-sony-imaging-products-301098857.html

Strangely enough, I've just developed a combi BLE/RF repeater module for one of my new product so I'm good for about a kilometre ! I suspect that is probably what happened.

Oooh...this video shows that the 10% wins 😉 Partly at least. (Its cued to where he connects the F6) As I'd only currently have a very simplistic one to one requirement right now between the Ninja V and the H3-VR then this would do for me although the benefits of using the UltraSync Blue in terms of repeater/hub mode are definitely worth the additional cost for more involved scenarios. Well, I suspect that the AtomX sync is their first new product just that its not listed as such 😉

I'm trying to work out whether this will work directly with the Zoom recorders that support UltraSync Blue or whether you need an actual UltraSync Blue box in the middle to do the translation ? I feel (hope !) it should be the former but the picture on the Atomos site is a bit ambiguous and suggests it might be the latter. I'm a bit bummed that they appear to have dropped the NDI AtomX module.

As @IronFilm has said, its a lot more than a monitor. Even just taking it as a monitoring tool though, it is going to improve those capabilities on virtually every camera that you put it on and not just the LS300 as there aren't many that offer false color, waveform, vectorscope, focus peaking and 2:1 zoom tools built in. It is also 1000 nits brightness so is perfectly viewable without a hood even in very, very bright daylight such as I'm using it in here when every other camera screen (notably the BM4K that I was also using that day) was absolutely useless. With the addition of the AtomX sync module, the Ninja V also enables wireless timecode sync which, whilst not necessarily important for your needs right now, could well be if you are working multi cam or with external audio. Something which isn't relevant to the LS300 but might well be if you move on to or add an additional camera is that the Ninja V can record ProRes RAW from a growing number of cameras by Nikon, Panasonic, Sigma and Z-Cam. So, although you will definitely get an instant hit of improvement when you use it with the LS300, I'd also look at it in more general terms of it being like a great lens or microphone that is going to improve every other camera you use it with on some level so can stay with you as you change cameras over the coming years.

Yeah, he's done really well there persuading London to switch on its Christmas lights for him to shoot that test.